RIT

Official Websites

• https://www.rit.edu
• https://www.rit.org.cn

Brand Guidelines

2017

Brand Summary

Mission

• The British Museum exists to promote dialogue and understanding, allowing people across the world to understand other cultures, other ways of thinking, and how they are connected to each other [^1].

Core Values

• dialogue
• understanding
• debate
• exploration of cultural identities
• interconnectedness
• respect for objects
• authority
• confidence
• consistency

Target Audience

• A wide public, including people from across the world who seek to re-examine cultural identities and explore the complex network of interconnected human cultures [^2].

Personality Traits

• strong
• confident
• authoritative
• modern
• consistent
• respectful

Visual Identity Overview

• The visual identity is built on a strong and consistent design style, featuring a single undiluted logo, specific typefaces (Baskerville and Akzidenz Grotesk), a nine-column grid system, clear text hierarchy, and the prominent use of object imagery from the collection. The design system is simple and pared back, allowing objects to be the most important element, with neutral backgrounds to highlight object colors and flexible logo positioning within the grid [^3].

Categories

Brand Imagery

• The choice and use of images of objects in the Museum’s collection are the most important element of the design. Choosing the right object is critical to the strength of the design, and different objects are used to distinguish different activities on offer. The design system has been created to always respect and protect objects by ensuring text or the Museum’s logo is never placed over them.
• The choice of an object to use on a marketing campaign is critical to the impact and is what differentiates each activity. The object needs to be relevant, but must also be chosen with marketing needs uppermost in mind. The way objects are photographed and then used is also vital to the success of this process and for a consistent representation of the Museum’s collection.
• Do not flip, colourise, retouch or use photographic filters on any images, and be considerate about cropping images.
• Some objects carry living sacred, spiritual or social status beyond their life today as objects in the Museum. It is important to be sensitive about objects which may cause offence through inappropriate use or context.
• Objects should be treated with respect and never be ‘reinterpreted’ to suit a selling or marketing message or idea. This should be decided in conjunction with curatorial staff.

Color Palette

• On marketing materials, black or dark backgrounds are used for special (i.e. charging) exhibitions and white or pale backgrounds are used for core activities and free offers such as galleries and free exhibitions and displays. The neutral background allows the colours in the object to stand out. One-off special events, such as one-day events, can use a coloured background to reflect the ephemeral nature of the activity.
• The text will use two colours. The default for the first colour is black or white, depending on the background colour. The second colour will be chosen to complement the object image. However, the designer has some flexibility in text colour choice -for example it is acceptable to use two shades of blue instead of black and blue.

