3M

Official Websites

• https://www.3m.com
• http://www.3m.com

Brand Guidelines

2015

Brand Summary

Mission

• 3M’s mission is to advance technology for every company, enhance products for every home, and improve innovation for every life, as expressed in the tagline ‘3M Science. Applied to Life.’ The brand aims to be recognizable, consistent, distinctive, and flexible, delivering authenticity that reflects the science applied to progress around the world [^1].

Core Values

• Endlessly inquisitive
• Create with purpose
• Believe in the power of the whole
• Nurture the world around us
• Act with uncompromising integrity

Target Audience

• The target audience includes customers, consumers, and industries worldwide, with communications designed to be relevant and resonate across advertising, programs, products, and initiatives [^2].

Personality Traits

• Curious
• Sharing
• Free Thinking
• Caring
• Optimistic

Visual Identity Overview

• The visual identity is built on the ‘power of 3’—a creative, triangular construct that brings strength and symmetry. It uses a system of elements including shape (triangle), mesh (network of triangles), color palette, typography (3M Circular), grid layouts, and photography. The system is designed to be flexible, distinctive, and consistent, with gradients, geometric patterns, and clear logo usage rules [^3].

Categories

Brand Voice

• Brand voice Voice tactics: The specific ways we activate our brand voice and bring it to life—they can be flexed to meet the specific communication needs
• Share our “smart” From technical jargon to personal and accessible
• Our persona: The guiding element through which we filter all communications to differentiate us from our competitors
• When we speak, we are: The Inspiring Inventor
• Express our energy From so what? to ah-ha!
• Point out the purpose From facts and figures to human stories with benefits

Brand Imagery

• 3M brand photography falls into 4 categories: 1. People 2. Product 3. Place 4. Epic Each plays a vital role in celebrating the 3M story. Our photographic style captures the world at large, in which we operate, the products we make, who makes them, as well as whom we make them for.
• The 3M mesh is a fluid network of triangles referencing the underlying science of our work at 3M. The mesh, used as texture, is versatile and can be used in everyday communications and applications.
• When using photography we can choose between four different ways to tell our story. The example on the right shows the different angles for the same story and how they are used to highlight different aspects. We can talk specifically about our products, about how people interact with them, in which industries they are used or what impact they have in the world.
• Zoomed in. Found stills in real work places. Hands interacting with products whenever possible or stills in real environments. Focus on the products that 3M makes, and people use everyday.
• Full or half body shots. People making things with 3M. Photographed in their work environment. Never staged or portraits.
• Zoomed out. Focus on the places where people work, can also include people to make places feel more alive. Hinting clearly at industries relevant to 3M.
• Epic shots. Aerial or ground perspective. Found situations out in the world. Not product specific. Showing the broad impact 3M products have on our world.
• Natural light. Authentic. Graphic composition. Clear focus. Precise.
• All product shots should be shot in a studio environment against white background.
• They need to be evenly lit, completely in focus and display the product as straight forward as possible.
• All products are silhouetted. They don’t cast a drop-shadow or a reflection.
• Whenever product photographs are used in digital galleries or have to serve navigational or utilitarian purposes they are always placed on white.
• For limited use, in high profile communication materials products can be placed on the mesh or on top of a triangle.
• The 3M mesh is a fluid network of triangles referencing the underlying science of our work at 3M. The mesh, used as texture, is versatile and can be used in everyday communications / applications.
• Use mesh in applications when you do not have photography. Also use the mesh for divider pages, or to create rich backgrounds in layouts. The mesh can also inspire digital user experience or live in the three dimensional space.
• Gradient mesh files are created with two colors from each color set.
• Outline mesh files are to be used as black and white or grey and white artwork only.

