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.

2X 2X 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.

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 therefore 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, however 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 maintained 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 elements 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 identity 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 system, 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.

TYPOGRAPHY

PALATINE DESIGN MANUAL 15 In other applications seperate of the stationary, the identity ca breathe a bit more. With a change in audience, pulling out all the stops for the public, give-aways, posters is a must. Utilize this modular and unexpectedly dynamic identity to take full advantage in the public eye.

POSTER The poster is a good example of breaking into the exciting pos- sibilites of the Palatine identity while still retaining an appropriate look and feel. The large masked image communicates a strong brand as well as an interesting image of the South face of the hill.

1 / 1 / 2 0 0 8 GRAND RE-OPENING 2 / 1 / 2 0 0 8 Palatine Hill, the birthplace of Rome, encompasses the entire history of this ancient city. From the founding of our ﬁrst settlement to the residence of the most powerful emperors to ever rule a society. Still, much of the history on this site remains a mystery, until now! Historians, archaeologists and political ofﬁcials across the globe have intensely studied these grounds over the past decades to provide the public with a better understanding of this foundation of the greatest city in the world. The city of Rome and academics from around the world invite you to visit this newly refurbished area to open up a piece of history for yourself. Go on, get you some.

APPLICATIONS

PALATINE DESIGN MANUAL 16 BOOKMARKS These bookmarks represent a good use of the modular logo across four different bookmarks within one series. By using the modular system as a guiding tool for composition and layout, all four of these pieces tie into one mini-system of their own. Notice GUSTUS FL AU T AVIAN THE FIRS COLOSSAL the use of color throughout the typography as well as a slight TH was born on EA Augustus TER . The Palatine hill in Rome Colosseu tinted paper to the background to give the mini-system a warmer m could iginally accom He was or moda te 87,0 tavius, but people 00 known as Oc , although me mo took the na dern es feel, perhaps relating more to the act of reading physical pages. soon tima the tes pu s after taking figu t S Augustu re at arou LU 5 nd as the first 0,000. MU his position They S were RO me. seated asear of Ro in a t REMU C iered ty’s arrangeme the ci in of nt that e orig reﬂ Th own, ected kn the ri e is un s st gidly nam eorie ratifie ral th d natur seve e of Ro with ng in man - ulati society y circ . ad st alre e mo ty; th ntiqui om A ed fr NERO’S deriv ely is lik ge ngua GOLDEN k la , Gree ness brave aning the me ably PALACE e; prob urag a co with ion is nnect withBuil t of brick and con co eat”, m-, “t *ru c rete in the few ye root nce to ars refere ossible at badetween the fire and p olf th em w e tot Nero the ’s suicide in 68, t th ckled he and su ns opted exd ttweinsive gold-leaf lead y-name . cognatel teom aus great uproar in and R ulus Rom Rome’s public eye.

APPLICATIONS

PALATINE DESIGN MANUAL 17 GUIDES & PUBLICATIONS Any type of publication design is a perfect opportunity to utilize the modular logo system over the course of the pages. By sep- erating each element, the system gains harmony and interest through variations in composition using the modular mark.

TH E B IRT HP LACE O F TH E ANCIENTS & RO ME " 3 & 1 6 #-*$ THE EARLY EMPERORS ROMULUS & REMUS Determining the precise end of the THE FIRST CAESAR Before their lives began, Romulus and Republic is a task of dispute by modern The Roman Republic was the phase of the Remus’ grandfather Numitor and his brother historians; Roman citizens of the time ancient Roman civilization characterized Amulius, descendants of fugitives from T r oy, did not recognize that the Republic had by a republican form of government. received the throne of Alba Longa upon their ceased to exist. The early Julio-Claudian The republican period began with the father’s death. Numitor received the sover - “Emperors” maintained that the res overthrow of the Monarchy c. 509 BC and eign powers as his birthright while Amulius THE SHE-WOLF MOTHER publica still existed, albeit under the lasted over 450 years until its subversion, received the royal treasury, including the She was discovered to be pregnant never- protection of their extraordinary pow- through a series of civil wars, into the gold Aeneas brought with him from T r oy. theless she bore the twin boys, as told, of ers, and would eventually return to its Principate form of government and the remarkable size and beauty, later named full Republican form. The Roman state Imperial period. The precise event which Because Amulius held the treasury, thus Romulus and Remus. Amulius was enraged continued to call itself a res publica as signaled the transition of the Roman having more power than his brother , he and ordered Rhea and the twins killed. Ac- long as it continued to use Latin as its Republic into the Roman Empire is a dethroned Numitor as the rightful king. Out counts vary on how; in one account, he had official language. matter of interpretation. Historians have of fear that Numitor’s daughter, Rhea Silvia, Rhea buried alive (t he standard punishment proposed the appointment of Julius would produce children that would one day for Ve stal Virgins who violated their vow of Caesar as perpetual dictator (4 4 BC), the overthrow him as king, he forced Rhea to celibacy) the death of the twins by exposure; Battle of Actium (2 September 31 BC), become a Vestal Virgin, a priestess sworn to In another , he ordered Rhea thrown in the and the Roman Senate’s grant of Octa- abstinence. Tiber with the twins. vian’s extraordinary powers under the first settlement (January 16, 27 BC), as candidates for the defining pivotal event.

3 5

ONCE A CULT ... The ﬁrst recorded signiﬁcant persecution of Christians at the hands of the authorities of OUTSIDE INFLUENCE the Roman Empire was that of the year 64, when, as reported by the Roman historian Most of Europe (west of the Rhine and T a citus, the Emperor Nero blamed them for south of the Alps); coastal northern that year’s great Fire of Rome. Africa, together with the adjacent CHRISTIAN EXILES province of Egypt; the Balkans, the Black The relationship between Constantine I and Sea, and Asia Minor; and also much of the Christianity entails both the nature of the Levant. Hence the Imperium Romanum conversion of the emperor to Christianity, subsumed, west-to-east, modern-day and his relations with the Christian Church. Portugal, Spain, England and France, THE RISE OF ROME Though Emperor Constantine I was exposed The Latin term Imperium Romanum (Ro- Italy, Albania and Greece, the Balkans, to Christianity by his mother, St. Helena, man Empire), probably the best-known and T u rkey; southward it embraced parts there is scholarly controversy as to whether Latin expression where the word imperium of the Middle East: present day Syria, he adopted his mother’s Christianity in his denotes a territory, indicates the part of the Lebanon, and more. youth, or whether he adopted it gradually world under Roman rule. From the time of over the course of his life.[1 ] Whatever the Augustus to the Fall of the Western Empire, case, the accession of Constantine was a Rome’s dominion covered all of the follow- turning point for the Christian Church. In ing: England and Wales. 313, Constantine issued the Edict of Milan, legalizing Christian worship, and the em- FROM M A NY, ONE . peror would be a great patron of the Church CO NS TA NTIN E , T H E and set a precedent for the position of the Christian Emperor within the Church that *. 1 & 3*"- would be followed for centuries. $ ) 3*4 5 *"/ 9 1 1

APPLICATIONS

PALATINE DESIGN MANUAL 18 SIGNAGE & WAYFINDING Signage around the site can be tricky in such a historical sanc- tuary, but this identity aims to keep things simple and easy for toursists to not only find their way but expand their knowledge and experience at Palatine. This signage is a large part of a cohesive effort with historians and officials to bring more life and experience into a site that is quite barren of any information or knowledge regarding the history and ancient events. MAP

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APPLICATIONS

PALATINE DESIGN MANUAL 19