massart identity standards guide

7/28/2019 MassArt Identity Standards Guide

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VISUAL IDENTITY STANDARDS


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TABLE OF CONTENTS OUR VISION

A Brief History 3

Overview 5

About the Visual Identity 6

About the Logo 7

Spectrum of Communications 8

VISUAL BUILDING BLOCKS

The Logo 10

Color Palette 16

Typography 18

Eight Rules for Clear Communication 20

Graphic Elements 22

Photography and Illustration 24

Stationery System 26

COmpOSING ThE ELEmENTS

Flagship Brochures 30

On-Screen Materials 32

Print Ads 33

Event Materials 34

Diploma 35

Signage 36

Merchandise 37

Final Thoughts 38

NOTE: Page numbers in the PDFversion of this guide vary fromthe print version.


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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE3

mASSAChUSETTS COLLEGE

OF ART AND DESIGN

Massachusetts College of Art and Design was born of

a pioneering spirit.

Facing a divided citizenry on the heels of the Civil War,

American industrialists, politicians, scholars, and

educators sought to unify the nation and advance their

country economically, scientifically, and culturally.

In Boston, these visionary leaders championed the Drawing

Act of 1870, a law that revolutionized Massachusetts education

system, and worked with the legislature to found world-class

institutions like Massachusetts Institute of Technology, the

Museum of Fine Arts, and Massachusetts Normal School of Art.

The creation of the Normal Art School, in particular, was

a radical act. Never before had a state established a school

for the purpose of art instruction. MassArt was the first,

and remains the only public independent college of art and

design in the United States.

And from the beginning, recognizing that talent knows no

class or racial distinction, the college welcomed students

from all economic and ethnic backgrounds, including recent

immigrantsa far cry from the demographic of other

American art schools at the time.

Today, Massachusetts College of Art and Design remains

true to its foundersvisionaries who imagined a better

future and saw creativity at its core. We are proud of our

legacy of leadership as the nations first and only public

independent college of art and design and the first art schoolin the United States to grant a degree. Our history sets the

direction for our future.

Since its early years, when the seeds of the creative economy

were planted in Massachusetts, MassArt has evolved into

one of the leading colleges of art and design in the world. As

we look to the future, we will continue to build community,

to foster diversity, and to inspire artists and designers to

make a difference in their world.


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OUR VISION


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This guide provides an outline of the visual identity system, including logo standards and the

associated graphic vocabulary. The success of the visual identity depends on consistent and

frequent application across the entire spectrum of communication tools. From the viewbook

to the diploma, from the website to departmental postcards, all communications should

reflect MassArts commitment to excellence.

MassArts identity provides flexibility and room for expression. As befits an art institution,

users are encouraged to be inventive and push the boundaries of the identity system.

However, it is important that this flexibility be used to express most appropriately the

given communication goal. Much effort has been made to ensure that this guide is easy to

understand and use. It is, however, impossible to anticipate every application of the visual

identity system. Users should exercise their best judgment to determine the ideal expression

of the vision outlined in this guide.

If you have questions regarding this guide or the visual identity system, please visit

inside.MassArt.edu/identity or email [email protected].


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ThE VISUAL IDENTITY

COmmANDING RESpECT

As the nations rst and only public independent college of

art and design and the rst art school in the United States

to grant a degree, MassArt continues to be one of the

most inuential art colleges in the country. Its new visual

identity positions MassArt in its rightful place, reecting

its increased national and global impact as well as rein-

forcing its prominence in the region.

REFLECTING ENERGY AND TALENT

The identity reects the energy, determination, and talent

of the many individuals that comprise the entire MassArt

community.

Firmly rooted in the solid foundation it has built over more

than a century, MassArt will proceed as a condent, cred-

ible, inuential institution with an impact felt around the

world.

True to its culture of vibrant, independent individuals, its

bold, contemporary logo is paired with an identity system

that is energetic, exible, and distinct.

CONVEYING CONFIDENCE

Designed to appeal to MassArts broad audience, both

the logo and identity transmit condence in a way that

resonates with a diverse audience: current and potential

students, alumni, faculty and staff, donors, corporate lead-

ers, government ofcials, and others.


