September 2013

Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES

September 2013

Global Brand Standards

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Table of Contents

FOUNDATION COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES

Mission Statement Context Logomark Evolution Corporate Typefaces Photography Pop Up Shop Print Definition

Design Tenets Principles Logomark Usage Trademark Symbols Illustration Shop in Shops Three-Dimensional Metaphor

Program Logomark Restrictions Pattern Digital Examples

Lifestyle Philosophy Wordmark Usage Style

Design Values Logo Clearzone Resources

Logo Sizes Nomenclature

Brand Color Naming

Trademark and Copyright

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Foundation

The Herman Miller brand is one of our most valuable assets. We want you to become advocates for our brand and to help us use it consistently. Our brand is expressed in many ways—our behavior, our products, our communications. We are asking you to pay special attention to all the ways we express our brand.

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Foundation Mission Statement

INSPIRING DESIGNS TO HELP PEOPLE DO GREAT THINGS

Our mission: Makes clear our reason for existing. Gives purpose to our actions. Guides the organization forward. Demonstrates our values. Inspires everyone.

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Foundation Design Tenets

Our design tenets guide everything we do. They help us remain focused on the things that matter, distinguish us among our peers, and result in designs that help people do great things.

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Foundation Design Tenets

1. Human Centered 6. Sustainable We design for people Always protect the environment 2. Purposeful Design solves a problem 7. Beautiful & Useful Do people want to own 3. Integrity what we make? Everything relates to the problem 8. Spirited Does it say “Herman Miller”? 4. Original We don’t copy 9. Beyond Expectations Produce surprise and delight 5. Evident Quality The quality of our work 10. Inevitable is apparent This is the way it has to be

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Herman Miller Collection

The Herman Miller Collection draws on George Nelson’s vision of “a permanent collection designed to meet fully the requirements for modern living.” This comprehensive portfolio offers a breadth and depth of products to furnish complete environments in a myriad of settings, both residential and contract, elegant and casual.

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Herman Miller Collection Context

The idea of the Collection is not entirely new. In his introduction to our 1952 catalog George Nelson wrote of “the continuing creation of a permanent collection designed to meet fully the requirements for modern living.” Nelson established a program and a philosophy for the Collection that allows us to continue it today.

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Herman Miller Collection Principles

As our first Design Director, Nelson defined a straightforward set of principles that guided Herman Miller, then as now: what we make is important; design is integral; the product must be honest; we decide what we make; a market for good design exists.

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Herman Miller Collection Program

The program is the breadth and depth of the products we offer. It includes updated archival pieces, furnishings from partners who share our values, and new designs from today’s top talent—a bridge between Herman Miller’s past, present, and future. Each piece is considered in relation to the rest of the Collection, the places where it will be used, and the people who will use it.

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Herman Miller Collection Lifestyle Philosophy

Eames, Nelson, Girard, and Noguchi created a design DNA for Herman Miller that defined “American Modernism”—they borrowed elements from International Style Modernism and mixed it with Organic Modernism to create a more optimistic, friendlier vision—“Modernism filtered through the California sunshine.”

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Herman Miller Collection Design Values

Herman Miller, through our deep association with leading designers, has come closer than anyone to incorporating craft and organic ideals into the mass production of functional objects for everyday life. Each piece in the Collection presents a solution that is as purposeful as it is beautiful. Achieving that balance requires a creative tension between the dualities that express our design values.

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Herman Miller Collection Design Values

Aspirational and Accessible Craft and Industrial Process Our designs and how we present them We value craft, balancing it with inspire and welcome everyday use. the use of new technologies and materials. Pragmatic and Optimistic What interests us is a thoughtful Engineering and Artful response to how we live and The thinking behind our designs work today. is apparent and celebrated.

Elegant in Form, Casual in Use Crisp Lines and Organic Curves We think furniture can be elegant Our designs express the distinct and still feel casual. and the fluid in equal measure.

Functional and Playful Beauty in Technology, Our pieces work hard to provide Knowledge in Nature a solution, but they are also fun. Inspiration and clarity arise from everything around us. Beautiful and Comfortable We aspire to sculpture, but we engineer for comfort.

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© 2013 Herman Miller, Inc. Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Logomark Evolution Logomark Usage Logomark Restrictions Wordmark Usage Logo Clearzone Logo Sizes Brand Color

Identity

Color, design, words, and symbols—used creatively, these elements combine to make everything from business cards to buildings recognizable, memorable, and a powerful presentation of our brand.

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Identity Logomark Evolution

Logomarks often evolve. The most recent evolution for ours has separated, or unlocked, the stylized M in the circle from the HermanMiller wordmark. Our intent is to emphasize the stylized M as the most important visual asset of the brand and give our customers a single, simple, and memorable symbol for our company. Compare this to Nike’s swoosh or Apple’s apple.

