Museum of Holography Brand Manual by Sarah Gardner

Museum of Holography

Brand Manual Spring 2016

Index

1 Introduction

History

Museum Values

Musem Collection Museum Exhibitions

2 Brand Elements

3 Typography

4 Brand Communication

Logotype

Spacing

Minimum Size

Supporting Signature

Backgrounds

Incorrect Usages

Color Palette

Color Gradients

Typefaces

Paragraph Styling

Stationary

Ticketing

Grid Structure

Promotional Materials

Wayfinding Application

Wayfinding Usage

Imagery

Incorrect Imagery

Web Applications

Mobile Applications

1 Introduction

1.0 History

In 1974, holographer Loren Billings opened the Museum of Holography the West Loop of Chicago. For over fourty years, the museum has existed as the only one of its kind. Billings has obtained the single

Photo of Museum founders from the opening in 1974

largest collection of holographic art and technology, spanning from the first hologram ever taken to contemporary artists who are constantly pushing the boundaries of how we define holography today.

1.1 Museum Values

Since the musuem's opening, they have worked adamently towards educating and facilitating a conversation between the local and international community. The

Museum goes to great lenths to make holography accessible to those who have an interest in the artform, and supports artists who have transformed holography.

01. Civic Engagement 02. Preservation 03. Documentation 04. Applied Learning 05. Discovery 06. Collaboration 7

1.2 Museum Collection

To this day, the museum has a collection of work from 250 holographers from around the world: over 3,000 holograms.

Exterior of Entrance to Museum of Holography

The work itself dates back to the origins of holography to today's most progressive and important holographic artists of our time.

1.3 Museum Exhibitions

The Museum has held countless exhibitions since its inception, routinely curating a diverse and leading edge selection of holographic art.

Exhibitions are seasonal with one opening every Spring and Fall. The latest exhibition was for the worldrenowned artist, James Turrell, and his retrospective on holography.

Exhibition for James Turrell's Retrospective in Fall 2015

2 Brand Elements

2.0 Logotype

NOTES: Each line that forms the letters M and H contain specifically three lines and each line is exactly the width of the distance between it.

The balance of negative and positive space is mathematically structured using linear parallels to create a cohesive and strong mark.

The form mimics the depth percieved in holography, allowing every line to further communicate a tangible dimension.

2.1 Spacing

The exact distance between each line in the logomark is equal to that of the line itself. The minimum distance required around the mark at all times is triple the width

of the mark of the line. This will fluctuate with the re-sizing of the logo, but must alway remain proportional to the lines' newly defined width.

NOTES: The mark itself is built on the foundation of a grid, intenede not only for the perfection in form, but also for scalability.

2.2 Minimum Size

The logomark can be enlarged infinitley with proper permission and only under specific instructions, in full form.

The minimum size, however, can never be smaller than 40px or 0.5" in width. This ensures that the mark will always be legible.

2.3 Supporting Signature

The supporting signature of the mark is generally flexible in its use. The primary specification is that it must always be displayed on two lines and in the Maison Neue typeface in Bold, kerned

optically, and its leading equal to the x-height. Its placement does not have to be near the logomark, but it can never be closer than the previously stated spacing guidelines (See 2.1).

2.4 Backgrounds

The logomark should always exist on a white, Dark Grey, Light Grey, or Laser Green background (Color Palette is listed in 2.6). The mark itself should always be in one of

the colors listed in the paletter or white, as well. It should never be applied over an image, or be without significant visual contrast to its background.

2.5 Incorrect Usages

The images below dictate several of the primary unacceptable usages of the logomark. This includes: using unpermitted gradients, a color outside

the stated palette, texture or embossing, drop shadows, titlting of the mark, fading of the mark, stroking the mark when it is filled, and unproportionally resizing.

