design museum
design manual
Contents
1 2 3 4 5 6 8 10 12 13 27 29 32 35
Introduction Primary logotype Secondary logotype Logotype exclusion zone Logotype: Do not Typeface Type specifications Type examples Construction of the arrow Use of the arrow Use of arrow with directional information Colour Exhibitions Annual events
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Recommended by Editorial style Further information Notes
Introduction
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The identity guidelines in this manual are the culmination of an extensive design programme intended to develop a fluid and effective identity system. Identification, directional signage, informational signage and colour are devised to both identify the museum itself and orientate people within the space. The identity had two main components, a logotype and an arrow mark. The logotype is set in Replica, a bold new sans serif design, conceived for both text setting and for use at large point sizes. Replica was designed on a very strict design grid which was referred to in order to shape the individual characters, resulting in a typeface that has all the features of a classic sans serif font of middle-european descent, but with a genetically modified DNA.
The design of the mark is based on the arrow found in New Rail Alphabet, a revival of the classic British Rail alphabet. British Rail was design by Jock Kinneir and Margaret Calvert in 1965 and was revived in 2009 by Henrik Kubel of A2/SW/HK in close collaboration with Margaret Calvert. Calvert was responsible for the design of all road signage in Britain, a huge responsibility to be given to an any individual. The arrow has been selected in homage to this body of work and its influence on British design: a classic reinvented for a contemporary space.
Primary logotype
• Design Museum logotype • Left-aligned and stacked
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Secondary logotype
In some instances the primary logotype may be difficult to use, such as on thin horizontal banners. Only in those cases the secondary, single line variant can be used.
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Logotype exclusion zone
The logotype exclusion zone should always be the height of the letter ‘e’. Nothing should encroach on this and the ratio should stay consistent at all sizes.
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Logotype: Do not
1. Do not rotate 2. Do not distort or stretch 3. Do not use different font 4. Do not outline 5. Do not apply any effects 6. Do not crop
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Typeface
The main typeface is Replica Bold. This should be used for all signage and short texts.
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Typeface
The secondary typeface is Replica Light. This should be used for longer texts only such as text setting.
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Type specifications: Replica Bold
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Type size
There is no specific type size for the primary typeface. The necessity to use it within multiple spaces and on a variety of different media requirements to allow of for a wide range of sizing.
Leading
All type will be leaded optically.
Kerning
All type will be kerned optically.
Tracking
Tracking will not be used on any type.
Type specifications: Replica Light
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Type size
There is no specific type size for the secondary type face. Its use for longer texts needs to allow for a wide range of sizes.
Leading
The leading of longer texts is depended on the point size in use and is scaled proportionally. Leading is always 125% of the point size in use. In an 8-point text the leading will be 10-point, in a 10-point text the leading will be 12.5-point.
Kerning
Kerning will not be used on any type.
Tracking
Tracking will not be used on any type.
Type examples: Replica Bold
permanent collection restaurant gallery one
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Type examples: Replica Light
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Construction of the arrow
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Use of the arrow
The design of the arrow is based off the arrow found in New Rail Alphabet. New Rail Alphabet is a revival of the British Rail alphabet and is now used on all British transport systems.
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Use of the arrow
The arrow has been exploded into three shapes that still allow it to be recognised as an arrow but can be arranged in a multiple of ways to form abstract compositions.
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Use of the arrow
The structure of the arrow allows for its rotation in eight different directions. To indicate movement through the museum: Left / Up / Down / Right Elevate left / Elevate right Desend left / Desend right
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Use of arrow
When the logotype and exploded arrow are used together they must always be scaled proportionally. The diagram below illustrates how the sizes are determined.
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Use of the arrow
When using the three exploded shapes they are to be placed on a larger arrow as a layout guide: a systemised method of positioning the three parts. The large grey arrow will be removed; it is only a guide.
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Use of the arrow
Examples of exploded arrow placement. The three shapes can be rotated at 45Ëš, as can the larger arrow it is placed on. The three shapes may only be placed on intersecting points of the larger arrow.
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Use of the arrow
When placing the logotype the same three points are used to triangulate the placement. A rectangle is drawn connecting the three arrows parts at the furthest points top, left, bottom and right. The center of the rectangle is located and type positioned accordingly.
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Use of the arrow
Examples of logotype on arrow.
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Examples of exploded arrow and logotype
When combined, the exploded arrow and logotype can form an endless number of combinations, creating a varient and fluid visual identity.
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Examples of exploded arrow and logotype
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Use of arrow
The exploded shapes can also be used without the logotype to create patterns. Using a similar principle, larger arrows are placed in a fluid order and the three exploded shapes are placed on intersecting points. The larger arrows are only used as a guide so are removed after placement is completed.
