VISUAL IDENTITY STANDARDS

TABLE OF CONTENTS

our vision

A Brief History Overview About the Visual Identity About the Logo Spectrum of Communications VISUAL BUILDING BLOCKS

3 5 6 7 8

The Logo Color Palette Typography Eight Rules for Clear Communication Graphic Elements Photography and Illustration Stationery System composing the elements

10 16 18 20 22 24 26

Flagship Brochures On-Screen Materials Print Ads Event Materials Diploma Signage
NOTE: Page numbers in the PDF

30 32 33 34 35 36 37 38

Merchandise Final Thoughts

version of this guide vary from the print version.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

Massachusetts College of Art and Design was born of a pioneering spirit. Facing a divided citizenry on the heels of the Civil War, American industrialists, politicians, scholars, and educators sought to unify the nation and advance their country economically, scientifically, and culturally. In Boston, these visionary leaders championed the Drawing Act of 1870, a law that revolutionized Massachusetts education system, and worked with the legislature to found world-class institutions like Massachusetts Institute of Technology, the Museum of Fine Arts, and Massachusetts Normal School of Art. The creation of the Normal Art School, in particular, was a radical act. Never before had a state established a school for the purpose of art instruction. MassArt was the first, and remains the only public independent college of art and design in the United States.

And from the beginning, recognizing that talent knows no class or racial distinction, the college welcomed students from all economic and ethnic backgrounds, including recent immigrantsa far cry from the demographic of other American art schools at the time. Today, Massachusetts College of Art and Design remains true to its foundersvisionaries who imagined a better future and saw creativity at its core. We are proud of our legacy of leadership as the nations first and only public independent college of art and design and the first art school in the United States to grant a degree. Our history sets the direction for our future. Since its early years, when the seeds of the creative economy were planted in Massachusetts, MassArt has evolved into one of the leading colleges of art and design in the world. As we look to the future, we will continue to build community, to foster diversity, and to inspire artists and designers to make a difference in their world.

MASSACHUSETTS COLLEGE OF ART AND DESIGN

our vision

This guide provides an outline of the visual identity system, including logo standards and the associated graphic vocabulary. The success of the visual identity depends on consistent and frequent application across the entire spectrum of communication tools. From the viewbook to the diploma, from the website to departmental postcards, all communications should reflect MassArts commitment to excellence. MassArts identity provides flexibility and room for expression. As befits an art institution, users are encouraged to be inventive and push the boundaries of the identity system. However, it is important that this flexibility be used to express most appropriately the given communication goal. Much effort has been made to ensure that this guide is easy to understand and use. It is, however, impossible to anticipate every application of the visual identity system. Users should exercise their best judgment to determine the ideal expression of the vision outlined in this guide. If you have questions regarding this guide or the visual identity system, please visit inside.MassArt.edu/identity or email marketing@massart.edu.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

THE VISUAL IDENTITY

COMMANDING RESPECT REFLECTING ENERGY AND TALENT CONVEYING CONFIDENCE

As the nations first and only public independent college of art and design and the first art school in the United States to grant a degree, MassArt continues to be one of the most influential art colleges in the country. Its new visual identity positions MassArt in its rightful place, reflecting its increased national and global impact as well as reinforcing its prominence in the region.

The identity reflects the energy, determination, and talent of the many individuals that comprise the entire MassArt community. Firmly rooted in the solid foundation it has built over more than a century, MassArt will proceed as a confident, credible, influential institution with an impact felt around the world. True to its culture of vibrant, independent individuals, its bold, contemporary logo is paired with an identity system that is energetic, flexible, and distinct.