2.6 Color Palette

01: Dark Grey

RGB: 028 / 028 / 027 HSB: 059 / 003 / 010 HEX: 01C / 01B / 01B PMS: Pantone 7547

02: Light Grey

RGB: 152 / 152 / 152 HSB: 059 / 000 / 059 HEX: 098 / 098 / 098 PMS: Pantone 7544 U

03: Laser Green

RGB: 103 / 106 / 255 HSB: 221 / 081 / 100 HEX: 043 / 106 / 255 PMS: Pantone 275 U

The color palette was created to reference the primary palette seen in holograms. Although holograms can be multi-colored and varied in their hues, the most basic and

prevalent color seen in holography is laser green. It serves as our primary accent color and is the only actual color used. White is permittable, but flat black is not.

2.7 Color Gradients

The provided gradients are two brand elements that are acceptable for the museum's applications. They are never to be used as the fill

for the logomark, but may exist as the background color in appopriate situations. There should never be more than two colors used.

Laser Green â&#x2020;&#x2019; Light Grey

White â&#x2020;&#x2019; Laser Green

3 Typography

3.0 Typefaces

Aa Aa Aa Aa 22

Maison Neue was chosen as the exclusive typeface family used for the museum. It's a true work horse font, equally as impressive

as both header and copy fonts. The font is modern and mathematically constructed—fitting well within the museum's visual identity.

Maison Bold AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz 0123456789~!@#$%^&*+:"<?

Maison Medium AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz 0123456789~!@#$%^&*+:"<?

Maison Light AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz 0123456789~!@#$%^&*+:"<?

Maison Mono AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz 0123456789~!@#$%^&*+:"<?

3.1 Paragraph Styling

Header Maison Neue Bold - 38pt

The typographic styling for the museum is flexible within the actual size of the type used, but it's important that there is a scale used when dictating hierachy. All levels should be 30% smaller than

AaBbCcDd 0123$%*

Sub-Header Maison Neue Medium - 24pt

AaBbCcDd 0123$%*

Body Copy — Maison Neue Light - 8/10pt

Maison Neue was chosen as the exclusive family of typefaces used for the brand. It's a true work horse font, equally as impressive as both header and copy fonts. The font is modern, strong, and modular—fitting well within the brand voice. Maison Neue was chosen as the exclusive family of typefaces used for the brand. It's a true work horse font, equally as

Captions — Maison Neue Mono - 10/16pt

that above it. A thin weight should never be used for a header, and in that same respect, a bold weight shouldn't be used for copy. The mono weight should be exculsive to captions and extraneous text.

impressive as both header and copy fonts. The font is modern, strong, and modular—fitting well within the brand voice. Maison Neue was chosen as the exclusive family of typefaces used for the brand. It's a true work horse font, equally as impressive as both header and copy fonts.

This is a caption. "This is also a caption" - Jane Doe

4 Brand Communication

4.0 Stationary

1134 Washington Chicago, IL 60607

The stationary for the museum is based off the grid used for all brand communication. It uses type

www.holo.museum @moh-chi

Dear Jane, Pos, eo inu qui tem se tum me nonsimunisse intrum hocchil ingula me etiae di, ne est virtica ventiu coentem fur adducien ture, culocaet; nostribem, consum patum invoccit, Caturop orbis? Diercemum nunc mo Cas inatus, unulto viderei iampl. Multuamdius et? Patus, qua vis Ahae quos rei sedest Liurs iaes? quas aperude escemul arteritis et invocaperi se, culestra nihilic rediur, us rei seniam horuntere cis, Catque a virtem, que in vivitea pratus, Cast fecio, qui it; hala ne addum pul hucterv ilissit, num hor quam con reo et de ingulla L. Nihiliurnium sermium que int? Editemus hum cerum es lin hum mantes Ad mihi, forisqu odictum adhuciorum sula dii intiam mandam ressede ssupiost? Furi publis, strum imis. Halat, fuerfertea nonsulicae facem inatiae idelicae derum dius, Cat, supioris orum consussa oculesimus et por unum nium ses! Ostoria peropos supior perbemul vis locre condioraec feconsulis. Unum sa renderum dentiae re nosulis bondit grae elum te, quisus, que ellegeriu etifenam, ceritrituro, utum tum testi in defacriorit L. Fultus duc temquam quius, C. Mo mere perum tabus peri se abem P. Ves inatus ad cibunti, nonfere nature, quam tur. Catem in vero tus simumum pri facchuitris hum mandius et ressum dentiam moerum pro et, diesitum in derbis plicae apereor aritat adelina, sena, con verum audamquam intum vit, me pl. Dectorbeffre caperfectus. Simoret; nirmis. Cas inatus, unulto viderei iampl. Multuamdius et? Patus, qua vis Ahae defesse ntius. Vivis furbis se poenducotem nemum esilis, etiae nost L. Rommore mussus, ses Castil temus virmihicae denterf iconsunum quo more, querdit pultoru menihilnes C. Ocaudeora, que aut in turnihicum. Regards, Sarah Gardner Creative Director sarah@holo.museum