Typography

• Key elements of the design are: ■ a single Museum logo, undiluted by ‘sub-brands’ ■ typefaces (fonts), Baskerville and Akzidenz Grotesk ■ the choice of objects from the collection to represent the brief ■ a strong and consistent design style
• The logo is adapted from the font Baskerville, designed by John Baskerville during the same period in which the Museum was founded, in 1753. This reference to the Museum’s 250-year history has a gravitas and authority suitable for the Museum. Baskerville is also the Museum’s official serif font in designed work.
• The majority of designed work uses the Museum’s official sans serif font, Akzidenz Grotesk. In contrast to Baskerville, it adds a contemporary and modern feel representative of the Museum’s current activities and profile in the world.
• In non-designed work (e.g. emails, correspondence) and on the website, the Museum uses Arial font.
• There is a clear hierarchy of text sizes. This establishes a relationship between different types of information and their relative importance. See examples later in this document.
• Fonts will not be supplied externally as this would be a breach of the font licence agreement. External contacts working on behalf of the Museum (designers/ printers etc) are required to purchase the fonts to ensure they have the correct font licence.
• Sans serif. For use in designed material. Akzidenz Grotesk Pro from Berthold.
• Berthold Akzidenz Grotesk Pro. Light ABCDEFG HIJKLM NOPORSTUVWXYZ abcdefg h ij kl m nopq rstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Light ltalic ABCDEFGHUKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Regular italic ABCDEFGHIJKLMNOPORSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Medium ABCDEFG H IJ KLM NOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Medium italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Bold italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Super ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Berthold Akzidenz Grotesk Pro. Super italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Serif. For use in designed material. Baskerville Pro from Monotype.
• Baskerville MT Pro. Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Baskerville MT Pro. Regular italic ABCDEFGHTJKLMNOPQRSTUVWZ abcdefghijklmnopqrstuvwyxz 0123456789
• Baskerville MT Pro. Semibold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdef ghijklmnopqrstuvwyxz 0123456789
• Baskerville MT Pro. Semibold italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Sans serif. For use on digital appl ications, website, on-screen presentations and Microsoft Office templates.
• Arial is a standard cross­platform font available worldwide. Arial. Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Arial. Regular italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789 Arial. Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Arial. Bold italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyxz 0123456789
• Ideally, all font sizes used are multiples of 3.
• Text should be ranged left or right, not centred, except text in a circle defacer. In general, use sentence case; do not use all upper case, all lower case or small caps.
• • 84pt Akzidenz Grotesk Pro Medium
• 48pt Akzidenz Grotesk Pro Light € 24pt Akzidenz Grotesk Pro Regular 1 8pt Akzidenz Grotesk Pro Regular 9pt Akzidenz Grotesk Pro Regular 48pt Akzidenz
• Grotesk Pro Light, Circle diameter: 66mm
• Letterhead, compliment slip and business card. .JohnSmith Job title goes here .The British Great Russell Street V T Department name goes here 0 • London WC 1 B 3DG The size of the logo +44 (0)20 7323 8242 britishmuseum.org M +44 (0)7890 123456 Museum F+44 (0)20 7323 8915 0 on printed stationery jsmith@britishmuseum.org is 80% of three of the columns of the nine-column grid on an A4 format. Same One The British 32 The Street Great Russell Street London WC1B 3DG • London N1 2LJ The size of the logo Museum britishmuseum.org on the business card is four columns of the nine-column grid. Thursday 26 May 2011 Dear Sir or Madam, € Lorem lpsum LoreAxim same dolupti tempore moluptur, cullabor sint, acestis pla verchil luptibus abo. Et estisci lluptatquo iuntiatem sus dendignimpor atemodi gendam, ipsustis estioria non re oditationsed ut endelendis est qui utatur ad quis doluptas dionecestium accus quatur? Qui aliquib erciae num est, que volupta saped ute ommoluptati que repudit voluptas reptatius nis dus quidit lacea quodis ape vel etum rerum eiumqua ssincillo consed modit exeribus susdanda plibus etur? Tur, abere nihita iligenis ellignatae enturepta vendent oditiuntur ma pa dolorio tempel invendam, utent quid qui in non commolu ptatur? Quia quias as debistiur, cullecte qui tem quatiiscim etur, omnihilique cuptur si dolorestrum cones ventiatur ate nectur, nimpor sum ut )ant lam faccupti inimporitas ut quas reptas esecab id quia poreper itemporibus ut pore, sitiscium ressequi optatium volorib usciisc. Yours sincerely, John Smith • 9pt Akzidenz The British Great Russell Street Grotesk Pro Light Museum • London WC 1 B 3DG britishmuseum.org f) With compliments 9pt Akzidenz Grotesk Pro Medium € Microsoft Office templated letter text 10pt Arial Regular Website Home page The British Museum Exhibitions
• 9pt Akzidenz Grotesk Pro Light Museum • London WC 1 B 3DG britishmuseum.org f) With compliments 9pt Akzidenz Grotesk Pro Medium € Microsoft Office templated letter text 10pt Arial Regular Website Home page The British Museum Exhibitions
• Text position and type sizes of address details I I for use on the back page of A4, A5 and A6 • I I formats. This shows the The Brit sh Museum Shown at 100% full content which can GLondon C1B3DG reat Rt ssell Street I I change depending I I on usage. Holbo n, Russell Square bntishms+44 (0)20 7323 8000 The Trustees of the BritishMuseumTum.org 12/2011 • 9/11 pt Akzidenz Grotesk Pro Medium + 4 + I i —I I □ 9/11 pt Akzidenz Grotesk Pro Regular I I I I I I I € I I I Shown at 100% 6/11 pt Akzidenz Great Russersreet O The Brit Grotesk Pro Light sh Museum wc I I LondonB3DG I Holborn, Russell Square I I L d-1britishms+44 (0)20 7323 8000. ©The Trustees of um.org the BritishMuseum12/2011 Position shown relative to a whole page on an A5 format. The address lock up is the sign off at the end of the page. It should align to one of the vertical grid lines (see nine-column grid details) and be positioned on the lower part of the page, preferably at the foot.