Color Palette

• We’ve engineered an entirely new and expanded color palette to better reflect the wide variety and versatility of 3M.
• Our new system embraces color. We’ve engineered an entirely new and expanded color palette to better reflect the wide variety and versatility of 3M.
• We have selected and tested specific color combinations for use in CMYK and RGB color space. Color sets are composed of three neighboring colors in the equilateral triangle shown here. These sets are designed to be a flexible, easy to use element of our visual identity system.
• There are 18 sets total, use only one color set in each application. Keep reading to find out where this color shows up in our visual identity.
• Note: Use of color sets does not apply to lockup and logo usage.
• Our new system really embraces color. Three color gradients are an integral part of our new identity. The gradients are based on the 18 color sets introduced on page 19.
• Three color gradients will be provided as embedded swatches in Illustrator and InDesign source files, in both RGB and CMYK color space.
• These three color gradients have been tested and are approved for use on screen and in four color process printing.
• Please note that each color has been optimized for on screen (RGB and HEX) or print (PMS or CMYK). Use the specific color formulas provided here; specify each color individually. Do not use the automated conversion tools in your software.
• The colors shown here 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 Formula Guide. PANTONE® is a registered trademark of Pantone, Inc.
• Always choose one color set or greyscale for your document.
• Whenever we use a single triangle on a format we make use of a three color gradient. The gradient always starts at one corner and hits the center point of the opposite side.
• The gradient can be inverted and its spread slightly tweaked to optimize for placement on image or for better legibility.
• Three color gradients for single triangles
• Two color gradients for three triangles
• For applications that use three triangles we apply two color gradients.
• The gradient of the center triangle always starts at one corner and hits the center point of the opposite side. For the corner triangles, the gradient flows parallel to the central triangle’s sides either clockwise or counter clockwise.
• Note: All gradients are based on the color sets. Please refer to the Color Appendix for information on each color set.
• Color gradients will be provided as embedded swatches in Illustrator and InDesign source files, in both RGB and CMYK color space.
• Color gradients can be applied to triangle elements of your application layout. Only use one color set per application.
• You may change the angle of the gradient based on your layout, photography, or even what kind of triangle you use.
• Do not change the color of the gradient! Use only the gradient combinations provided as source files in InDesign or Illustrator.
• Don’t use different color sets for three triangle gradients
• Don’t fill the whole page with multiple triangles.
• Don’t obscure a person’s head or face with the triangle.
• Don’t use the mesh to design an ad.
• Don’t use three-color gradients in three triangle layouts.
• Don’t use multiple triangles as outlines or as image containers.
• Don’t put photographs on the mesh.
• Don’t place single triangles on mesh.
• Don’t use single triangles illustratively.
• Mesh assets have been created for approved color combinations in CMYK and RGB color space, as .ai vector artwork and .pdf files.
• Don’t apply a mesh that is too small, too large, or at a different ratio on an application.
• Don’t use non-adjacent colors to the mesh.
• Don’t change the angle or position of the individual gradients.
• Don’t apply more than two adjacent colors to the mesh.
• Don’t build a customized mesh.
• Don’t apply colors outside of those defined in the system.
• Don’t distort or remove sections of the mesh.
• Don’t stretch or compress the mesh.
• Don’t use multiple gradient combinations within one mesh.
• Don’t apply a stroke to the mesh.