Designed to appeal to MassArts broad audience, both the logo and identity transmit confidence in a way that resonates with a diverse audience: current and potential students, alumni, faculty and staff, donors, corporate leaders, government officials, and others.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

ABOUT THE LOGO

THE LOGO LETTERFORMS LOGO CONFIGURATIONS

The MassArt logo positions the college as a leader and champion of art and design education. The simple device of cropping the S in Mass on the same angle as the A in Art visually propels Art to the foreground. The Art advancing to the foreground of Mass represents an institution driving art and design to the forefront of public consciousness. This juxtaposition also reflects the legacy of MassArt and its founding belief that publicly supported, accessible art and design education is vital to the economic and social strength of the Commonwealth. The logo is comprised of a palette of three primary colors and gray. The Art appears in one of the three primary colors, reflecting the energy and spirit of the college. The Mass consistently appears gray, representing stability and MassArts legacy. The primary colors carry special significance in that they reflect the elements of all colorbuilding blocks for the art-making process appropriate to an art institution. As a system, a palette of logo colors lends flexibility when applying the logo over varying backgrounds, allowing for a wide range of applications.

The MassArt logo is built from a customized version of the typeface Gotham. Inspired by early to mid-twentieth century architectural lettering and signage in American cities, Gotham was chosen to reflect MassArts urban setting. The draftsman-like qualities of Gotham and its historical influence lend a simple, bold, urban style that emphasizes legibility. Legibility is especially crucial when one considers the numerous applications of the logo, from letterhead and publications to signage and web pages. The clean style of the letterforms lends timelessness and flexibility to the logo. When paired with imagery, its simplicity will complement the words and imagery that surround it.

The full name of the college, Massachusetts College of Art and Design, always appears with the logo and also is set in Gotham. The words Art and Design are set in Gotham black and match the color of Art in the logo to emphasize the breadth of the colleges work. Careful attention has been given to the proportions of the college name and the logo to ensure maximum legibility. The logo is available in three different configurations. The primary configuration will be used as often as possible; two alternate designs will be used when either horizontal or vertical space is at a premium. The MassArt logo is our signature and a statement of our shared beliefs. Please use the logo with respect and always refer to the identity standards guide when developing MassArt materials. Following these guidelines will allow the college to present itself consistently and with confidence, and will ensure that MassArts legacy remains strong.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

SPECTRUM OF COMMUNICATIONS

Various factors affect the visual complexity and production values of a piece of communication. The communications spectrum provides for a range of approaches and establishes a design framework that reflects the specific needs of various marketing and communications materials.

FLAGSHIP MATERIALS

RELATIONSHIP BUILDERS

COMMUNITY CONNECTORS

MassArts flagship materials have the broadest audience base. These pieces have the highest level of flexibility and should test the limits of the visual identity system. Flagship materials should always be reproduced in four-color process and should have high production value. The full spectrum of visual identity components may be applied to these pieces. Examples of MassArts flagship materials are: - recruitment materials; - annual reports; - the website; and - comprehensive campaign publications.

Relationship builders target current and potential members of the MassArt community. These materials should fully explore the visual identity system, while remaining mindful of the balance between the identity elements and overall design. Examples of MassArts relationship builders are: PCE catalogues; alumni newsletters; event materials; and promotional brochures.

MassArts community connectors are integral to the colleges culture and should adhere to the design standards of the identity. These communications, intended for a variety of audiences that include MassArt students, staff, and alumni, tend to convey a simple message and should use a limited number of elements from the identity system. Examples of MassArts community connectors include: - e-newsletters; - registration materials; flyers; and postcards.
EXHIBITION MATERIALS

Promotional materials related to exhibitions at the college are allowed a greater level of flexibility. Some components of exhibition catalogues, posters, and postcards may not be bound by the standards of typography, imagery, and graphics stated in this book. Due to the specialized nature of the materials, they should reflect the quality of the work they portray. However, all materials must explicitly display the MassArt logo. Exceptions to the identity standards for exhibition materials will be made on a caseby-case basis. Email marketing@massart.edu for details.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

THE LOGO

The MassArt logo is the cornerstone of the visual identity system. It must appear, at least once, on every piece of communication and should comply with the standards in this guide.

alternate CONFIGURATIONS

Two alternate designs are supplied and can be used when space necessitates their usage.

color system

The logo is comprised of a palette of three primary colors and gray. Please see page 18 for more detailed information.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