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Identity Logomark Usage

To keep the tips of the stylized M logomark crisp, use the correct file for your media. Screen: Work viewed on-screen (presentations There are two ways to keep the logomark crisp: or websites), use the logomark with tips that 1. Use an image file (.eps, .tif, or .gif) that is close to are more open and easily translated into pixels the actual size you need to prevent scaling the (Micro, see 2 below). file size up or down by more than 10%. These Print: Printed paper applications (from office files include both the logomark and wordmark. copiers or professional offset printers), use the 2. Use one of the proprietary Herman Miller font logomark with finer points (Normal or Display, Herman Miller Herman Miller Herman Miller files: Herman Miller Micro wide simplified tips see 2 below). Collection Micro Collection Normal Collection Display that keep the mark open when viewed in small Special Substrates: Fabric embroidery, sizes (below 16pt); Herman Miller Normal silkscreened plastics, signage, or embossed steel small flat tips that keep the mark open when require additional testing and consideration. viewed in the most common sizes (16pt to Please request a recommendation from Herman 72pt); Herman Miller Display tips that come to a Miller Brand Marketing. complete point for large sizes (above 72pt).

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Identity Logomark Usage

The Herman Miller Collection graphic identity is comprised HermanMiller Collection of 3 parts: Logomark and Collection Wordmark Used together in a lock-up Examples of use: Signage, Invitations, Posters, Web Pages, Ads, and Brochures Stacked Collection Wordmark and Logomark HermanMiller Collection Used when there is a Sub-title Examples of use: Catalog/Pricebook Cover, Subtitle Here Product Sheets, Care and Maintence Sheets, and Hang Tags Logomark In print: Typically not used alone but may be if Herman Miller Collection is referenced elsewhere on a small print piece. Example of use: Postcards In signage: Used typically on the exterior of a Herman Miller space that may house multiple Herman Miller sub-brands. Examples of use: Exterior architectural signage of The Herman Miller Pop Up Shop, exterior achitectural signage of the L-Wall configurations in Herman Miller Shop in Shops

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Identity Logomark Restrictions

Do not apply effects like drop-shadows, bevels, or stretched proportions.

Do not miscolor or outline the logomark (or wordmark).

Do not combine the logomark and wordmark.

Do not fill the logomark or wordmark with imagery or patterns.

Do not use the logomark or wordmark to create a pattern or border.

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Identity Wordmark Usage

for download Page 2 10-OCT-1210-OCT-12 11:45:3811:45:38 The Herman Miller Collection wordmark can be used to Catalog

For more informationsupplement visit hermanmiller.com/collection the stylized M logomark. When used, the

wordmark is a one-word unit The Herman Miller Collection George Nelson said it best: Herman Miller doesn’t play partners who share our values, and new designs from

The Herman Miller Collection “follow-the-leader.” What interests us is a thoughtful today’s top talent—a bridge between Herman Miller’s past, response to how we live and work today. We value authentic, present, and future. design-driven solutions for the various rooms and settings in which we now work and play and eat and stay. Each piece is considered in relation to the whole—the rooms that requires an art file (.tif, where it will be used, the people who will use it, and their As our first Design Director, Nelson defined a straightforward continually evolving needs. Inside, you’ll see enduring designs set of principles that guided Herman Miller, then as now: that strike a balance between seemingly contradictory ideas: what we make is important; design is integral; the product craft and industrial processes, aspiration and accessibility, must be honest; we decide what we make; a market sculpture and engineering, elegance and informality, beauty for good design exists. In turn, Nelson called for putting the and comfort. philosophy into action, suggesting the “continuing creation .eps, .jpg, or .gif). of a permanent collection designed to meet fully the You’ll find designs from the 1950s by Charles and requirements for modern living.” Ray Eames juxtaposed next to pieces by Bruce Burdick from the 1980s anchored effortlessly by furnishings from today Drawing on Nelson’s timeless vision, we introduce the by BassamFellows. Seen together, in every type of environment, Herman Miller Collection. This comprehensive portfolio you realize they speak the same language, and that they offers a breadth and depth of products to furnish complete are built from the same set of timeless design principles that environments in a myriad of settings, both residential have guided Herman Miller from the start. Problems are and contract, elegant and casual, across a range of prices. solved together. Beauty, then, naturally follows. In other instances, such as You’ll find updated archival pieces, furnishings from

in copy or in a headline, Introduction 3 Herman Miller is always two words and should appear on the same line.

The Herman Miller Collection

George Nelson said it best: Herman Miller doesn’t play partners who share our values, and new designs from “follow-the-leader.” What interests us is a thoughtful today’s top talent—a bridge between Herman Miller’s past, response to how we live and work today. We value authentic, present, and future.

