Cma GL Apr4

This document
is intended solely for

internal distribution Brand System
Guidelines
Contents
0.00 Introduction
0.01 Positioning Statement
1.00 Brand Identity
1.01 The Brand Mark
1.04 Nomenclature
1.07 Brand Architecture
2.00 Basic Brand Elements
2.01 Core Blue
2.02 Core Colors
2.04 Type Families
2.06 Incorrect Applications

3.00 Visitor Communications
3.01 Brand Experience
3.02 Color Hierarchy
3.06 System Elements
3.07 Brand Mark and Clear Space
3.08 Brand Bar
3.16 Brand Mark on Large Field
3.20 Supergraphic
3.21 Band Pattern
3.22 Color: CMA Spectrum
3.27 Color: Core vs. Spectrum
3.28 Awareness/Orientation/
Experience/
Reengagement:
3.28 External Communications
3.33 On-Site Communications
3.47 Outreach Communications
4.00 Environmental Branding
4.01 Exterior Signage
4.04 Interior Signage
5.00 Other On-Site Branding
5.01 CMA Books
5.04 Merchandise
5.09 Uniforms
5.10 Incorrect Applications
6.00 Operational Communications
6.01 Stationery, Forms
6.15 Presentations
7.00 For Further Information
Click on any directory entry to access specific content directly.
Links within the document are indicated in red text.
To return to the previous view after a link press command+left arrow.
To navigate in normal sequential order, use right and left arrows.
CLEVELAND MUSEUM OF ART BRAND SYSTEM GUI DELI NES
Introduction
These guidelines for the Cleveland Museum
of Art were developed to support the overall
mission of the museum and to ensure that the
CMA brand is portrayed consistently across
all touchpoints with Cleveland quality.
As we complete the extensive museum
renovation and expansion project at the end
of 2013 and approach our centennial, it is
appropriate to re-examine how we present
ourselves to the world in all areas. Our brand
is the sum of all communications and
experiences around the museum. It is our
responsibility to both protect this valuable
asset and ensure we are maximizing its
potential.
A thorough review of our past practices and
the landscape of other arts institutions led to
an exploration of several possible design
directions for the future. Our objectives were
threefold:
Define a coherent brand identity
that can be applied across all brand
touchpoints.
Evolve the look and feel of the brand to
be consistent with our brand positioning
and desired personality: emotionally
gratifying, approachable, exciting and
relevant.
Ensure the brand identity supports the
re-emergence of the museum as a
world-class institution that is well-
positioned for its second century.
An important aspect of the design
exploration was finding the right balance
between reinforcing a strong CMA brand
and maintaining respect for the power of
art in all its forms.
The direction that led to these guidelines
was built around the idea of Incandescence
that our brand serves to illuminate the
masterpieces in our collection, not
overshadow them. The flexibility of the
identity system allows us to do exactly that,
while maintaining an overall feel that is
distinctly ours.
No brand identity system is perfect or
immutable. We welcome any comments or
suggestions that will help improve these
guidelines over time.
For further information please contact the
Cleveland Museum of Art Marketing Department:
(216) 707-2264
0.00
The Cleveland Museum of Art
selectively acquires and preserves
a collection of the finest works
of art in the world.
We present and interpret them so
you can experience the beauty and
power of each object in person.
Introduction
Positioning Statement
While positioning must ring true for all audiences, most
communications (and messaging priorities) will be against the
public, non-member audience. Hence, the positioning is
designed primarily with the public in mind.
Note that a positioning statement is not advertising.
It is not intended to be copy writing, but merely a guide for
effective and consistent actions and communications.
How do we want the brand to be viewed?
I love the Cleveland Museum of Art. Theres always a lot going
on all kinds of great art exhibitions, musical performances,
stuff for the kids and other events. Theyve really done a great
job with the new building its exciting to wander around the
museum and discover things you havent seen before. They
really have a fabulous collection. Sometimes we visit just to see
a few of our favorite works, which we can do anytime since its
free. Were lucky to have the museum here in Cleveland.
CLEVELAND MUSEUM OF ART BRAND SYSTEM GUI DELI NES CLEVELAND MUSEUM OF ART BRAND SYSTEM GUI DELI NES
0.01
Brand Identity
The Brand Mark
Nomenclature
Brand Architecture
Naming Documentation
As the Cleveland Museum of Art approaches
the centennial of its founding, it is ever more
crucial that its identity serves as the secure
anchor of its communications, even as their
breadth reflects the ever-evolving diversity of
the museums offerings.
While the CMA brand mark anchors the visual
brand system, the museum name provides the
core of its brand architecture. Technology
broadens the choices of users and visitors, as
apps and interactive galleries join the museums
long-established performance, music and film
programs. In this section of the guidelines we
re-evaluate how we brand and market this
variety of offerings.
Our objectives are to:
ensure that the brand architecture
supports the CMA brand overall
keep it simple and easily understood
by our customers
create category names and titles
that facilitate communication
of eventsnot brands that demand
unique identities
provide descriptive names only
(216) 707-2264
1.00
symbol
logotype
Brand Identity
The Brand Mark
The Cleveland Museum of Art Brand Mark consists of two
components in a locked configuration:
The symbol, which embodies the museums past and
futuresteadfast tradition balanced by the momentum of
innovation in a distillation of both the the iconic 1916 and
Breuer buildings.
The sans serif logotype, based on the Gotham typeface,
which is both elegant and workmanlike.
Our brand mark is bold, simple, and impactful, well-suited for
implementation in a broad range of sizes.
1.01
clearance: span of three bars x
x
.896
brochure
covers
.7
business
card
.4
minimum
size
Brand Identity
The Brand Mark:
Clear Space and
Minimum Size
A space equal to the height of three bars from the
right-hand part of the symbol provides a visual buffer between
the brand mark and any accompanying visual elements, e.g.
imagery, typography, and other visual brand devices or logos.
The lockup & Clear Space are universal, with few exceptions:
The smallest applications, where legibility and/or
reproduction of logotype is limited
(merchandise, favicons, app icons, etc.)
Glass safety graphics