NOTES: All stationary communication is available upon request and necessity.

reductively and has only elements that are essential to the purpose of the application.

4.1 Ticketing

The layout of the admission ticket was developed to act as a flexible template for exhibition promotion and contains a center block for a graphic that pertains to the current

exhibiton on display. The ticket itself divides this block by scoring, so that one may easily collect the ticket stubs, but the visitor can go home with a piece of the museum.

NOTES: The ticket allows for simple alterations without conflicting with the intergrity of the ticket's design.

4.2 Grid Structure

Rows: 17 Cols: 11 Gutter: 1p0 Margin: 3p0

The grid was designed to allow for flexible, yet consistent application approaches. No matter the content of the application, the grid will

allow the designer to work with a standard frame of reference, as well as avoid compromising a consistent visual brand identity.

4.3 Promotional Collateral

All promotional collateral must adhere to the previously addressed guidelines in regards to logo usage,

color, typography, and follow the provided grid structure. Imagery needs proper context.

NOTES: Officiatur rem dolum facest eum isque que mi, omnisque volupta spitisc.

4.4 Wayfinding Application

NOTES: Officiatur rem dolum facest eum isque que mi, omnisque volupta spitisc itiisci.

Interior wayfinding of the museum must comply with the previously addressed guidelines. All wayfinding needs to be on a white background with black type, or the

inverse, and set in Maison Neue. All wayfinding will be text based, with the exception of directional iconography that's addressed in the next section, 4.5.

4.5 Wayfinding Spacing

As mentioned in 4.4, the wayfinding uses the typeface Maison Neue. The leading of the wayfinding should be equal to the

cap height of the text. If directional iconography is necessary, it should always be placed at the top. The icon should be 2x the cap height.

NOTES: Officiatur rem dolum facest eum isque que mi, omnisque volupta spitisc itiisci.

4.6 Imagery

All imagery used for the museum's promotional and collateral needs should be exclusive to the holograms themselves. the imagery should always be

CORRECT IMAGERY: Laser Green Duotone

cropped, removing any framing or background context. The imagery should always be a duotone, using a combination of the previously mentioned color palette (2.6).

CORRECT IMAGERY: Dark Grey Duotone

4.7 Incorrect Imagery

The imagery used must comply to the guidelines listed in the previous section (4.6). With that said, it's important that the duotone is

INCORRECT IMAGERY: Inverted Duotone

always within the appropriate color palette, but also never contrasted enough to loose the hologram's actual tonal value.

INCORRECT IMAGERY: Non-brand Color Quadtone

4.9 Web Applications

All imagery used for the museum's promotional and collateral needs should be exclusive to the holograms themselves. the imagery should always be

cropped, removing any framing or background context. The imagery should always be a duotone, using a combination of the previously mentioned color palette (2.6).

4.10 Mobile Applications

All imagery used for the museum's promotional and collateral needs should be exclusive to the holograms themselves. the imagery should always be

cropped, removing any framing or background context. The imagery should always be a duotone, using a combination of the previously mentioned color palette (2.6).