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ABOUT ThE LOGO

ThE LOGO

The MassArt logo positions the college as a leader and

champion of art and design education. The simple device

of cropping the S in Mass on the same angle as the

A in Art visually propels Art to the foreground.

The Art advancing to the foreground of Mass

represents an institution driving art and design to the

forefront of public consciousness. This juxtaposition

also reects the legacy of MassArt and its founding

belief that publicly supported, accessible art and design

education is vital to the economic and social strength

of the Commonwealth.

The logo is comprised of a palette of three primary colors

and gray. The Art appears in one of the three

primary colors, reecting the energy and spirit of the

college. The Mass consistently appears gray, represent-

ing stability and MassArts legacy. The primary colors

carry special signicance in that they reect the elements

of all color building blocks for the art-making process

appropriate to an art institution. As a system, a palette

of logo colors lends exibility when applying the logo

over varying backgrounds, allowing for a wide range

of applications.

LETTERFORmS

The MassArt logo is built from a customized version of

the typeface Gotham. Inspired by early to mid-twentieth

century architectural lettering and signage in American

cities, Gotham was chosen to reect MassArts urban

setting. The draftsman-like qualities of Gotham and its

historical inuence lend a simple, bold, urban style that

emphasizes legibility.

Legibility is especially crucial when one considers the

numerous applications of the logo, from letterhead and

publications to signage and web pages. The clean style

of the letterforms lends timelessness and exibility to

the logo. When paired with imagery, its simplicity will

complement the words and imagery that surround it.

LOGO CONFIGURATIONS

The full name of the college, Massachusetts College of

Art and Design, always appears with the logo and also

is set in Gotham. The words Art and Design are set in

Gotham black and match the color of Art in the logo

to emphasize the breadth of the colleges work. Careful

attention has been given to the proportions of the college

name and the logo to ensure maximum legibility. The

logo is available in three different congurations. The

primary conguration will be used as often as possible;

two alternate designs will be used when either horizontal

or vertical space is at a premium.

The MassArt logo is our signature and a statement of

our shared beliefs. Please use the logo with respect

and always refer to the identity standards guide when

developing MassArt materials. Following these guidelines

will allow the college to present itself consistently and

with condence, and will ensure that MassArts legacy

remains strong.


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Various factors affect the visual complexity and production values of a

piece of communication. The communications spectrum provides for a range

of approaches and establishes a design framework that reects the specic

needs of various marketing and communications materials.

SpECTRUm OF COmmUNICATIONS

FLAGShIp mATERIALS

MassArts agship materials have

the broadest audience base. These

pieces have the highest level of

exibility and should test the limits

of the visual identity system. Flag-

ship materials should always be

reproduced in four-color process

and should have high production

value. The full spectrum of visual

identity components may be

applied to these pieces.

Examples of MassArts agship

materials are:

- recruitment materials;

- annual reports;

- the website; and

- comprehensive campaign

publications.

RELATIONShIp BUILDERS

Relationship builders target

current and potential members

of the MassArt community. These

materials should fully explore

the visual identity system, while

remaining mindful of the balance

between the identity elements and

overall design.

Examples of MassArts relationshipbuilders are:

PCE catalogues;

alumni newsletters;

event materials; and

promotional brochures.

COmmUNITY CONNECTORS

MassArts community connectors

are integral to the colleges culture

and should adhere to the design

standards of the identity. These

communications, intended for a

variety of audiences that include

MassArt students, staff, and

alumni, tend to convey a simple

message and should use a limited

number of elements from the

identity system.

Examples of MassArts community

connectors include:

- e-newsletters;

- registration materials;

yers; and

postcards.

EXhIBITION mATERIALS

Promotional materials related to exhibitions

at the college are allowed a greater level of

exibility. Some components of exhibition

catalogues, posters, and postcards may not be

bound by the standards of typography, imagery,

and graphics stated in this book. Due to the

specialized nature of the materials, they should

reect the quality of the work they portray.