LOGO SIZE AND SPACING

clear space

The logo should always be surrounded by clear space that contains neither text nor graphic

elements. The distance of this clear space should be consistent with the cap-height of the letters in the logo. The logo may be placed over a photographic image or piece of artwork. See page 21 for guidelines.

minimum size

In order to ensure legibility, the logo should never

.875" (print) or 88 pixels (screen)

appear smaller than .875 (when used in print materials) or 88 pixels wide (when used on screen; measure pixels using Adobe Photoshop). The size relationship between the logotype and full name of the college is fixed and should never be altered.

co-branding

On occasion the MassArt logo will need to appear in tandem with the logo of one of its partners or supporters. In these cases the logo should appear proportionally similar to the peer logo with a one-point rule (vertical line) separating the logos. The placement of the separating rule should respect the clear space previously defined.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

LOGO COLOR

The logo is comprised of a palette of three primary colors and gray. The Art always appears in one of the three primary colors: red, gold, or blue. The flexibility of the palette allows for a dynamic range of possibilities. The color version of the logo is preferred and should be used on all full-color materials.

color system

The MassArt logo may appear in the following combinations only: gray plus red, gold, or blue.

pms colors

The gray (PMS 424 U) can be combined with: PMS 7417 U or PMS 7409 U or PMS 638 U.

PMS 424 U C15 M0 Y0 K60 R110 G115 B118

PMS 7417 U

PMS 7409 U

PMS 638 U

C0 M80 Y80 K0 R220 G80 B52

or

C0 M35 Y100 K0 R238 G175 B0

or

C85 M0 Y8 K0 R0 G175 B216

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

LOGO COLOR

knock-out logo

When used over an image, the white and color version of the logo should be used. Select the color version of the logo that provides maximum contrast with the images background. When placing the logo over an image make sure that the logos contrast against the background ensures the logo is clearly visible.
one-color logo

When it is not possible to use a color version of the logo, it may be reproduced as one-color, or knocked out to all white.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

LOGO DONTs

The logo is central to the visual identity system and should not be altered or violated in any way. Please be careful to avoid any representation of the logo that is not aligned with the approved and final logo. All units operating under the governance of MassArt must use the approved college logo. No unofficial logos may be used in place of, or in conjunction with the official logo. In addition:

Do not change the colors of the logo.

Do not add department names or typography of any kind to the logo.

DEpARTmENT NAmE

Do not apply a color other than the approved red, gold, or blue to the logo.

Do not fill the clear space with graphic elements.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

LOGO DONTs

Do not use the twocolor logo over a field of color, with the exception of PMS 7534 U (or CMYK equivalent).

Do not stretch the logo either vertically or horizontally.

Do not change the scale of any component of the logo.

Do not render the logo dimensionally.

Do not change the scale of the full name of the college within the logo.

Do not apply a drop shadow to the logo.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

COLOR PALETTE

When specifying colors, Pantone spot colors always are preferred. Four-color process builds (CMYK) are provided as a guide and may need to be adjusted depending on the printing process and/or individual printer calibration. When printing in four-color process, please visually match the Pantone swatches provided.

Pantone Matching System (PMS):

Process (CMYK):

RGB (Red Green Blue):

Variables

PMS is the industry standard for color specification on printed materials. All numbers shown have been specified as uncoated chips (U) to print on uncoated paper. The color should be checked accordingly if using a coated paper stock.

CMYK is the formula for four-color process offset and web printing applications.

RGB values are intended for use across all on-screen media (i.e. websites, emails, PowerPoint presentations).