2013 Catalog design-driven solutions for the various rooms and settings in which we now work and play and eat and stay. Each piece is considered in relation to the whole—the rooms where it will be used, the people who will use it, and their As our first Design Director, Nelson defined a straightforward continually evolving needs. Inside, you’ll see enduring designs set of principles that guided Herman Miller, then as now: that strike a balance between seemingly contradictory ideas: what we make is important; design is integral; the product craft and industrial processes, aspiration and accessibility, must be honest; we decide what we make; a market sculpture and engineering, elegance and informality, beauty for good design exists. In turn, Nelson called for putting the and comfort. philosophy into action, suggesting the “continuing creation Black 206 HM Red Black Cyan Magenta Yellow s1 s2 s3 s4 of a permanent collection designed to meet fully the You’ll find designs from the 1950s by Charles and requirements for modern living.” Ray Eames juxtaposed next to pieces by Bruce Burdick from the 1980s anchored effortlessly by furnishings from today Drawing on Nelson’s timeless vision, we introduce the by BassamFellows. Seen together, in every type of environment, Page 19 hermanmiller.com/brandstandardsHerman Miller Collection. This comprehensive portfolio you realize they speak the same language, and that they offers a breadth and depth© 2013 of Herman products Miller, to Inc.furnish complete are built from the same set of timeless design principles that environments in a myriad of settings, both residential have guided Herman Miller from the start. Problems are and contract, elegant and casual, across a range of prices. solved together. Beauty, then, naturally follows. You’ll find updated archival pieces, furnishings from

Introduction 3 Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Logomark Evolution Logomark Usage Logomark Restrictions Wordmark Usage Logo Clearzone Logo Sizes Brand Color

Identity Logo Clearzone

The logomark should always be surrounded by a clear space at HermanMiller Collection least 50% of the logomark size.

x HermanMiller Collection Subtitle Here H H

Herm

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Identity Logo Sizes

Go for impact, but balance the logomark with other elements. POP UP SHOP More space doesn’t require a MAY 9 – JULY 1, 2012 68 WOOSTER STREET larger logomark. NEW YORK

← no smaller than 1/4 inch

The logomark should be at least 1/4-inch in diameter.

“the continuing creation of a permanent collection designed to meet fully the requirements for modern living.”

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Identity Brand Color

Logo Color When the logomark is placed on a white background, the color of the stylized M should also be white. Please consider the intended media when applying the logomark; use the corresponding specification. Print: Paper applications (from office copiers or professional offset printers) use either 4-color process (CMYK) or spot color inks (Pantone Bright Red U). Suggested files: .tif or .eps CMYK RGB Pantone Screen: Work viewed on-screen (projected presentations or websites) use an RGB value. Suggested files: .jpg or .gif 0.0.0.100 0.0.0 Black Other: Embroidered amenities and product applications need special attention. Suggested file: .eps

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Identity Brand Color

Black Logomark The brand color of the Herman Miller Collection logomark, wordmark and copy is black on white and reversed to white on a colored background.

White Logomark A white logomark can be used on black or on other colored backgrounds.

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Identity Brand Color

Supporting Color Inspired by the colors of Alexander Girard, the supporting color palette Pantone 7548 U Pantone 173 U Pantone 7606 U Pantone 7682 U Bright Red U Pantone 7702 U Pantone 7749 U Pantone 206 U 0 12 98 0 0 71 94 4 0 36 17 4 53 27 2 0 0 93 100 0 59 0 8 8 12 0 76 52 0 98 51 2 adds pops of color to 3D 255 201 21 206 97 74 222 160 154 128 151 191 251 55 0 93 171 198 128 131 99 216 68 101 environments, collateral, and photography.

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Typography

Consistent, frequent use of our corporate typeface creates trust and familiarity with viewers. It helps them make an immediate association with our company, and contributes to a congruous look and feel among all of our designs.

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Typography Corporate Typefaces

Meta Collection OT is an important element for When to Use Meta communicating the Herman Miller brand. Why? Like our company, the Meta type family is friendly and modern. Like Meta Thin good seating, Meta works in Meta Light a wide range of sizes. It makes Meta Medium Meta Roman small copyright lines legible Meta Bold 0123456789 Meta Italic and provides impact for large applications on signs or trucks. We suggest four primary Use lining figures. To increase impact, the versions of the Meta font Meta typeface is available in Meta also translates well to for creating branded multiple type styles. The two both printed and on-screen communications, Meta most important styles are Thin, Meta Light, Meta Roman (or regular), and italic. presentations. Medium, and Meta Bold.