Typography

• Our new typeface is 3M Circular by Lineto. We will own our own customized version of Circular to use anywhere the 3M Brand is being expressed. 3M Circular is modern, more distinctive, easier to recognize and read.
• We use 3M Circular Bold and 3M Circular Book for all our communications. Optimized around ultimate utility, we no longer rely on default fonts for our brand communications.
• Prior to spring 2015 The customized version of 3M Circular will be available by January 30, 2015. Until then, you may purchase the following weights on lineto.com: Circular Pro Bold, Circular Pro Bold Italic, Circular Pro Book and Circular Pro Book Italic.
• Fonts for web and screen For web and other screen applications, it may be necessary to use a system font. We recommend Arial and Arial Black.
• In regions where Circular is not available, use the font you are currently using.
• Use 3M Circular Bold for headlines.
• The relationship between headline type size and leading is always 1 to 1.1
• Headlines are always sentence case. Try to be as short and precise as possible in whatever you say. Stacked type rather than forcing it into one line. To increase impact, kern headlines by -5 in InDesign and Illustrator, make sure both programs are set to metric kerning.
• Passive callouts are 3M Circular Bold Italic, active callouts are 3M Circular Bold and underlined. Use common design sense, apply call out treatments sparingly to headlines. Avoid underlining text in screen applications unless the text is a hyperlink.
• Always use only black or white type. Choose black or white based on optimized legibility. Limit use to only black or only white for each viewing page.
• For shorter content, up to ten lines of body copy, use 3M Circular Bold. Passive callouts are 3M Circular Bold Italic, active callouts are 3M Circular Bold and underlined. Use common design sense, apply call out treatments sparingly to copy. Underlined text is not recommended in certain screen uses.
• Body copy that is longer than 10 lines should be set in 3M Circular Book. Passive callouts are 3M Circular Book Italic, active callouts are 3M Circular Book and underlined. Use common design sense, apply call out treatments sparingly to copy. Underlined text is not recommended in certain screen uses.
• To optimize legibility use standard kerning of 0 in InDesign and Illustrator. The relationship between body copy type size and leading is always 1 to 1.25.
• Do not change our typography style!
• Don’t use type in all caps.
• Don’t use type in color.
• Don’t underline headlines.
• Don’t use other typefaces—only use 3M Circular.
• Don’t open up the tracking of type.
• Don’t close the tracking more than -5 for headlines.
• Don’t use multiple weights, italics, and underline all in one sentence.
• Don’t use non-default/non-standard underline settings.
• Don’t apply a gradient to the type.
• Don’t use both white and black type on the same background.
• Embrace the grid. The grid can be subdivided, and used for hanging typography or for aligning baselines. Limit typography to three sizes per application whenever possible. Follow the grid consistently throughout your application.
• To create gutters for text columns: 1. Build individual text boxes 2. Adjust inset spacing on the right side only (see image below) to match the margin (x), margin (x/2) or margin (x/4).
• Limit typography to three sizes per application / page whenever possible. Follow the column grid consistently throughout your application.
• To adjust gutters and text columns: 1. Build text boxes 2. Adjust column number and gutter width to match the margin (x), margin (x/2) or margin (x/4).

Logo Usage

• The 3M lockup will be used in most public-facing communications. The lockup is composed of our logo and tagline, and always contains a TM (trademark) symbol.
• The lockup is specially created artwork, provided as an asset. Do not try to recreate or change the size ratio between the logo and the tagline, or remove the TM symbol from the lockup.
• The 3M logo (without tagline, or TM) remains a core element of our identity and is used in all corporate communications.
• The lockup can be used on marketing materials, but when solely identifying the corporation, use the 3M logo.
• The TM symbol always appears with the tagline when it is locked up to the 3M logo. For trademark purposes, do not use the tagline without the 3M logo or TM symbol. When the lockup is used, it should be the only 3M logo visible on the viewing pane (no multiple logos).
• Allow sufficient clearspace when placing the lockup or logo in applications. Clearspace is based on 1/2 the height of the 3M, shown as X in the diagram to the right.
• The minimum size for the lockup is 0.27"/7mm high in print, and 19px height on screen.
• The minimum size for the logo is 0.2"/5mm high in print, and 13px height on screen.
• We have specially created lockup assets for use when the lockup is used in large format printing. These large lockups have a TM symbol placed at a smaller size, and are only for use when lockup will be 2" high or larger.
• The 3M logo always appears in red, when placing the lockup or the logo. The tagline is either black or white, depending on the application.
• When a one color logo or lockup is required, use black. This usage is limited to one color applications.
• The one color logo and lockup may appear etched, embossed or engraved when a non-print application process is required.
• Please follow primary usage when choosing a logo or lockup for embroidery or silkscreen applications.
• Always place the lockup or logo within the margins. Preferred placement is aligned to the top left corner of the application.
• The lockup or logo size is determined by the application. We have designed a full set of grids that encompasses print and digital formats. There is a direct relationship between the size of the logo and the margins for each application grid.
• Do not change the logo!
• Don’t link any text to the left, right or top of the logo.
• Don’t use more than one logo per visual surface.
• Don’t use the logo in headlines or sentences.
• Don’t enclose the logo in a shape.
• Don’t rotate, invert, spin, angle or pivot the logo.
• Don’t use a drop shadow on the logo.
• Don’t apply the logo to a low-contrast background.
• Don’t add the word “Company” or trademark or registration symbols (TM or ®) to the logo.
• Don’t alter the shape of the logo.
• Don’t grant permission for other companies to use the 3M logo without approval from 3M Legal.
• Do not change the lockup!
• Don’t place the lockup without the TM symbol.
• Don’t change the color of the tagline.
• Don’t change the size relationship or placement of the elements.
• Don’t use the 3M logo or tagline in a color that is not approved.
• Don’t skew the lockup or logo.
• Don’t place the lockup or logo on a background that makes it illegible.
• Don’t retype the tagline.
• Don’t use the interim logo and tagline lockup.
• Don’t apply a gradient to the lockup that is not approved.
• Don’t add a drop shadow to the lockup or logo.