However, all materials must explicitly display the

MassArt logo. Exceptions to the identity standards

for exhibition materials will be made on a case-

by-case basis. Email [email protected]

for details.


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ThE LOGO

The MassArt logo is the cornerstone of the visual identity

system. It must appear, at least once, on every piece

of communication and should comply with the standards

in this guide.

ALTERNATE CONFIGURATIONS

COLOR SYSTEm

Two alternate designs are supplied and can be used

when space necessitates their usage.

The logo is comprised of a palette of three primary

colors and gray. Please see page 18 for more

detailed information.


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LOGO SIZE AND SpACING

The logo should always be surrounded by clear

space that contains neither text nor graphic

elements. The distance of this clear space should

be consistent with the cap-height of the letters

in the logo. The logo may be placed over a

photographic image or piece of artwork. See

page 21 for guidelines.

CLEAR SpACE

x

mINImUm SIZE

In order to ensure legibility, the logo should never

appear smaller than .875 (when used in print

materials) or 88 pixels wide (when used on screen;

measure pixels using Adobe Photoshop). The size

relationship between the logotype and full name ofthe college is xed and should never be altered.

.875" (print) or 88 pixels (screen)

CO-BRANDING

On occasion the MassArt logo will need to appear

in tandem with the logo of one of its partners or

supporters. In these cases the logo should appear

proportionally similar to the peer logo with a

one-point rule (vertical line) separating the logos.

The placement of the separating rule should respect

the clear space previously dened.


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LOGO COLOR

PMS 424 U PMS 7417 U PMS 7409 U PMS 638 U

C15 M0 Y0 K60 C0 M80 Y80 K0 C0 M35 Y100 K0 C85 M0 Y8 K0+ or or

R110 G115 B118 R220 G80 B52 R238 G175 B0 R0 G175 B216

pmS COLORS

COLOR SYSTEm

The logo is comprised of a palette of three primary colors and

gray. The Art always appears in one of the three primary colors :

red, gold, or blue. The exibility of the palette allows for a dynamic

range of possibilities. The color version of the logo is preferred and

should be used on all full-color materials.

The MassArt logo may appear in the following

combinations only: gray plus red, gold, or blue.

The gray (PMS 424 U) can be combined with:

PMS 7417 U or PMS 7409 U or PMS 638 U.


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KNOCK-OUT LOGO

ONE-COLOR LOGO

When used over an image, the white and color

version of the logo should be used. Select the

color version of the logo that provides maximum

contrast with the images background. When

placing the logo over an image make sure that the

logos contrast against the background ensures

the logo is clearly visible.

When it is not possible to use a color version of

the logo, it may be reproduced as one-color, or

knocked out to all white.

LOGO COLOR


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LOGO DONTs

The logo is central to the visual identity system and should not be altered or

violated in any way. Please be careful to avoid any representation of the logo that

is not aligned with the approved and nal logo. All units operating under the

governance of MassArt must use the approved college logo. No unofcial logos

may be used in place of, or in conjunction with the ofcial logo. In addition:

Do not change the

colors of the logo.

Do not ll the clear

space with graphic

elements.

DEpARTmENT NAmE

Do not add department

names or typography of

any kind to the logo.

Do not apply a

color other than the

approved red, gold, or

blue to the logo.


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Do not change the

scale of any component

of the logo.

Do not change the

scale of the full name

of the college within

the logo.

Do not stretch the

logo either vertically

or horizontally.

Do not render the

logo dimensionally.

Do not apply a drop

shadow to the logo.

Do not use the two-

color logo over a eld

of color, with the excep-

tion of PMS 7534 U (or

CMYK equivalent).

LOGO DONTs


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COLOR pALETTE

pANTONE mATChING

SYSTEm (pmS):

PMS is the industry standard

for color specication on

printed materials. All numbers

shown have been specied

as uncoated chips (U) to print

on uncoated paper. The color

should be checked accordingly

if using a coated paper stock.

pROCESS (CmYK):

CMYK is the formula for

four-color process offset and

web printing applications.