Meta must be used for all external communications. If a license for Meta is not available to you, purchase a license or work with a designer who does have a license. Meta Condensed 0123456789 . Do not use Meta Condensed. Do not use old style figures.

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Typography Corporate Typefaces

Meta Collection OT is Herman Miller’s principal When to Use Arial typeface, but Arial is a good substitute because it is installed on every computer as a part of the operating system. Arial can be used for certain applications Arial Book & Arial Roman when Meta is not available, Arial Bold 0123456789 Arial Italic including internal documents, To increase impact, the or external PowerPoint or We suggest two primary Use lining figures. Arial typeface is available versions of the Arial font e-mail messages. in multiple type styles. The for creating branded three most important styles communications: Arial are Roman (or regular), Book and Arial Bold. italic, and caps.

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Typography Trademark Symbols

The trademark and registered ™ trademark symbols should Nelson Marshmallow Sofa be used consistently. SM To help, we’ve developed a simple formula – 50 pt for determining symbol size, where “y” is CAD Pack equal to the distance between the capline and the x-height line. ® For type sizes 50 pts or less, the height of the Eames trademark and service mark symbols should equal “½ y,” and the height of the registered trademark symbol should equal “y.”

For type sizes above 50 pts, the height of the TM trademark and service mark symbols should equal “¼ y,” and the height of the registered trademark symbol should equal “½ y.” For Light and Thin type styles, the symbol should be Light. CAD Pack + 50 pt For Book, Medium, and Bold type styles, the symbol should be Book. ® Instructions: To apply these guidelines to a symbol, use the superscript setting, reduce the font size, change the style if needed, and align the top of the symbol to the capline. Eames

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Visuals

Visuals are the tangible manifestations of our brand— everything from logo treatments, stationery, and business cards to digital and environmental designs. Color, design, words, and symbols merge to make a compelling and lasting impression on the viewer.

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Visuals Photography

Lifestyle Shows product as hero in an architectural setting. Light is optimistic and warm. Camera angle takes the perspective of someone walking into the space. Styling elements should reflect a lived-in feeling, an artful collage of objects and textures, and interesting views to nature.

Examples of use: Catalog, Brochure, Advertising, Public Relations

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Visuals Photography

Color Sweep Shows full product range in an artful, graphic composition on a color chosen from the supporting color palette.

Examples of use: Catalog and Brochure

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Visuals Photography

Basic White Sweep Versatile and descriptive. Shot in full-round and three-quarter views with soft, reflective shadows

Examples of use: Product Sheets, Catalog, Brochure, Pricebook, Website, Press Releases

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Visuals Photography

White-Sweep Environment Realistic settings define use and scale and may suggest a lifestyle through propping.

Examples of use: Catalog, Brochure, Press Releases

Eames Desk Unit: Multi-color surface: Black frame; pg 65 Eames Storage Unit 200 Series: Multi-color surface; Black frame; pg 65 Eames Molded Plastic Side Chair Dowel Base: Red shell finish; Ebony base; pg 35 Working and Storage 67

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Visuals Illustration

Line Art Illustrations

Detail is reduced in complex . . . *

patterns. To show the product’s . . components and mechanics * clearly at small sizes Illustrations are scaled at 3⁄₁₆ inch: 1 foot.

The defined clearspace is the space between each different view of the product (e.g. Front, Side and Top) This is 0.3125 inches. All tick mark and dimensions are placed 0.125 inches away from each view.

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Visuals Illustration

Product Dimension Icons are used to accurately depict size and scale of our furniture. Dimensions should follow the style shown here.

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Visuals Pattern

The Nelson Office created this pattern—an artful repetition of the stylized M—for the cover of a Herman Miller press release. To the original black-and-white version, we added a two-color interpretation. Use of the one- or two-color version depends on how it is being applied. A layered, transparent effect can be achieved with the two-color version by adding color from the Supporting Color Palette. Always preview draw-downs from the printer to ensure overprinting can be achieved successfully. Examples of use: One-color typically for architectural graphics in vinyl or screen printing. Two-color typically for print collateral such as ads, posters, or catalog cover.

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Environments

Collection environments are three-dimensional expressions of our lifestyle philosophy. Vignettes are realistic and allude to how people live and work. Through their arrangement, colors, and propping, they suggest an inhabited space with a lived-in, welcoming quality that is aspirational and accessible.

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Environments Pop Up Shop

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Environments Shop in Shops

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Layout

With a compelling balance of image, typography, and symbols, a well-designed layout can be one of the most effective tools for clearly communicating a message. Our designs feature layouts that are simple yet dynamic, concise yet informative.