Tone And Messaging

• Voice tactics: The specific ways we activate our brand voice and bring it to life—they can be flexed to meet the specific communication needs
• Share our “smart” From technical jargon to personal and accessible
• Our persona: The guiding element through which we filter all communications to differentiate us from our competitors
• When we speak, we are: The Inspiring Inventor
• Express our energy From so what? to ah-ha!
• Point out the purpose From facts and figures to human stories with benefits
• Headlines connect the distinctness of our science to the benefits for people’s lives, with language that draws out the playfulness, humanity, wit and quirks that are uniquely 3M.
• We build upon and reinforce the cadence of our tagline while increasing relevance and communicate what the specific “Science” is, as well as how it can be applied to your “Life”.

Brand Values

• – We are endlessly inquisitive – We create with purpose – We believe in the power of the whole – We nurture the world around us – We act with uncompromising integrity

Visual Style

• Our 3M visual identity is a system built with core elements. Use these elements as you would tools, to design and create communications that represent our brand, deeply rooted in life and science.
• The strongest element of a design system is often invisible. Our foundation is an infinitely scalable 3-column grid that can be applied to almost any application. Using this as a base, all communications and executions can be created, and be created with consistency.
• One of the strongest visual elements in the system is the triangle. Why the triangle? It can always point in the right direction and provide a layered dimension to applications. In the square-based world we live in today, it’s an elegant and refreshing departure as well as a differentiating, ownable, form.
• The 3M mesh is a fluid network of triangles referencing the underlying science of our work at 3M. The mesh, used as texture, is versatile and can be used in everyday communications and applications.
• We’ve engineered an entirely new and expanded color palette to better reflect the wide variety and versatility of 3M.

Iconography

• We are working on an icon library that will be available on Brand Central.
• For now, here is a selection of icons that are inspired by our new visual identity and drawn with basic geometric shapes. If you plan to develop new icons, please contact the Brand Design team for guidance and assistance.