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Use of arrow
Example of pattern.
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Use of arrow
The pattern can be scaled up in size.
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Use of arrow
The pattern can also be scaled down in size.
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Use of arrow with directional information
When directional information is used in conjunction with the arrow the text is always right-aligned and is followed by the arrow.
restaurant lobby
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Exclusion zone
When directional signage is placed within a space there is an exculsion zone that is calculated by the size of the arrow in use.
restaurant lobby
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Colour
Each exhibition space has its own recognisable colour pallette. The identity system adopts this colour pallette for each show.
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Colour
Examples of how the colour pallette is used.
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Colour
Examples of how the colour pallette is used.
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Exhibitions
Each exhibition has its own title. A different typeface may be used to display this title.
Time Machines
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Exhibitions
When advertising an exhibition the below template will be refered to for poster designs.
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14 May 2014 – 31 August 2014
www.designmuseum.org #designmuseum designmuseum @designmuseum
Funded by
Exhibitions
Example of exhibition title and poster template in use.
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14 May 2014 – 31 August 2014
Time Machines Daniel Weil and the art of design
www.designmuseum.org #designmuseum designmuseum @designmuseum
Funded by
Annual events
Events and exhibitions that are part of the design museum’s annual listings, such as the Designs of the Year, are set in Replica Bold. They are kerned and leaded optically, leftaligned and always end with the current year.
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Recommended by
The Design Museum shop and the Designs of the Year exhibition promote a variety of products each year. The logotype has been used to create a sticker that can be placed on products by either the Design Museum or retailers.
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Editorial style
Dates:
12 May – 20 June 2014 Never in any other way:
12th May—20th June 2014 12.05 – 20 .06.2014 May 12 – June 20 2014 Monday 12 May – Friday 20 June 2014 Social media and websites should be written in lowercase only:
www.designmuseum.org #designmuseum @designmuseum designmuseum Phone numbers should be written in international format:
T +44 (0)20 7940 8790
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Editorial style
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Design Museum Kensington London W14 8ND, UK
T +44 (0)20 7940 8790 www.designmuseum.org info@designmuseum.org
The Design Museum Registered Charity No. 800630
Conpany No. 02325092 VAT Registration No. 123456789
Editorial style
Use supplied document. • Text should always be black and left-aligned. • Use Replica Bold for headlines and Replica Light for longer text. • Keep styles to a minimum, and avoid undeline or colour. • Apply type specifications to all type.
Willoughby Warner 14 Plaza Boulevard Liverpool L8 5RX
24 April 2014
Dear Willoughby
Gent doluptas mintio ventus aute nemostem invent restrum quiam quam autectiis sumquiberis adis rempossuntio temporibus endi ilignis dolori vellant autatur? to beriame plit es acerovit, velignim dolendis rem quametur apienda pro occae. Nequi sapis mint aut hiciis quati dolorec abores susam aut esequi doluptatur? Adi accust es etur? Qui alibus, ipiet iliquidelit autempo sandus. Ur, temodis doluptionet quam eos et ipsus et quodicit autatemquias que lat am rem es ra venet que vendand ionsequae esci iunderchit hilla velessitat quost, quos de sim desti sitaquodis delis ut volessim re earcitem ipsa quunto ma et quat accat. It quo vereiur sequaes consequas eosanis enis aut id etum, earumquam nit idus, omnimusam ex eossita sin conse volorro consed quid que consequam endam a quibusti que volorro doluptatem faceper erferor re ex et fuga. Dellecus natemquidunt remquiatibus asserum sincto quo bla voluptatur atempor iatiis autem ex est adipis utatem sed quisqui dem eum illitem quassuntium seritaquas as quae occus magnis autem qui tet estotamus. Gendis in et explam nam dolendenim ex eum dem et ut fuga.
Best wishes Charlotte Surman Development Coordinator
charlotte@designmuseum.org T +44 (0)20 7148 6875
Design Museum Kensington London W14 8ND, UK
T +44 (0)20 7940 8790 www.designmuseum.org info@designmuseum.org
The Design Museum Registered Charity No. 800630
Conpany No. 02325092 VAT Registration No. 123456789
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Further information
If any further direction is needed in regards to the guidelines see below contact.
Charlotte Surman Development Coordinator charlotte@designmuseum.org T +44 (0)20 7148 6875 Postal address: Press Office Design Museum Shad Thames London SE1 2YD Visiting address: Design Museum Kensington London W14 8ND www.designmuseum.org
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Notes
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Notes
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Notes
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