Logo Usage

• The British Museum logo is the copyrighted trademark of the Trustees of the British Museum. The logo is a specific graphic and must never be recreated in any way, including by typing out in text.
• The minimum width of the logo is 25mm.
• The logo can only be produced in black or white.
• There must be clear space between the logo and other design elements. Clear space is measured by the width of the ‘M’ in Museum. Design elements are symbols, rules, wording, illustration or photographic edges.
• Never distort the logo by stretching or squashing, or adding to it, or cropping it in any way.
• Ensure the logo is clearly legible. Do not reverse out of a pale colour or a busy background.
• The logo can only be issued for use by the Marketing Department. All uses of the logo must be approved by the Marketing Department and are subject to the Conditions for use of the British Museum logo (commercial or non-commercial).
• This version of the logo has been optically adjusted for use at small sizes. The minimum width of this version of the logo is 16mm.
• Where the format does not allow use of the stacked version, a single line version can be used. The minimum width of this version of the logo is 50mm.
• The stacked version is the preferred choice.
• This version of the single line logo has been optically adjusted for when the single line version has to appear smaller than 50mm wide. The minimum width of this version of the logo is 28mm.
• On portrait formats, the logo size is defined as three columns of the grid.
• The logo can then be positioned in any location with the capital B aligning to the grid.
• The logo can be used vertically. The size is still defined as three columns of the grid. It can be positioned in any location with the capital B aligning to the grid horizontally.
• On landscape formats, the logo size is defined as three columns of the grid across the shorter edge of the format. The logo can then be positioned in any location with the capital B aligning to the grid on the long edge.
• On unusual formats the logo size will be defined on a case-by-case basis, as a multiple of one column of the nine-column grid.
• The size of the logo on printed stationery is 80% of three of the columns of the nine-column grid on an A4 format.
• The size of the logo on the business card is four columns of the nine-column grid.

Tone And Messaging

• The British Museum exists to promote dialogue and understanding. The collection allows people across the whole world to understand other cultures, other ways of thinking, and how they are connected to each other.
• The collection spans from the dawn of human history over two million years ago to the present. The Museum is a unique resource for the world due to the breadth and depth of its collection. As such, it is a place for debate, and is committed to allowing a wide public to re-examine cultural identities and explore the complex network of interconnected human cultures.
• The British Museum’s visual language is a system designed to visually represent the Museum. It reflects and reinforces the Museum’s values and core purpose. In line with the Museum’s positioning in the wider world, it is strong and confident, visually demonstrating that the Museum is a single organisation with a shared outlook and goals.
• There are no designed sub-brands (such as ‘objects in focus’) -these are simply written in text. There are no ‘personalities’ for exhibitions or individual activities -the strength of the object represents the activity and sets each one apart.
• The design system is simple and pared back, and this allows the object to be the most important element, resulting in a strong look and feel.
• The choice and use of images of objects in the Museum’s collection are the most important element of the design. Choosing the right object is critical to the strength of the design, and different objects are used to distinguish different activities on offer. The design system has been created to always respect and protect objects by ensuring text or the Museum’s logo is never placed over them.
• Some objects carry living sacred, spiritual or social status beyond their life today as objects in the Museum. It is important to be sensitive about objects which may cause offence through inappropriate use or context.
• Objects should be treated with respect and never be ‘reinterpreted’ to suit a selling or marketing message or idea. This should be decided in conjunction with curatorial staff.