RGB (RED GREEN BLUE):

RGB values are intended for

use across all on-screen

media (i.e. websites, emails,

PowerPoint presentations).

VARIABLES

The following variables may affect the

nal outcome of the intended color:

- printing process used;

- ink lm thickness (density);

- form layout/press color control;

- variation in paper color, quality,

and texture;

- ink color accuracy;

- viewing conditions;

- ink/water balance;

- plate quality; and

- use of dull, gloss, or matte varnish.

When specifying colors, Pantone spot colors always are preferred.

Four-color process builds (CMYK) are provided as a guide and may

need to be adjusted depending on the printing process and/or

individual printer calibration. When printing in four-color process,

please visually match the Pantone swatches provided.


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PMS 382 U

C38 M0 Y100 K0

R190 G214 B0

ACCENTS

PMS 7473 U

C74 M0 Y36 K8

R30 G157 B139

PMS 7534 U PMS 614 U PMS 621 U PMS 7542 U PMS 5425 U

C4 M4 Y13 K8 C3 M2 Y29 K3 C12 M1 Y9 K2 C24 M4 Y8 K13 C44 M15 Y7 K22

R215 G211 B199 R225 G222 B174 R209 G223 B214 R172 G192 B198 R125 G154 B170

NEUTRALS

+

pRImARY

PMS 7417 U

C0 M80 Y80 K0

R220 G80 B52

PMS 7409 U

C0 M35 Y100 K0

R238 G175 B0

PMS 638 U

C85 M0 Y8 K0

R0 G175 B216

PMS 424 U

C15 M0 Y0 K60

R110 G115 B118

The colors on this page have not been evaluated by Pantone, Inc. for accuracy and may not match the Pantone Color Standards. For accurate color

standards, refer to the current edition of the Pantone Color Specier. Pantone is a registered trademark for Pantone, Inc.

Due to a number of variables a PDF proof should never be considered an accurate portrayal of the actual, printed color.

PMS 4985 U PMS 7413 U

C16 M63 Y32 K47 C3 M62 Y95 K0

R132 G76 B84 R212 G123 B34

PMS 583 U

C25 M3 Y100 K14

R168 G180 B100

PMS 7459 U

C76 M6 Y8 K15

R48 G149 B180

COLOR pALETTE


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TYpOGRAphY

Interstate Light 1234567890

Interstate Light Italic 1234567890

Interstate Regular 1234567890

Interstate Regular Italic 1234567890

Interstate Bold 1234567890

Interstate Bold Italic 1234567890

Sabon Roman 1234567890

Sabon Italic 1234567890

sabon small caps 123456790

The typefaces in the MassArt visual identity system are Interstate

and Sabon. The contemporary quality of the sans serif (Interstate)

is offset by the classical qualities of the serif font (Sabon). The two

typefaces are intended for use in tandem.

INTERSTATE

SABON

INTERSTATE

Only Interstate Light, Light Italic, Regular, Regular

Italic, Bold, and Bold Italic should be used as part

of the system.

SABON

Sabon Roman, Small Caps, and Italic (all with old-

style gures) should be used as part of the system.

BOLD AND ITALIC STYLES

Articial bold and italic styles should never

be used. When the need arises to use a bold or

italic style, be certain to select the appropriate

font. Never use a type tool in a software

application to make type bold or italic.

FONT ACCESS

MassArt has purchased a group license for all

MassArt community members. Please log

on to inside.MassArt.edu/identity for more

information. Those outside the MassArt

community may purchase Interstate or Sabon

at MyFonts.com.


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hEADLINES

Interstate Bold all-caps is always used in

headlines for emphasis, but one can use either

light or regular in upper and lowercase as well.

Lowercase characters should never appear in

the Interstate Bold typeface for anything other

than subheads.

ALL CApS

MassArt should never appear in all-caps. In

cases where MassArt is part of a headline,

Interstate Light or Regular may be used as

upper and lowercase in tandem with the

all caps Interstate Bold.