Layout And Composition

• Our foundation is an infinitely scalable 3-column grid that can be applied to almost any application. Using this as a base, all communications and executions can be created, and be created with consistency.
• The strongest element of a design system is often invisible. Our foundation is an infinitely scalable 3-column grid that can be applied to almost any application. Using this as a base, all communications and executions can be created, and be created with consistency.
• Every grid is based on 3 columns and 3 rows (3x3). All primary information should be placed using this grid.
• Decide if a 3x3 grid is flexible enough for your content. For applications requiring more typographical detail or complex orientations of the triangle, an extended grid (6x6), made up of the dotted lines, can be applied. These lines should be used for secondary information.
• For extreme formats or content rich applications the grid can be subdivided into multiples of 3 as needed (9x9, 12x12, etc). In most cases the extended grid (6x6) will be sufficient.
• Apply the grid
• Always choose one color set or greyscale for your document.
• Our brand will shine when we stick to the grid. Our foundation is an infinitely scalable 3-column grid that can be applied to almost any application. Using this as a base, all communications and executions can be created, and be created with consistency. The grid helps us to apply structure to information and help guide the way people read our communication material.
• Lockup size is determined by the application. There is a direct relationship between the size of the logo and the margins for each application’s grid. The logo height is equal to the margin.
• For formats that are similar but not the same as those listed on this page, please choose margin and logo height from the example that is closest.
• Portrait 0.5" margins 0.5" logo height
• Double page spread (2x portrait) 0.5" margins, 1 in margin to binding 0.5" logo height
• Landscape 0.5" margins 0.5" logo height
• Portrait 0.625 in margins 0.625 in logo height
• Double page spread (2x portrait) 0.625 in margins 1.25 in margin to binding 0.625 in logo height
• When designing for a format with a similar ratio but much larger or smaller dimensions please use one of the following factors to scale up or down margins and logo height by 1.25, 1.5, 1.75 or 2. Please contact id@mmm.com for approval.
• Half format and A5
• Note: The size of the margins is based on the logo size, (the height of the 3M, not the tagline height).
• Landscape 0.625 in margins 0.625 in logo height
• Portrait 0.375" margins 0.375" logo height
• Double page spread (2x half portrait) 0.375" margins, 0.75 in margin to binding 0.375" logo height
• Landscape 0.375" margins 0.375" logo height
• For extreme vertical or horizontal formats for small scale applications (e.g web banners) the margin equal to logo height rule can not be applied. For these applications determine a clear relationship between margins and logo height based on one of the following factors: 1.25, 1.5 or 1.75 or 2. Use the examples shown on this page as guidance. Please contact id@mmm.com for approval.
• PPT, 16x9 in 0.5 in margins
• 0.5 in logo height
• 728 x 90 px banner 11 px margins 22 px logo height (factor 2)
• 160 x 600 px banner 11 px margins 22 px logo height (factor 2)
• Embrace the grid.
• The grid can be subdivided, and used for hanging typography or for aligning baselines.
• Limit typography to three sizes per application whenever possible. Follow the grid consistently throughout your application.
• To create gutters for text columns: 1. Build individual text boxes 2. Adjust inset spacing on the right side only (see image below) to match the margin (x), margin (x/2) or margin (x/4).
• The grid can be subdivided, Use a column grid for multi page documents.
• Limit typography to three sizes per application / page whenever possible. Follow the column grid consistently throughout your application.
• To adjust gutters and text columns: 1. Build text boxes 2. Adjust column number and gutter width to match the margin (x) , margin (x/2) or margin (x/4).
• Use grids to build and place single triangles
• The points where our grid lines hit the edge of the format are used to lock-in triangles.
• We recommend to use one corner point and two center points from the two opposite sides to create a single triangle in the center of the page.
• The edges of the triangle in the center should not align with the edge of the page. If necessary, limit it to one side only of a double page spread.
• If the recommended approach for building a triangle is too restrictive, i.e., obscures too much of a photograph, it is possible to use three center points to build the triangle. The triangle should span either from top to bottom of the page, or left to right. The edges of a single triangle should not be parallel or align with the edge of the page.
• Use grids to build and place three triangles
• To build a three triangle layout, start with a single, center triangle.
• We recommend to use one corner point and two center points from the two opposite sides to create a single triangle in the center of the page. The edges of the triangle in the center should not align with the edge of the page.
• Next, choose which two out of three corners to fill with the other triangles.
• Do not fill the page with more than three triangles. If you would like to create a layout with only triangles, please use a mesh asset.
• Type and triangles: Following the grid when placing type and triangles together helps guide the way people read our communication material.
• Type does not need to be contained by the triangle. Running type over the triangle edges creates dimensionality within the layout. Try to have one typographical element (headline or body copy) bleed over the edge of the triangle.
• Whenever we use a single triangle on a format we make use of a three color gradient. The gradient always starts at one corner and hits the center point of the opposite side.
• The gradient can be inverted and its spread slightly tweaked to optimize for placement on image or for better legibility.
• Three color gradients for single triangles
• Two color gradients for three triangles
• For applications that use three triangles we apply two color gradients.
• The gradient of the center triangle always starts at one corner and hits the center point of the opposite side. For the corner triangles, the gradient flows parallel to the central triangle’s sides either clockwise or counter clockwise.
• Note: All gradients are based on the color sets. Please refer to the Color Appendix for information on each color set.
• Color gradients will be provided as embedded swatches in Illustrator and InDesign source files, in both RGB and CMYK color space.
• Color gradients can be applied to triangle elements of your application layout. Only use one color set per application.
• You may change the angle of the gradient based on your layout, photography, or even what kind of triangle you use.
• With your triangle selected, and the gradient applied, you can change the angle of the gradient in the Illustrator/ InDesign gradient palettes.
• With your triangle selected, using the gradient tool, you can change the angle of the gradient by clicking and dragging across your triangle to shift the gradient.
• Avoid gradient angles that make the triangle appear conical.
• Avoid gradients with end points that are too close and that make heavy solids in the triangle.
• Avoid shifting the three color tabs so that one end of the gradient becomes flat.
• Do not change the color of the gradient! Use only the gradient combinations provided as source files in InDesign or Illustrator.
• Do not create new variations!
• Don’t use different color sets for three triangle gradients
• Don’t fill the whole page with multiple triangles.
• Don’t obscure a person’s head or face with the triangle.
• Don’t use the mesh to design an ad.
• Don’t use three-color gradients in three triangle layouts.
• Don’t use multiple triangles as outlines or as image containers.
• Don’t put photographs on the mesh.
• Don’t place single triangles on mesh.
• Don’t use single triangles illustratively.
• Do not change the mesh!
• Don’t apply a mesh that is too small, too large, or at a different ratio on an application.
• Don’t use non-adjacent colors to the mesh.
• Don’t change the angle or position of the individual gradients.
• Don’t apply more than two adjacent colors to the mesh.
• Don’t build a customized mesh.
• Don’t apply colors outside of those defined in the system.
• Don’t distort or remove sections of the mesh.
• Don’t stretch or compress the mesh.
• Don’t use multiple gradient combinations within one mesh.
• Don’t apply a stroke to the mesh.