Visual Style

• The British Museum’s visual language is a system designed to visually represent the Museum. It reflects and reinforces the Museum’s values and core purpose. In line with the Museum’s positioning in the wider world, it is strong and confident, visually demonstrating that the Museum is a single organisation with a shared outlook and goals.
• Key elements of the design are: ■ a single Museum logo, undiluted by ‘sub-brands’ ■ typefaces (fonts), Baskerville and Akzidenz Grotesk ■ the choice of objects from the collection to represent the brief ■ a strong and consistent design style
• The logo is adapted from the font Baskerville, designed by John Baskerville during the same period in which the Museum was founded, in 1753. This reference to the Museum’s 250-year history has a gravitas and authority suitable for the Museum. Baskerville is also the Museum’s official serif font in designed work.
• The majority of designed work uses the Museum’s official sans serif font, Akzidenz Grotesk. In contrast to Baskerville, it adds a contemporary and modern feel representative of the Museum’s current activities and profile in the world.
• In non-designed work (e.g. emails, correspondence) and on the website, the Museum uses Arial font.
• The design styling is based on a nine-column grid. This is the graphic device or scaffolding by which all the elements of the design are structured. The logo is sized in relation to the grid, but can be positioned anywhere in the design within the nine­column grid.
• There is a clear hierarchy of text sizes. This establishes a relationship between different types of information and their relative importance.
• The choice and use of images of objects in the Museum’s collection are the most important element of the design. Choosing the right object is critical to the strength of the design, and different objects are used to distinguish different activities on offer. The design system has been created to always respect and protect objects by ensuring text or the Museum’s logo is never placed over them.
• On marketing materials, black or dark backgrounds are used for special (i.e. charging) exhibitions and white or pale backgrounds are used for core activities and free offers such as galleries and free exhibitions and displays. The neutral background allows the colours in the object to stand out. One-off special events, such as one-day events, can use a coloured background to reflect the ephemeral nature of the activity. The text will use two colours. The default for the first colour is black or white, depending on the background colour. The second colour will be chosen to complement the object image. However, the designer has some flexibility in text colour choice -for example it is acceptable to use two shades of blue instead of black and blue.
• As stated above, the logo can be positioned anywhere in the design within the nine-column grid. This is because all the other elements in the design system work together to create a strong visual language which is not reliant on a consistent logo positioning. It is important that the design system itself becomes recognisable, not the individual elements.
• The design system is simple and pared back, and this allows the object to be the most important element, resulting in a strong look and feel. There are no designed sub-brands (such as ‘objects in focus’) -these are simply written in text. There are no ‘personalities’ for exhibitions or individual activities -the strength of the object represents the activity and sets each one apart.
• The use of all the design elements repeatedly and consistently reinforces the design style, essentially creating the Museum’s visual language.
• The British Museum logo is the copyrighted trademark of the Trustees of the British Museum. The logo is a specific graphic and must never be recreated in any way, including by typing out in text.
• The minimum width of the logo is 25mm.
• The logo can only be produced in black or white.
• There must be clear space between the logo and other design elements. Clear space is measured by the width of the ‘M’ in Museum. Design elements are symbols, rules, wording, illustration or photographic edges.
• Never distort the logo by stretching or squashing, or adding to it, or cropping it in any way.
• Ensure the logo is clearly legible. Do not reverse out of a pale colour or a busy background.
• The logo can only be issued for use by the Marketing Department. All uses of the logo must be approved by the Marketing Department and are subject to the Conditions for use of the British Museum logo (commercial or non-commercial).
• This version of the logo has been optically adjusted for use at small sizes. The minimum width of this version of the logo is 16mm.
• Where the format does not allow use of the stacked version, a single line version can be used. The minimum width of this version of the logo is 50mm.
• The stacked version is the preferred choice.
• This version of the single line logo has been optically adjusted for when the single line version has to appear smaller than 50mm wide. The minimum width of this version of the logo is 28mm.
• Sans serif. For use in designed material. Akzidenz Grotesk Pro from Berthold.
• Fonts will not be supplied externally as this would be a breach of the font licence agreement. External contacts working on behalf of the Museum (designers/ printers etc) are required to purchase the fonts to ensure they have the correct font licence.
• Serif. For use in designed material. Baskerville Pro from Monotype.
• Sans serif. For use on digital applications, website, on-screen presentations and Microsoft Office templates.
• Arial is a standard cross­platform font available worldwide.
• The nine-column grid is set up as 50 units across the width; 3 units for the margins, 4 for each column and one for each gutter. This can then be easily applied to any format.
• On portrait formats, the logo size is defined as three columns of the grid.
• The logo can then be positioned in any location with the capital B aligning to the grid.
• The logo can be used vertically. The size is still defined as three columns of the grid. It can be positioned in any location with the capital B aligning to the grid horizontally.
• On landscape formats, the logo size is defined as three columns of the grid across the shorter edge of the format. The logo can then be positioned in any location with the capital B aligning to the grid on the long edge.
• On unusual formats the logo size will be defined on a case-by-case basis, as a multiple of one column of the nine-column grid.
• Ideally, all font sizes used are multiples of 3.
• Text should be ranged left or right, not centred, except text in a circle defacer. In general, use sentence case; do not use all upper case, all lower case or small caps.
• Circle diameter: 66mm
• The choice of an object to use on a marketing campaign is critical to the impact and is what differentiates each activity. The object needs to be relevant, but must also be chosen with marketing needs uppermost in mind. The way objects are photographed and then used is also vital to the success of this process and for a consistent representation of the Museum’s collection.
• Do not flip, colourise, retouch or use photographic filters on any images, and be considerate about cropping images.
• Objects should be treated with respect and never be ‘reinterpreted’ to suit a selling or marketing message or idea. This should be decided in conjunction with curatorial staff.