BODY TEXT

Interstate Light or Sabon Roman should be used

for large areas of body text to ensure legibility.

Bold, Italic, and Small Caps should be reserved

for pull quotes, heads, subheads, and sidebars or

when otherwise dictated by editorial standards.

ALTERNATE FONTS

Interstate and Sabon have been made readily

available to the MassArt community and should

be used across all communications. However, if

absolutely necessary, the following system fonts

may be substituted: Verdana for Interstate and

Book Antiqua for Sabon.

TYpOGRAphY


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In addition to presenting a unied visual identity, it is

equally important that written communications adhere

to guidelines for consistency and clarity. Following the

instructions below will ensure that users write the

colleges name correctly and that audiences can clearly

identify the college.

1. The full name of the college should never be preceded

by The.

2. The word and should always be spelled out in

the colleges nameMassachusetts College of Art and

Design. Ampersands (&) or plus signs (+) are not

permitted.

3. On rare occasions, it is acceptable in speech to refer

to the college as Mass. College of Art and Design.

However, this should never be used in written

communications.

4. Wherever the full name of the college is used in a title

or subtitle, or where it stands alone, a line break should

never occur anywhere between Art and Design. This

does not apply when the name of the college appears in

body text.

5. Avoid using the full name of the college immediately

followed by another item (i.e. Massachusetts College

of Art and Design and the Commonwealth of Massachu-

setts). In these instances, either use MassArt instead

of the full name or place the other item rst.

6. MassArt should always appear with a capital M

and A. There should never be a space between the

S and A. MassArt should never appear in all upper

or lowercase.

7. MassArt may be used as an adjective. In these

instances, the may be used in front of the name

(i.e. The MassArt student majors in painting).

Massachusetts College of Art and Design should

never be used as an adjective (i.e. The Massachusetts

College of Art and Design student majors in painting).

8. The colleges URL should always read MassArt.edu

except when within an email address, in which case

it should appear as [email protected]. This

is the only instance in which MassArt may appear

in lowercase.

Massachusetts College of Art and Design is rooted in the solid foundation it

has built over more than a century. True to its culture of vibrant, independent

individuals, MassArts bold, contemporary logo is paired with an identity

system that is energetic, exible, and distinct. For more information about

the college, visit MassArt.edu.

EIGhT RULES FOR CLEAR COmmUNICATION


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Georgia Regular

Georgia Italic

Georgia Bold

Lucida Grande

Lucida Grande Bold

Verdana

Verdana Bold

GEORGIA

Georgia is the preferred serif HTML typeface for

any web or email applications. Georgia should

never be set below 12 pixels.

LUCIDA GRANDE

Lucida Grande is the preferred sans serif HTML

typeface for any web or email applications. Lucida

Grande should never be set below 11 pixels.

VERDANA

If Lucida Grande is not available, Verdana may

be used in its place. Verdana should never be set

below 11 pixels.

GEORGIA

LUCIDA GRANDE

hTmL TYpOGRAphY

VERDANA

Due to the limitations of the medium, websites and HTML emails

necessitate different typographic standards. Georgia and Lucida

Grande are the recommended screen fonts and should be used as

outlined below. These typefaces are for on-screen use only and

should never be used for print purposes.

EmAIL TYpOGRAphY

It is recommended that all outgoing email

messages use Lucida Grande or Verdana 11pt.

The use of backgrounds, text color, and specialty

fonts in email is strongly discouraged.

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ThE mOVING ANGLE

One of the most recognizable features of the MassArt logo is the angle created in

the negative space between the S and the A. As a design element, the angle is a

distinct and recognizable feature of the identity system. The angle can be used as a

simple device to highlight key points of information or as a pattern to create a sense

of movement.

DXjj8ik%\[l

-)( ?LEK@E>KFE 8M


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LAYERING BOXES

When used in conjunction with the MassArt

angle, the boxes should be layered to achieve a

dimensional moving effect.

ANGLES AND COLOR

The angle pattern should be used in

conjunction with a at eld of color to anchor

the graphic and further emphasize the sense

of dimensionality.

hIGhLIGhT BOXES

Integrate small boxes into layouts to call

attention to key words or themes.