The following variables may affect the final outcome of the intended color: - printing process used; - ink film thickness (density); - form layout/press color control; - variation in paper color, quality, and texture; - ink color accuracy; - viewing conditions; - ink/water balance; - plate quality; and - use of dull, gloss, or matte varnish.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

COLOR PALETTE

ACCENTS

PRIMARY

PMS 4985 U C16 M63 Y32 K47 PMS 7417 U C0 M80 Y80 K0 R220 G80 B52 R132 G76 B84

PMS 7413 U C3 M62 Y95 K0 R212 G123 B34

PMS 382 U C38 M0 Y100 K0 R190 G214 B0

PMS 7409 U C0 M35 Y100 K0 R238 G175 B0

PMS 583 U C25 M3 Y100 K14 R168 G180 B100

PMS 7473 U C74 M0 Y36 K8 R30 G157 B139

PMS 7459 U C76 M6 Y8 K15 R48 G149 B180

NEUTRALS PMS 638 U C85 M0 Y8 K0 R0 G175 B216 PMS 7534 U C4 M4 Y13 K8 R215 G211 B199 PMS 424 U C15 M0 Y0 K60 R110 G115 B118
The colors on this page 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 Specifier. Pantone is a registered trademark for Pantone, Inc. Due to a number of variables a PDF proof should never be considered an accurate portrayal of the actual, printed color.

PMS 614 U C3 M2 Y29 K3 R225 G222 B174

PMS 621 U C12 M1 Y9 K2 R209 G223 B214

PMS 7542 U C24 M4 Y8 K13 R172 G192 B198

PMS 5425 U C44 M15 Y7 K22 R125 G154 B170

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

TYPOGRAPHY

The typefaces in the MassArt visual identity system are Interstate and Sabon. The contemporary quality of the sans serif (Interstate) is offset by the classical qualities of the serif font (Sabon). The two typefaces are intended for use in tandem.
INTERSTATE

Interstate Light Interstate Light Italic Interstate Regular Interstate Regular Italic Interstate Bold Interstate Bold Italic
SABON

1234567890 1234567890 1234567890 1234567890 1234567890 1234567890

Interstate

Only Interstate Light, Light Italic, Regular, Regular Italic, Bold, and Bold Italic should be used as part of the system.
sabon

Sabon Roman, Small Caps, and Italic (all with oldstyle figures) should be used as part of the system.
bold and italic styles

Artificial bold and italic styles should never be used. When the need arises to use a bold or italic style, be certain to select the appropriate font. Never use a type tool in a software application to make type bold or italic.

Sabon Roman Sabon Italic sabon small caps

1234567890 1234567890 123456790

FONT ACCESS

MassArt has purchased a group license for all MassArt community members. Please log on to inside.MassArt.edu/identity for more information. Those outside the MassArt community may purchase Interstate or Sabon at MyFonts.com.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

TYPOGRAPHY

HEADLINES

Interstate Bold all-caps is always used in headlines for emphasis, but one can use either light or regular in upper and lowercase as well. Lowercase characters should never appear in the Interstate Bold typeface for anything other than subheads.
all caps

MassArt should never appear in all-caps. In cases where MassArt is part of a headline, Interstate Light or Regular may be used as upper and lowercase in tandem with the all caps Interstate Bold.

BODY TEXT

Interstate Light or Sabon Roman should be used for large areas of body text to ensure legibility. Bold, Italic, and Small Caps should be reserved for pull quotes, heads, subheads, and sidebars or when otherwise dictated by editorial standards.

ALTERNATE FONTS

Interstate and Sabon have been made readily available to the MassArt community and should be used across all communications. However, if absolutely necessary, the following system fonts may be substituted: Verdana for Interstate and Book Antiqua for Sabon.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

EIGHT RULES FOR CLEAR COMMUNICATION

Massachusetts College of Art and Design is rooted in the solid foundation it has built over more than a century. True to its culture of vibrant, independent individuals, MassArts bold, contemporary logo is paired with an identity system that is energetic, flexible, and distinct. For more information about the college, visit MassArt.edu.

In addition to presenting a unified visual identity, it is equally important that written communications adhere to guidelines for consistency and clarity. Following the instructions below will ensure that users write the colleges name correctly and that audiences can clearly identify the college. 1. The full name of the college should never be preceded by The. 2. The word and should always be spelled out in the colleges nameMassachusetts College of Art and Design. Ampersands (&) or plus signs (+) are not permitted.