Layout And Composition

• The design styling is based on a nine-column grid. This is the graphic device or scaffolding by which all the elements of the design are structured. The logo is sized in relation to the grid, but can be positioned anywhere in the design within the nine­column grid.
• The nine-column grid is set up as 50 units across the width; 3 units for the margins, 4 for each column and one for each gutter. This can then be easily applied to any format.
• On portrait formats, the logo size is defined as three columns of the grid.
• The logo can then be positioned in any location with the capital B aligning to the grid.
• The logo can be used vertically. The size is still defined as three columns of the grid. It can be positioned in any location with the capital B aligning to the grid horizontally.
• On landscape formats, the logo size is defined as three columns of the grid across the shorter edge of the format. The logo can then be positioned in any location with the capital B aligning to the grid on the long edge.
• On unusual formats the logo size will be defined on a case-by-case basis, as a multiple of one column of the nine-column grid.
• On-site poster format: 508mm wide x 762mm high, shown with the nine-column grid applied.
• Ideally, all font sizes used are multiples of 3.
• Text should be ranged left or right, not centred, except text in a circle defacer. In general, use sentence case; do not use all upper case, all lower case or small caps.

Print Guidelines

• The nine-column grid is set up as 50 units across the width; 3 units for the margins, 4 for each column and one for each gutter. This can then be easily applied to any format.
• On portrait formats, the logo size is defined as three columns of the grid.
• The logo can then be positioned in any location with the capital B aligning to the grid.
• The logo can be used vertically. The size is still defined as three columns of the grid. It can be positioned in any location with the capital B aligning to the grid horizontally.
• On landscape formats, the logo size is defined as three columns of the grid across the shorter edge of the format. The logo can then be positioned in any location with the capital B aligning to the grid on the long edge.
• On unusual formats the logo size will be defined on a case-by-case basis, as a multiple of one column of the nine-column grid.
• On-site poster format: 508mm wide x 762mm high, shown with the nine-column grid applied.
• Ideally, all font sizes used are multiples of 3.
• Text should be ranged left or right, not centred, except text in a circle defacer. In general, use sentence case; do not use all upper case, all lower case or small caps.
• 84pt Akzidenz Grotesk Pro Medium
• 48pt Akzidenz Grotesk Pro Light
• 24pt Akzidenz Grotesk Pro Regular
• 18pt Akzidenz Grotesk Pro Regular
• 9pt Akzidenz Grotesk Pro Regular
• Circle diameter: 66mm

Additional Properties

Revenue History

Employees History

Total Assets History