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Layout Print

Catalog Lifestyle photography leads and is used with color and I Beam™ Coffee Table Designed by Ward Bennett for Geiger, 1963

white sweep images to tell Ward Bennett’s accomplishments as an artist and creator spanned perhaps every discipline of design. Yet with every piece, be it sculpture, textiles, jewelry, a chair, or the fork within a set of flatware, Bennett consistently used one approach: seeing beyond product stories. A clear the surface to reduce a design to its very essence. He found interest in materials—both elegant and industrial—that could endure, have extended use, and yield new interpretations.

zone beneath images gives Bennett’s design ethos manifests fully in his versatile I Beam Table. Based on a section of strong, supportive I beam, the table co-opts the form, texture, and tone of twentieth-century architecture’s the spread air and allows most iconic building material. Alone, its powder-coated cast aluminum base acts as a clean, durable pedestal or side table. Topped with glass or stone options, it functions as a quietly refined coffee table around which a range of seating may be comfortably space for captions and placed. Without trying to make a statement or provide a punch line, the design brings subtlety and sophistication to any space. I Beam Coffee Table shown in Glass top, Black cast aluminum base.

page numbers. Typography ™ Sled Chair Designed by Ward Bennett for Geiger, 1963 communicates the hierarchy This timeless design by Bennett draws the eye downward to its distinctive base, a straightforward X shape welded from tubular steel and mounted on parallel rails. Its comfortable seat and back cradle the sitter. Elegant without being showy, of information. Color bands it can be upholstered in most textile or leather options. Sled Chair shown in Luggage MCL Leather, Satin Chrome frame. indicate sections and aid navigation. Captions and page numbers are consistently located throughout.

Tuxedo Museum Bench: Quilted; Brown MCL Leather; Satin Chrome base; pg 9 Nelson Miniature Chest 6 Drawer: Teak and Dark Brown Teak combination; White laminate top; Polished Aluminum base; pg 73 Living and Lounge

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Layout Print

Catalog Color sweep photography portrays the product family. Eames Molded Plastic Chair Eames Wire Chair The background color is from Designed by Charles and Ray Eames, 1950, 1951 In the 1940s, Charles and Ray Eames were fascinated by what was new: new shapes, materials, and techniques. Their focus was on plastics because the novel and exciting material could be the Supporting Color palette molded into organic shapes that would conform to the body— and allow their designs to do more with less.

The Eameses adapted the plywood molding techniques they (see page 32). Used with developed during World War II to produce plastic shells, while also perfecting another practice with which they had been experimenting—the creation of a bent, welded wire base. The result was the process that allowed the manufacture of the lifestyle photography and first mass-produced, single-form seat and back shell. Soon after, their strong, lightweight, quality chair out of bent wire also emerged. True to their design philosophy, the Eameses wanted white sweep photos, these the materials of the chair to take center stage. Today, in keeping with the designers’ original intent, they still do.

Eames Molded Plastic Side Chair and Armchair Options images work together to Wire, 4-leg, dowel, or stacking (Side Chair only) base Black or Trivalent Chrome base finish Ebony, Maple, or Walnut dowel finish convey the product story. Various shell colors Eames Molded Plastic Armchair Rocker Base Options Black or Trivalent Chrome base finish Maple or Walnut rocker finish Various shell colors

Eames Wire Chair Options Wire seat/wire back, leather seat/leather back, or leather seat/wire back Trivalent Chrome shell and base finish Herman Miller proprietary textiles

Dining and Meeting

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Layout Print

Eames Aluminum Group Lounge Chair and Ottoman Outdoor: Graphite Outdoor Weave; Graphite Satin frame; pg 83 Eames Table Universal Base Round Outdoor: Georgia Grey Marble top; Graphite Satin column and base; pg 89 Outdoor

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Layout Print

Side and Stacking Chairs

Eames Wire Chair Eames Molded Plastic Eames Molded Plastic Eames Molded Plastic Nelson Swag Leg Armchair She Said Chair She Said Lowide Chair Envelope Chair Full Twist Guest Chair Landmark Chair pg 35 Armchair Wire Base Armchair Dowel Base Armchair 4-leg Base pg 62 pg 53 pg 53 pg 61 pg 45 pg 71 pg 35 pg 35 pg 35

Stools

Air-Chair with Arms Air-Chair without Arms Folding Air-Chair Chair First Chair First Leather Capelli Stool Eames Walnut Stool A-Shape Eames Walnut Stool B-Shape Eames Walnut Stool C-Shape Nelson Pedestal Stool pg 9 pg 9 pg 9 pg 17

Chair_One 4-Star Base Chair_One Stacking Base Déjà-vu Chair Paso Doble Chair with Arms Paso Doble Chair without Arms Al Bombo® Stool Bombo Stool Special Bombo Stool Déjà-vu Stool Lyra Stool