3. On rare occasions, it is acceptable in speech to refer to the college as Mass. College of Art and Design. However, this should never be used in written communications. 4. Wherever the full name of the college is used in a title or subtitle, or where it stands alone, a line break should never occur anywhere between Art and Design. This does not apply when the name of the college appears in body text. 5. Avoid using the full name of the college immediately followed by another item (i.e. Massachusetts College of Art and Design and the Commonwealth of Massachusetts). In these instances, either use MassArt instead of the full name or place the other item first.

6. MassArt should always appear with a capital M and A. There should never be a space between the S and A. MassArt should never appear in all upper or lowercase. 7. MassArt may be used as an adjective. In these instances, the may be used in front of the name (i.e. The MassArt student majors in painting). Massachusetts College of Art and Design should never be used as an adjective (i.e. The Massachusetts College of Art and Design student majors in painting). 8. The colleges URL should always read MassArt.edu except when within an email address, in which case it should appear as first.last@massart.edu. This is the only instance in which MassArt may appear in lowercase.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

HTML TYPOGRAPHY

Due to the limitations of the medium, websites and HTML emails necessitate different typographic standards. Georgia and Lucida Grande are the recommended screen fonts and should be used as outlined below. These typefaces are for on-screen use only and should never be used for print purposes.

GEORGIA

Georgia Regular Georgia Italic Georgia Bold

LUCIDA GRANDE

georgia

Georgia is the preferred serif HTML typeface for any web or email applications. Georgia should never be set below 12 pixels.
LUCIDA GRANDE

Lucida Grande is the preferred sans serif HTML typeface for any web or email applications. Lucida Grande should never be set below 11 pixels.
VERDANA

Lucida Grande

Lucida Grande Bold

VERDANA

If Lucida Grande is not available, Verdana may be used in its place. Verdana should never be set below 11 pixels.

Verdana Verdana Bold

EMAIL TYPOGRAPHY

It is recommended that all outgoing email messages use Lucida Grande or Verdana 11pt. The use of backgrounds, text color, and specialty fonts in email is strongly discouraged.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

THE MOVING ANGLE

One of the most recognizable features of the MassArt logo is the angle created in the negative space between the S and the A. As a design element, the angle is a distinct and recognizable feature of the identity system. The angle can be used as a simple device to highlight key points of information or as a pattern to create a sense of movement.
[23]
I@:?8I; D8:D@CC8E M@:< GI<J@;<EK =FI @EJK@KLK@FE8C 8;M8E:<D<EK <O<:LK@M< ;@I<:KFI =FLE;8K@FE i Z_Xi[ dXZd`ccXe7dXjjXik \[l
K -(. /.0 .',' = -(. /.0 .'0'

Mnemonic device

Consistent and careful use of the angle will make materials recognizable as originating from MassArt. Its use can be bold and/or
DXjj8ik%\[l

-)( ?LEK@E>KFE 8M<EL< 9FJKFE D8 ')( , DXjj8ik \[l

subtle depending on the application.

Design element

The angle of any designs should always match the angle of the A in the MassArt logo, which is negative 23 degrees [23] . [23]

screen Pattern

When creating a screen made up of the MassArt angle, the pattern should be perpendicular (67) to the primary angle. Care should be taken to ensure the pattern reads as a screen, and not as stripes or arbitrary graphic devices. When creating a pattern always use a ratio of 1 to 1 (rule to negative space).

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

DIMENSIONAL MOVEMENT

Rectangles of white coming from negative space will further create a sense of movement across the system. When used in conjunction with the angle and angle patterns, a dimensional sense of movement is achieved.

ANGLES AND COLOR

The angle pattern should be used in conjunction with a flat field of color to anchor the graphic and further emphasize the sense of dimensionality.
LAYERING BOXES

When used in conjunction with the MassArt angle, the boxes should be layered to achieve a dimensional moving effect.
HIGHLIGHT boxes

Integrate small boxes into layouts to call attention to key words or themes.
highlight information

Use shifting boxes to highlight key points of information such as captions.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

PHOTOGRAPHY

As an art institution, MassArt has a rich array of resources that can and should be tapped for its communication materials. Original photography, illustration, sketches, and artwork are integral to the identity system. The use of stock photography and clip art is strongly discouraged.

