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A Guide to the Palatine Modular Identity Identity System Fonts Logo Color Alternate Logos

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A Guide to the Palatine Modular Identity Identity System Fonts Logo Color Alternate Logos DESIGN MANUALA GUIDE TO THE PALATINE MODULAR IDENTITY IDENTITY SYSTEM FONTS LOGO COLOR ALTERNATE LOGOS USAGE & ALTERNATIVES LOGO USAGE LOGO MISUSE STATIONERY BUSINESS CARDS LETTERHEAD & ENVELOPE APPLICATIONS POSTER TYPOGRAPHY BOOKMARKS GUIDES & BOOKLETS SIGNAGE TABLE OF CONTENTS PALATINE DESIGN MANUAL 2 Palatine Hill has been home to some of Rome’s most important emperors. Augustus, Nero, King Romulus and many more, constructed their headquarters atop this hill overlooking their great empire. These numerous generations evolved all facets of development, from architecture to philosophy, leading up to Rome’s current place as a seat of monumental history. The spiraling rectangular forms of this mark represent that expansive past built from Rome’s birth as a farming settlement by Romulus (the smaller leaf shape) to the great feats of art and architecture that would soon follow (the larger rounded squares). The largest shape gives homage to the emperor’s place in Pala- tine, by depicting the profile of an emperor overlooking Rome while referencing the profile of a column’s capital. The negative space also hints at the literal state of the site, with part of the wall destructed, as much of the buildings and structures appear today. The logotype also echoes this idea of refinement and change through the use of a combination sans serif, and serif typeface that evolves its more refined serifs throughout the reading of the word “PALATINE.” IDENTITY PALATINE DESIGN MANUAL 3 The identity only uses one font family, in four different variations. Quadraat Sans regular & bold, and Quadraat regular & bold. These two fonts relate to each other formal as well as provide distinct differences in their serif, san-serif composition. As seen in the logotype, these two fonts merge to give the impression of a QUADRAAT progression through time, similar to the history of Palatine. 0123456789 !@#$%^&*() ABCEDFGHIJKLMNOPQRSTUVWXYZ Within the same idea the logotype and mark communicate the abcedfghijklmnopqrstuvwxyz idea of time’s passing, so can the juxtaposition of these two faces QUADRAAT SANS within the application of the Palatine identity. 0123456789 !@#$%^&*() ABCEDFGHIJKLMNOPQRSTUVWXYZ abcedfghijklmnopqrstuvwxyz QUADRAAT BOLD 0123456789 !@#$%^&*() ABCEDFGHIJKLMNOPQRSTUVWXYZ abcedfghijklmnopqrstuvwxyz QUADRAAT SANS 0123456789 !@#$%^&*() ABCEDFGHIJKLMNOPQRSTUVWXYZ abcedfghijklmnopqrstuvwxyz FONTS PALATINE DESIGN MANUAL 4 LOGO PROPORTIONS The Palatine mark and the logotype create a sense of of growth and historical progress through not only decoration, but also the proportional relationships between all elements. By juxtaposing 16X four shapes of diminishing size and feature (rounded corners) this idea is communicate in an abstract way that still allows for a bold look and easy readibility at small sizes. X 8X 2X 2X 2X 2X X X 4X 5X 24X LOGO PALATINE DESIGN MANUAL 5 CLEARSPACE REQUIREMENTS Because the logo is not typically balanced along the center of the X and Y axis, the required clearspace surrounding the logo is not proportional equally around. Leaving more space to the left allows for a better compositional balance with the logo being heavier on the right, yet relieved by the logotype below and to the right. When in doubt, more space is reccomended. 5X 5X 3X 3X LOGO PALATINE DESIGN MANUAL 6 GRID Much of the mark is very geometric and focuses around 45 degree angles. The only exceptions to these rigid modular increments are the negative space of the emperor’s face in the main piece of the mark and the logotype below. These two relate to each other by only utilizing some serifs from Quadraat and incorporating the more modular and uniform sans-serif style of Quadraat Sans. LOGO PALATINE DESIGN MANUAL 7 Color is a very important element in the Palatine system. Because there are four elements within the mark itself, there are four colors. The two most dominant colors are the Pantone 497 C and the Pantone 7516 C. These two have the most contrast and there- fore are used in such a way as to provide better variety, organiza- tional direction and composition. The two other colors, Pantone Pantone 497 C C85 M100 Y100 K0 506 C and Pantone 696 C, provide the middle of the gradient and can certainly be used, however are reserved for applications that demand a wider variety of conceptual variety. Pantone 506 C C60 M90 Y70 K0 Pantone 696 C C50 M80 Y80 K0 Pantone 7516 C C40 M70 Y90 K 0 COLOR PALATINE DESIGN MANUAL 8 MARK The mark can certainly be used by itself, as both a representation of the brand as well as an artistic asset. LOGOTYPE The logotype can also be replaced as a logo for the brand, how- ever when this is done, it’s neccessary to use the mark in some way, shape or form. HORIZONTAL ORIENTATION The horizontal