Steelwood Chair Troy Chair Branca Chair He Said Chair Osso Chair Paso Doble Stool Steelwood Stool Stool_One She Said Stool Osso Stool pg 75 pg 47 pg 61 pg 75 pg 50

Product Offering 101

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Layout Print

Product Sheet Air-Chair Photography is always white sweep. Illustrations begin at the lower left-hand area of the Designer Jasper Morrison for Magis

Original Production Date sheet and can extend across 2000 Design for the Environment 0% recycled content; the bottom, if necessary. 100% recyclable Warranty 2 years

This is no ordinary plastic chair. Branding follows the hierarchy The air-molding manufacturing process behind it is complex, but the result is simple: high-quality, lightweight, stackable seating that’s of sub-brand, product name, stylish in any setting, indoors or out. Available with and without arms, the comfortable chair comes in a variety and logomark. Copy appears of colors. Sold in sets of 4. in this order: designer, original production date, design for the environment, warranty, and ends with a 40–50 word description. Copyright information appears vertically at lower right. 45

is a registered trademark of Magis Spa. Magis of trademark a registered is ® Magis

No Arms Arms

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Layout Print

Cards Use of color and graphic language are consistent with other Collection materials. The design can reflect archival materials, be a creative interpretation of them, or reproduce the original. Sizes can vary but postal regulations must be considered if cards are to be mailed. Copy is succinct.

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Layout Print

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Layout Print

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Layout Three-Dimensional

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Layout Three-Dimensional

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Layout Digital

Website Lifestyle photography is featured prominently. Current and archival images creatively convey editorial stories. Typography communicates the hierarchy of information. Color bands indicate sections and aid navigation. Copy is consistent across all Collection materials.

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Layout Digital

Online Store

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© 2013 Herman Miller, Inc. Y Y FOUNDATION HERMAN MILLER COLLECTION IDENTITYY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Ergo Expo Print Three-Dimensional Digital e-vite Ergo Expo e-vite Layout

Digital e-vite subject line: e-vite subject line: Take a survey and help us learn more about touch technology Thank you for joining us at ErgoExpo 2012 e-vite subject line: e-vite subject line: Take a survey and help us learn more about touch technology Thank you for joining us at ErgoExpo 2012 E-vite We’re glad you attended Cynthia Roe Purvis’s ErgoExpo presentation, and we hope her thoughts brought you new insight. We encourage you to participate in a brief post-presentation survey to broaden our understanding of the ways you use touch Thanks for visiting us at ErgoExpo 2012 and seeing solutions that help you feel technology. better and work better. One way to create an e-vite We’re glad you attended Cynthia Roe Purvis’s ErgoExpo presentation, and we hope herView thoughts online |brought Add to syouafe new sen derinsight. list We encourage you to participate in a brief View online | Add to safe sender list is to work with Brand Design post-presentation survey to broaden our understanding of the ways you use touch Thanks for visiting us at ErgoExpo 2012 and seeing solutions that help you feel 570 px technology. better and work better. to create custom graphics View online | Add to safe sender list View online | Add to safe sender list and messaging. 20 px Logo size should be Thanks for Attending Thanks for Joining Us consistent on all e-vites. Please participate in a brief survey. We appreciate your time, and the X px opportunity to surprise and delight you ThanksSurvey for Attending Thankswith products for Joining and solutions Us designed Please participate in a brief survey. Weto supportappreciate the yourways time, you work.and the opportunity to surprise and delight you Survey with products and solutions designed to support the ways you work. 46 px

15 px 2 If you’d like the chance to talk further, about our views on ergonomics or any of our products and services, please don’t hesitate to contact us.

2 If you’d like the chance to talk further, about our views on ergonomics or any of our products and services, please don’t hesitate to contact us. 2 z 2 z z z Page 53 hermanmiller.com/brandstandards

Layout Digital

E-vite 570 px You may also work with the e-Marketing team to create an evite using a template. 46 px Brand Design must approve 15 px all final designs. Logo size should be consistent on all e-vites.

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© 2013 Herman Miller, Inc. Y FOUNDATION HERMAN MILLER COLLECTION IDENTITY TYPOGRAPHY VISUALS ENVIRONMENTS LAYOUT VOICE RESOURCES Definition Metaphor Examples Style Resources Nomenclature Naming Trademark and Copyright

Voice

Our voice is the written expression of who we are. Through singularity of voice, we become familiar to our readers and work to achieve their trust. With clarity, brevity, and simplicity, we express complex, compelling ideas to a global audience.