Photography should be used to capture the dynamic energy of the studios and classrooms at MassArt. Imagery should be vibrant, energetic, and portray the excitement of individuals engaged in the art-making process. Photographs of empty studios, building facades, or similar images are discouraged.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

SKETCHES

ARTWORK

Sketches are used throughout communication materials to provide texture and contrast. We encourage the use of sketches from MassArt students and projects to give context to stories.

Student, faculty, and alumni artwork is an important part of the MassArt system and should be used when appropriate. Care should be taken when integrating artwork with other design elements to ensure the integrity of the art.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

STATIONERY SYSTEM

In many instances the MassArt stationery system will be an individuals first experience with the college. Business cards, mailing materials, and letterhead each utilize one of the MassArt primary colors and the MassArt gray (PMS 424 U), ensuring a complete representation of the colleges identity when mailing letters or packages.

BUSINESS CARDS

Business cards use MassArt gold (PMS 7409 U). The cards are flexible enough to handle both long and short titles.
business card front business card back

Mailing materials

Envelopes and mailing labels use MassArt

-)( ?LEK@E>KFE 8M<EL< 9FJKFE D8 ')((,

blue (PMS 638 U).

-)( ?LEK@E>KFE 8M<EL< 9FJKFE D8 ')((,

mailing label

envelope

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

Letterhead

Typography

Margins

Letterhead uses MassArt red (PMS 7417 U). There are two types of letterhead: departmentspecific and generic templates. A second sheet also is available.

Letters should be set in 10pt Sabon Regular over 13pt leading.

Margins are 1.75-inches from the left and top of page, and 1.25-inches from the right.

1.75

1.75

1.25

note card (front and back)

department-specific letterhead

generic letterhead

In order to express the vibrancy of MassArts community, it is critical that the identity system allows for flexibility. The following pages portray a range of visual expressions of MassArts visual identity system. These designs are intended to be used as examples and inspiration for future communications, not to be reproduced exactly as shown here.

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

FLAGSHIP BROCHURES

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

FLAGSHIP BROCHURES

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

ON-SCREEN MATERIALS

e-newsletter gesture

home page gesture

banner ad gesture

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

PRINT ADS

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

EVENT MATERIALS

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

DIPLOMA

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

SIGNAGE

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

MERCHANDISE

;/AA/16CA3BBA 1=::353 =4 /@B /<2 23A75<

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MASSACHUSETTS COLLEGE OF ART AND DESIGN IDENTITY STANDARDS GUIDE

Thank you for using this guide. Please show respect for the visual identity system and follow the guidelines provided. This will ensure that MassArt presents itself consistently and with confidence. If you have questions regarding this guide or the identity system, visit inside.MassArt.edu/identity or email marketing@massart.edu.

Any third-party images in this deliverable (sample images, stock photography) are included for illustrative purposes only. No part of this information or imagery may be copied, edited, distributed, repurposed, commercially broadcast, or used in marketing a product, service, or similar.

credits: Page 31 (clockwise from upper left): Sheila Pepe, Terminal, Nautical towline, industrial rubber bands, crocheted tulle,

and metal thread. | Abelardo Morell, Flashlight and Salt, photogram on 8x10 film | Eric M. Arnold 06, Uber Grn, Blown Glass,
18x18x4 | Fred Liang, Dust Bunnies, painting on panel, 24x20 Page 41 (clockwise from upper left): Dean H. Nimmer, Constellation 14, Oil and Patina on Steel, 39x28 | Eric M. Arnold (06), Uber Grn, Blown Glass, 18x18x4 | Jane Marsching, Arctic Then: Deb Questing on McCall Glacier, Alaska, Digital C-Print on Fuji Crystal Archive, 16x20

621 HUNTINGTON AVENUE BOSTON, MA 02115 USA

T 617 879 7000 F 617 566 4034

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