logo seen to the left can be substituted when deemed neccessary with certain applications that leave little vertical space, such as a wristband or sunglasses. REVERSED & SIZED When reversing the logo with a background, whether it be a photo, color or illustration, all marks of the mark and logotype must still be legible. The same is required of sizing the logo down to a smaller mark, perhaps for the back of a brochure etc. ALTERNATE LOGOS PALATINE DESIGN MANUAL 9 Use of the logo and its elements are integral to carrying through the Palatine identity. By following the rules above and avoiding the pitfalls listed in the pages ahead, the identity can be main- tained with much greater honesty. MASKING Masking the logo can only be done with approved photographs from the Palatine identity library, and must take up at least 50% of the page it is being applied to. Exceptions are permitted in the case of cropping the logo, or singling out its modular elements in regards to the percentage requirement, however this does not pass as use of the logo for branding, simply as visual punctuation. LOGO USAGE PALATINE DESIGN MANUAL 10 MODULES Because the mark is based off a modular principle, it makes sense to treat the identity and its elements in a similar fashion. Rules do apply to this practice. Modular use of the mark’s elements are restricted to applications that lend to a series or system, such as a book, guide, set of pencils and so on. Within that guideline, no more than one piece of the mark may appear on any one given application at a time. Furthermore the relative size within the set must maintain the proportions of the mark. Therefore the ele- ments will not relate to eachother in one single composition, but will within the system. PROFILE The profile or “face” of the mark can be used in a similar way to masking, by expanding the filled area to its right the profile can be applied to any solid identity color as a border. This shape may also be cropped as seen in the example left. LOGO USAGE PALATINE DESIGN MANUAL 11 Any kind of treatment, adjustment, effect or change to the logo, mark, logotype or its included elements is strictly prohibited. Nothing should ever be rotated, moved or manipulated in any way. Right, are just some examples of misused marks. LOGO MISUSE PALATINE DESIGN MANUAL 12 The Palatine stationery acts as a good jumping off point for implementing the identity into applications. While modest and somewhat subdued compared to other applications, these three pieces of the stationeryutilize the advantages of a modular iden- tity while still promoting the brand just as effectively as any other traditional brand would. BUSINESS CARD The business card takes full advantage of the Palatine color scheme while incorporating a dominant portion with the cropped STUBBINGRCH profile to the right. These elements together communicate a KEITH DIRECTOR OF HISTORICAL RESEA classic, organized, yet updated identity. P 06.69.420.3829 F 06.68.101.4932 www.palatine.com [email protected] STATIONERY PALATINE DESIGN MANUAL 13 LETTERHEAD Like the business card, the letterhead makes use of the profile in a slightly different way, for decoration and visual punctuation. Much more of the face is visible in this application. The rest of the format is quite formal, and subdued as much of Palatine’s mail is administrative and political. ENVELOPE The envelope makes use of splitting the mark and logotype up for a bit more interest and dynamism. By using the logotype as a functional element of the envelope the mark is freed up to cradle the address and provide for more diagnol movement, a character- istic of composition integral to the Palatine identity. STATIONERY PALATINE DESIGN MANUAL 14 When implementing typography into applications within the sys- tem, it is important to treat the surrounding text in an approrpri- ate fashion as to maintain the identity. WEIGHT Regular should be used with all body text, such as the sentence LOREM you are reading now. It may be used as display type, however that is ill-advised in most cases, only with good reason should regular IPSUM DOLO weight be implemented for titles or other large pieces of text. Within that, Quadraat Sans should be used for any type 10pt or Molendreet, secte dipsustrud tet velis nosto ea aliquatuero dunt smaller, such as this text. The bold faces are reserved for titles, laorercipit wis nullaore magna consenim velit amconsecte dolore pull quotes and any other text that needs to be called attention to. dolor si blandiam et exer sent ing endre feuguero delesequam, SPACING Leading for titles and tracking for all text should be kept as tight as possible while still retaining legibility and readability. For body text, -25 tracking is a good starting place, and for titles, -50. Lead- ing for body text should be kept large and exaggerated. CAPITAL CASE All titles, headings or mastheads should use all capital case in all applications in order to carry though the identity’s bold look.
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