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Voice Definition

Our brand voice is: Spirited Written to inspire, with originality and playfulness

Sophisticated Written with clear purpose, straightforward delivery, and elevated language

Human Written by a person, not a committee, with honesty and authenticity

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Voice Metaphor

A Trio with Several Sounds Think of a jazz trio. Pianist, drummer, and bass player all bring different Herman Miller has one voice; it is always virtuosity to their instruments, unique expressions. They combine in spirited, sophisticated, and human. But the prominence each of these parts takes in any different ways. They riff off one another from song to song, night to night, communication varies depending on audience but they have a recognizable sound. Just as the trio might play one type and purpose. of set knowing there’s a record executive in the audience, the Herman Miller voice will “sound” slightly different in a healthcare piece versus a retail ad, for example. To stay with musical metaphors, think of the sound waves the trio generates. The three sounds might combine to look like this: The sound waves for piano, bass, and drums (read “spirited, sophisticated, human”), vary in amplitude and frequency, intensity and speed. They’re all present. (We’re assuming no solos). They combine to create “the Herman Miller sound.”

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Voice Examples

Spirited Engineers, designers, and research technicians are agents of change. After all, this is what they’re hired for. I have never met a designer who was retained to keep things the same as they were. —George Nelson,

Why does this factory concentrate on Modern furniture? It is honest in design. Everything looks like what it is. No camouflage as in period design. Woods are used where wood is best and metal where there is structural advantage. The result of this approach is simple functional furniture. —D.J. De Pree,

Any creative design is apt to have two aspects: the big concept, or attitude, and the detailed characteristics that mark its final form. —Charles Eames,

Alexander Girard, who served as Herman Miller’s Director of Textiles for over two decades, believed that design should offer “a richness that goes beyond the useful object.” In his world, form followed function, but beauty was function enough. For over a century Herman Miller has worked with talented designers like Girard to create exemplary products that we believe to be both useful and beautiful. It is with this spirit, and attention to quality, craftsmanship, and detail, that we present Herman Miller Objects. These archival and new designs are both tools and totems. They can be purposeful, or decorative, or as Girard would have it, somewhere in between. —Herman Miller Objects Hang Tag, 2012

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Voice Examples

Sophisticated The enduring designs of the Herman Miller Collection strike a balance between seemingly contradictory ideas: aspiration and accessibility, sculpture and engineering, elegance and informality, beauty and comfort. Not the least of these is its delicate balance of craft and industrial processes. —Herman Miller Collection Website, 2012

Designing is a basic activity. It comes to grips with the very essence of a problem and proceeds to develop a solution organically, from the inside out, as opposed to styling which concerns itself largely with the distinctive mode of presentation or with the externals of a given solution. —Design Course for Herman Miller Employees, circa 1960

Herman Miller’s first foray into retail, the midtown Manhattan Textiles & Objects shop was born out of Girard’s commercial interests and personal passions. With a hand-selected stock of international folk art, bolts of fabric, custom occasional furniture, and small items he commissioned and designed, the T&O offered the public a chance to step into Girard’s rarified world. Despite the designer’s savvy and impeccable taste, the T&O closed a mere two years later. It’s clear today that Girard’s highly considered and curated approach to retail was simply decades before its time. —The Herman Miller Collection Pop Up Shop, 2012

The attitudes that govern Herman Miller’s behavior, as far as I can make out, are compounded of the following set of principles: What you make is important. Design is an integral part of the business. The product must be honest. You decide what you will make. There is a market for good design. —The Herman Miller Collection Catalog, 1948

With a partnership that mingled life and work to an incalculable degree, parsing the individual contributions of Charles and Ray Eames is futile. To understand their designs is to understand how their personal talents, tastes, and views intertwined to give new shape to the 20th century. —Collection Pop Up Shop, 2012

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Voice Examples

Human From the viewpoint of the designer, which is the only viewpoint I can assume with any degree of propriety, the Herman Miller Furniture Company is a rather remarkable institution. Seen solely as a business enterprise, it is probably indistinguishable from thousands of others scattered through the U.S. It is a small company, it is located in a small town, its production facilities are adequate but not unusual, and it is run the people who own it. What is remarkable about this enterprise is its philosophy—an attitude so deeply felt that to the best of my knowledge it has never been formulated. —George Nelson, Herman Miller Collection Catalog, 1952

In 1957, when Alexander Girard noted a dearth of viable outdoor furnishings for his J. Irwin Miller house project in Columbus, Indiana, he turned to his friends Charles and Ray Eames, who responded with the Aluminum Group Chair. Having mastered bent plywood and fiberglass, the Eameses once again turned to a common material to produce uncommon results. —Herman Miller Collection Website, 2013

As the lines blur between how and where we work and live today, people are redefining their perceptions of what a space can be. This reality, remarkably envisioned in 1952 by George Nelson as “a daytime living room where work can be done under less tension with fewer distractions,” is deftly addressed with Living and Lounge offerings from the Herman Miller Collection. Together, sofa and lounge seating, benches and stools, and accompanying occasional tables and accessories welcome rest as well as work, the quiet as warmly as the collaborative, and support and comfort as naturally as style. —The Herman Miller Collection Catalog, 2013