Shape

• One of the strongest visual elements in the system is the triangle. Why the triangle? It can always point in the right direction and provide a layered dimension to applications. In the square-based world we live in today, it’s an elegant and refreshing departure as well as a differentiating, ownable, form.
• There are 3 ways to use a triangle: 1. The single triangle is the most simple and bold. Use the single triangle with or without an image in the background whenever possible. 2. The three triangle approach can be useful when no photography is available or to create a safe area to place type on. 3. The triangle as a mesh pattern. Mesh artwork should be used on a secondary level, like a pattern and can also be used instead of a photograph. In some instances, it can have a photo next to it e.g., on a double-page brochure spread or be used on a cover.
• The points where our grid lines hit the edge of the format are used to lock-in triangles. We recommend to use one corner point and two center points from the two opposite sides to create a single triangle in the center of the page. The edges of the triangle in the center should not align with the edge of the page. If necessary, limit it to one side only of a double page spread. If the recommended approach for building a triangle is too restrictive, i.e., obscures too much of a photograph, it is possible to use three center points to build the triangle. The triangle should span either from top to bottom of the page, or left to right. The edges of a single triangle should not be parallel or align with the edge of the page.
• To build a three triangle layout, start with a single, center triangle. We recommend to use one corner point and two center points from the two opposite sides to create a single triangle in the center of the page. The edges of the triangle in the center should not align with the edge of the page. Next, choose which two out of three corners to fill with the other triangles. Do not fill the page with more than three triangles. If you would like to create a layout with only triangles, please use a mesh asset.
• Type does not need to be contained by the triangle. Running type over the triangle edges creates dimensionality within the layout. Try to have one typographical element (headline or body copy) bleed over the edge of the triangle.
• Whenever we use a single triangle on a format we make use of a three color gradient. The gradient always starts at one corner and hits the center point of the opposite side. The gradient can be inverted and its spread slightly tweaked to optimize for placement on image or for better legibility.
• Three color gradients for single triangles Two color gradients for three triangles For applications that use three triangles we apply two color gradients. The gradient of the center triangle always starts at one corner and hits the center point of the opposite side. For the corner triangles, the gradient flows parallel to the central triangle’s sides either clockwise or counter clockwise.
• Color gradients can be applied to triangle elements of your application layout. Only use one color set per application. You may change the angle of the gradient based on your layout, photography, or even what kind of triangle you use.
• Avoid gradient angles that make the triangle appear conical.
• Avoid gradients with end points that are too close and that make heavy solids in the triangle.
• Avoid shifting the three color tabs so that one end of the gradient becomes flat.
• Do not change the color of the gradient! Use only the gradient combinations provided as source files in InDesign or Illustrator.
• Do not use different color sets for three triangle gradients
• Don’t fill the whole page with multiple triangles.
• Don’t obscure a person’s head or face with the triangle.
• Don’t use three-color gradients in three triangle layouts.
• Don’t use multiple triangles as outlines or as image containers.
• Don’t place single triangles on mesh.
• Don’t use single triangles illustratively.