DImENSIONAL mOVEmENT

Rectangles of white coming from negative space will further create a sense of

movement across the system. When used in conjunction with the angle and angle

patterns, a dimensional sense of movement is achieved.

hIGhLIGhT INFORmATION

Use shifting boxes to highlight key points of

information such as captions.

24


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phOTOGRAphY

As an art institution, MassArt has a rich array of resources that can and should be

tapped for its communication materials. Original photography, illustration, sketches,

and artwork are integral to the identity system. The use of stock photography and

clip art is strongly discouraged.

Photography should be used to capture

the dynamic energy of the studios and

classrooms at MassArt. Imagery should

be vibrant, energetic, and portray the

excitement of individuals engaged in

the art-making process. Photographs

of empty studios, building facades, or

similar images are discouraged.

25


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SKETChES

Sketches are used throughout communication

materials to provide texture and contrast. We

encourage the use of sketches from MassArt

students and projects to give context to stories.

ARTWORK

Student, faculty, and alumni artwork is an

important part of the MassArt system and should

be used when appropriate. Care should be taken

when integrating artwork with other design

elements to ensure the integrity of the art.

26


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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

STATIONERY SYSTEm

In many instances the MassArt stationery system will be an individuals rst experi-

ence with the college. Business cards, mailing materials, and letterhead each utilize

one of the MassArt primary colors and the MassArt gray (PMS 424 U), ensuring a

complete representation of the colleges identity when mailing letters or packages.

-)( ?LEK@E> KF E 8M


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LETTERhEAD

Letterhead uses MassArt red (PMS 7417 U).

There are two types of letterhead: department-

specic and generic templates. A second

sheet also is available.

department-specic letterhead generic letterhead

note card (front and back)

TYpOGRAphY

Letters should be set in 10pt Sabon Regular

over 13pt leading.

1.75 1.25

1.75

mARGINS

Margins are 1.75-inches from the left and top

of page, and 1.25-inches from the r ight.


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In order to express the vibrancy of MassArts community, it is

critical that the identity system allows for flexibility. The following

pages portray a range of visual expressions of MassArts visual

identity system.

These designs are intended to be used as examples and inspiration

for future communications, not to be reproduced exactly as shown here.

SS C S S CO G O S G IDENTITY STANDARDS GUIDE30


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FLAGShIp BROChURES



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FLAGShIp BROChURES



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ON-SCREEN mATERIALS

home page gesture

banner ad gesture

e-newsletter gesture



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pRINT ADS



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EVENT mATERIALS



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MASSACHUSETTS COLLEGE OF ART AND DESIGN

DIpLOmA



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SIGNAGE



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mERChANDISE

;/AA/16CA3BBA 1=::353

=4 /@B /


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Thank you for using this guide. Please show respect for the visualidentity system and follow the guidelines provided. This will ensure that

MassArt presents itself consistently and with confidence.

If you have questions regarding this guide or the identity system, visit

inside.MassArt.edu/identity or email [email protected].

Any third-party images in this deliverable (sample images, stock photography) are included for illustrative purposes only.

No part of this information or imagery may be copied, edited, distributed, repurposed, commercially broadcast, or used in

marketing a product, service, or similar.

CREDITS: Page 31 (clockwise from upper left): Sheila Pepe, Terminal, Nautical towline, industrial rubber bands, crocheted tulle,

and metal thread. | Abelardo Morell, Flashlight and Salt, photogram on 8x10 lm | Eric M. Arnold 06, Uber Grn, Blown Glass,

18x18x4 | Fred Liang, Dust Bunnies, painting on panel, 24x20

Page 41 (clockwise from upper left): Dean H. Nimmer, Constellation 14, Oil and Patina on Steel, 39x28 | Eric M. Arnold (06),

Uber Grn, Blown Glass, 18x18x4 | Jane Marsching,Arctic Then: Deb Questing on McCall Glacier, Alaska, Digital C-Print on Fuji

Crystal Archive, 16x20


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