What Nelson may have then lacked in experience he made up for in vision. He brought on designers like Isamu Noguchi and Charles and Ray Eames and established a program and philosophy for the Herman Miller Collection that endures today. As an architect he saw furniture within a broader context. Or as he wrote in 1948, “The design process is always related on the one hand to the houses or other structures in which the furniture is used, and on the other to the people who will use it.” —The Herman Miller Collection Pop Up Shop, 2012

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Voice Style

The better the writing, the Inspire and inform in equal measure. more engaged the reader will be. As to how to write well, Simple sentences make an impact. keep several things in mind Careful and appropriate diction leaves no room for confusion. as you write: When using relative clauses, make subordination clear.

Correct grammar builds credibility.

Nouns are better than adjectives; verbs are best of all.

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Voice Resources

We recommend these The Chicago Manual of Style resources for guidance on Our definitive resource for information on grammar and usage, style matters and writing well. punctuation, and the correct treatment of names, numbers, titles, and terms in copy and in headlines.

Kate Turabian’s Manual for Writers A cogent guide for creating purposeful, well-reasoned writing based on the manual. Strunk and White’s Elements of Style A classic discussion of style, with helpful guidelines for writing well.

William Zinsser’s On Writing Well Sound advice given with clarity from a noted writer and teacher.

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Voice Nomenclature

People know our brand and Eames® Aluminum Group the designers we partner with. Designed by Charles and Ray Eames, 1958 (Headline) Acknowledge both the Herman Miller The Eames® Aluminum Group designed by Charles and Ray Eames… (Body Copy) brand and the designer name. Place Herman Miller in the first position as Nelson™ Platform Bench in the examples shown. Designed by George Nelson, 1946 (Headline) Introduced in 1946, the Nelson™ Platform Bench remains a landmark of modern design… (Body Copy)

Paso Doble Low Chair Outdoor Designed by Stefano Giovannoni for Magis®, 2009 (Headline) The Paso Doble Low Chair Outdoor… (Body Copy)

Please note: After the first mention the appropriate trademark and the designer name in body copy, subsequent uses are not required. So, for example, the first mention of the “Eames® Aluminum Group designed by Charles and Ray Eames” can be followed simply by the Eames Aluminum Group.

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Voice Naming

Writers are often called upon to 1. The brand always comes first. name products or services. Here The product name should be memorable without detracting from our are several things to keep in brand, and should work in concert with the brand, as in “the Herman Miller mind when developing names. Ethospace system.” As shown in this example, the name is always an adjective (Ethospace) that precedes a noun (system).

2. The name conveys a benefit. In a significant product, one that “advances the art or science,” the name should imply a story. Think Aeron or Envelop.

3. The design tenets apply. Our design tenets are an appropriate guide for naming, because, to an extent, choosing a product name is a problem-solving exercise.

4. The name works in any language. The name must translate well into languages other than English. But think also of how the name will play in the “language” of the digital world, for example, as part of a drop-down menu.

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Voice Trademark and Copyright

Trademarks play an Constructed at Herman Miller in nearly the same way for almost important role in protecting 60 years, the many steps required to produce the iconic Eames® our brand’s intellectual Lounge Chair and Ottoman merge machine manufacturing with investments and marketplace handcraftsmanship. They’re also pieces that exemplify some of leadership. The following the Collection’s material offerings. examples demonstrate the requirements for protecting our products, services, and We always include a copyright line in all © 2013 Herman Miller, Inc. ideas. Please note that when printed material. This line protects all Herman Miller trademarks used. the logomark is used alone, it is not necessary to add a trademark symbol to it. Where possible, this line is expanded to Printed in [name of country]. Please recycle. include additional information and, in © 2013 Herman Miller, Inc., Zeeland, the case of printed materials, the Sales Use the product or service name as an adjective Michigan [Sales Source number] Source order number. modifying a noun the first time it appears, as All rights reserved. in “Setu® chairs.” This should be done whenever possible, but certainly at the first prominent use of a product or service name. In copy for digital applications, such as our website, trademarks Trademarks that belong to subsidiaries Magis® is a registered trademark of SpA. are not needed. or partners should be listed in the Visitors to the site can view a link to all of our copyright information. trademarked products on the legal section of hermanmiller.com.

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Resources

If you need help, please contact Brand Design. Email: [email protected]

Tools to use as you advocate for the Herman Miller brand: Global Brand Standards Brand assets (logomarks in a variety of formats) Product image resource The Herman Miller trademark list Herman Miller social media guidelines Herman Miller presentation guidelines

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