Mesh

• The 3M mesh is a fluid network of triangles referencing the underlying science of our work at 3M. The mesh, used as texture, is versatile and can be used in everyday communications and applications.
• The 3M mesh is a fluid network of triangles referencing the underlying science of our work at 3M. The mesh, used as texture, is versatile and can be used in everyday communications / applications.
• Use mesh in applications when you do not have photography. Also use the mesh for divider pages, or to create rich backgrounds in layouts. The mesh can also inspire digital user experience or live in the three dimensional space.
• Gradient mesh files are created with two colors from each color set.
• Outline mesh files are to be used as black and white or grey and white artwork only.
• There are a selection of six mesh formats to choose from, letter, tabloid (poster), 16:9 digital, square, 1:6 banner and 1:8 banner. Mesh assets have been created as .ai vector artwork and .pdf files.
• When placing a mesh file in your layout, place/import the image as artwork. The mesh can be rotated and/or mirrored/flipped as desired.
• To incorporate bleed into your artwork, the mesh can be slightly enlarged (5–10% max).
• If you require an exaggerated format for a specific application, please contact id@mmm.com.
• The mesh artwork should be used on a secondary level, like a pattern and instead of a photograph. In some instances, it can have a photo next to it e.g., on a double-page brochure spread or be used on a cover.
• Mesh assets have been created for approved color combinations in CMYK and RGB color space, as .ai vector artwork and .pdf files.
• Blue, Dark Blue (Blue_DkBlue)
• Light Blue, Blue (LtBlue_Blue)
• Light Green, Light Orange (LtGrn_LtOrng) Not for use on print-based applications
• Light Orange, Orange (LtOrng_Orng)
• Purple, Dark Blue (Pur_DkBlue)
• Purple, Maroon (Pur_Mar) Not for use on screen-based applications
• Light Blue, Dark Blue (LtBlue_DkBlue)
• Light Blue, Green (LtBlue_Grn)
• Greyscale Light (Greyscale_Light)
• Magenta, Maroon (Mag_Mar)
• Magenta, Red (Mag_Red) Not for use on screen-based applications
• Orange, Red (Orng_Red)
• Greyscale Medium (Greyscale_Medium)
• Red, Maroon (Red_Mar)
• Yellow, Light Green (Ylw_LtGrn)
• Yellow, Light Orange (Ylw_LtOrng)
• Greyscale Dark (Greyscale_Dark)
• Do not change the mesh!
• Don’t apply a mesh that is too small, too large, or at a different ratio on an application.
• Don’t use non-adjacent colors to the mesh.
• Don’t change the angle or position of the individual gradients.
• Don’t apply more than two adjacent colors to the mesh.
• Don’t build a customized mesh.
• Don’t apply colors outside of those defined in the system.
• Don’t distort or remove sections of the mesh.
• Don’t stretch or compress the mesh.
• Don’t use multiple gradient combinations within one mesh.
• Don’t apply a stroke to the mesh.

Grid

• The strongest element of a design system is often invisible. Our foundation is an infinitely scalable 3-column grid that can be applied to almost any application. Using this as a base, all communications and executions can be created, and be created with consistency.
• One grid across all The same, but different, and optimized for each format. Every grid is based on 3 columns and 3 rows (3x3). All primary information should be placed using this grid. Decide if a 3x3 grid is flexible enough for your content. For applications requiring more typographical detail or complex orientations of the triangle, an extended grid (6x6), made up of the dotted lines, can be applied. These lines should be used for secondary information. For extreme formats or content rich applications the grid can be subdivided into multiples of 3 as needed (9x9, 12x12, etc). In most cases the extended grid (6x6) will be sufficient. Please see pages 40–46 for further details on using the grids.
• Base it on the grid Our brand will shine when we stick to the grid. Our foundation is an infinitely scalable 3-column grid that can be applied to almost any application. Using this as a base, all communications and executions can be created, and be created with consistency. The grid helps us to apply structure to information and help guide the way people read our communication material.
• Logo size Letter and A4 Tabloid and A3 and margins —Print Lockup size is determined by the application. There is a direct relationship between the size of the logo and the margins for each application’s grid. The logo height is equal to the margin. For formats that are similar but not the same as those listed on this page, please choose margin and logo height from the example that is closest. Portrait 0.5" margins 0.5" logo height Double page spread (2x portrait) 0.5" margins, 1 in margin to binding 0.5" logo height Landscape 0.5" margins 0.5" logo height Portrait 0.625 in margins 0.625 in logo height Double page spread (2x portrait) 0.625 in margins 1.25 in margin to binding 0.625 in logo height When designing for a format with a similar ratio but much larger or smaller dimensions please use one of the following factors to scale up or down margins and logo height by 1.25, 1.5, 1.75 or 2. Please contact id@mmm.com for approval. Half format and A5 Note: The size of the margins is based on the logo size, (the height of the 3M, not the tagline height). Landscape 0.625 in margins 0.625 in logo height Portrait 0.375" margins 0.375" logo height Double page spread (2x half portrait) 0.375" margins, 0.75 in margin to binding 0.375" logo height Landscape 0.375" margins 0.375" logo height
• Logo size and margins —Digital Lockup size is determined by the application. There is a direct relationship between the size of the logo and the margins for each application’s grid. The logo height is equal to the margin. For formats that are similar but not the same as those listed on this page, please choose margin and logo height from the example that is closest. For extreme vertical or horizontal formats for small scale applications (e.g web banners) the margin equal to logo height rule can not be applied. For these applications determine a clear relationship between margins and logo height based on one of the following factors: 1.25, 1.5 or 1.75 or 2. Use the examples shown on this page as guidance. Please contact id@mmm.com for approval. PPT, 16x9 in 0.5 in margins 0.5 in logo height 728 x 90 px banner 11 px margins 22 px logo height (factor 2) 160 x 600 px banner 11 px margins 22 px logo height (factor 2)
• Use grids to place typography Embrace the grid. The grid can be subdivided, and used for hanging typography or for aligning baselines. Limit typography to three sizes per application whenever possible. Follow the grid consistently throughout your application. To create gutters for text columns: 1. Build individual text boxes 2. Adjust inset spacing on the right side only (see image below) to match the margin (x), margin (x/2) or margin (x/4).
• Align typography to column grids The grid can be subdivided, Use a column grid for multi page documents. Limit typography to three sizes per application / page whenever possible. Follow the column grid consistently throughout your application. To adjust gutters and text columns: 1. Build text boxes 2. Adjust column number and gutter width to match the margin (x) , margin (x/2) or margin (x/4).
• Use grids to build and place single triangles The points where our grid lines hit the edge of the format are used to lock-in triangles. We recommend to use one corner point and two center points from the two opposite sides to create a single triangle in the center of the page. The edges of the triangle in the center should not align with the edge of the page. If necessary, limit it to one side only of a double page spread. If the recommended approach for building a triangle is too restrictive, i.e., obscures too much of a photograph, it is possible to use three center points to build the triangle. The triangle should span either from top to bottom of the page, or left to right. The edges of a single triangle should not be parallel or align with the edge of the page.
• Use grids to build and place three triangles The points where our grid lines hit the edge of the format are used to lock-in triangles. To build a three triangle layout, start with a single, center triangle. We recommend to use one corner point and two center points from the two opposite sides to create a single triangle in the center of the page. The edges of the triangle in the center should not align with the edge of the page. Next, choose which two out of three corners to fill with the other triangles. Do not fill the page with more than three triangles. If you would like to create a layout with only triangles, please use a mesh asset. Note: for more guidance on building the center triangle, please see page 44.

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