1.02
BakerHostetler
sponsor logos smaller than
CMA brand mark
CMA
brand mark
sponsor logos larger than
CMA brand mark
CMA
brand mark
Brand Identity
The Brand Mark and
Sponsor Organization
Logos
The clear space with the band of space to the left of the brand
mark (which is the same height as the clear space) together are
the equivalent of the brand bar (see 3.08-3.14). Therefore,
sponsor logos should be clear of the brand bar as well.
While it is crucial we represent our sponsors in a
legible manner respectful of their own brand identities, the
primacy of the CMA brand mark must be maintained. Below
are schematic examples of a piece of CMA communication
with the brand mark in an endorsement position (e.g., the rear
of an exhibition brochure). As shown in the examples on
the far left, the sponsor logos should be well outside of, and
diagonal to, the CMA brand mark and clear space.

Avoid aligning sponsors
logos with the CMA brand
mark. Do not violate the
clear space.
Sponsors logos may
be positioned diagonally
above or below the
CMA brand mark &
clear space.
A sponsors logos width should
not exceed 65% the width of the
CMA brand mark.
1.03
At first mention of the Cleveland Museum
of Art in a discrete piece of communication
its name is to be spelled out. Thereafter the
museum may be referred to as CMA in
the same piece of communication.
Brand Identity
Nomenclature
The museum is nearly as well-known by its short
three-letter acronym as it is by its full name; the maxim
below is a simple guideline for the usage of our most
essential component of identity.
Each of the two variants of our name is used in conjunction
with the names of our various offerings and venues, in different
circumstances. We will look at them in the context of display
text (titles, headlines, etc.) and body text (the main body of
correspondence, essays, articles, brochures, etc.)
1.04
Tantric Visions
at the Cleveland
Museum of Art
Tantric
Visions
at CMA
A small bronze Buddha
statue on view in the Focus
Gallery radiates authority,
serenity and an elevated state
of being that belies the works
relatively diminutive scale.
A small bronze Buddha
statue on view in the
Focus Gallery radiates
authority, serenity and
an elevated state of
being that belies the
works diminutive
scale. Initiates would
understand why. On a
A A small bronze Buddha
statue on view in the s
Focus Gallery radiates F
authority, serenity and a
an elevated state of a
being that belies the b
wwoorrkkkss dddiiimmiiinnuutttiiivvee ww
ssccaalllee. IIInniiittiiiaatteess wwoouulllddd ss
uunnddeerrssttaanndd wwhhyy. OOnn aa uu
Brand Identity
Nomenclature:
Display Text
As a default option, the full name is preferable, but available
space and the specific context of an accompanying offering
name or category will influence whether the acronym is used.
Option if space is limited Preferred
1.05
As indicated in the nomenclature maxim on 1.03, the first
indicator of use of full name vs. acronym is chronological
sequencefull name is always stated first. Another factor is the
naming convention we use for a given entity, i.e. the CMA
Performing Art Series, wherein we make proprietary a generic
category. Using the full name in that case would of course be
impractical and largely redundant; but making it proprietary in
the first place acknowledges the recognition gained by the
performance series when it was presented off-site during
the museums long reconstruction period.
Given that Gallery One is closely associated with the museum
collection, it has less need for the museum identity to be
embedded in its name; ArtLens is unique in that while most
visitors are introduced to it in the context of Gallery One, it is an
app available for download anywhere via Apples iTunes. It is a
semi-autonomous entity which needs the context of museum
nomenclature when mentioned in the press.
The revolutionary Gallery One
at the Cleveland Museum of
Art features the largest multi-
touch microtile screen in the
United States, which displays
images of over 3,500 objects
from the museums world-
renowned permanent collection.
This 40-foot Collection Wall
allows you to shape your own
tours of the museum and to
discover the full breadth of the
This year the CMA Performing
Arts Series is host to some of
the worlds greatest living mas-
ters of the violinGil Shaham,
Midori, Roby Lakatos, Riccardo
Minasi, to name but a few. Our
Masters of the Violin series
takes a curatorial look at this
magical instrument from both
historical and stylistic points
of view. It showcases master
instrumentalists not only in
CMAs ArtLens app allows
you to personalize your
experience at the museum.
You can use ArtLens to delve
into layers of interpretative
content on a variety of works
in the collection. Once you're
at the museum, you can use it
in Gallery One, the Cleveland
Museum of Art's innovative
gallery featuring art, technology,
and interpretation, as well as
The revolutionary Gallery One
at the Cleveland Museum of
Art features the largest multi-
touch microtile screen in the
United States, which displays
images of over 3,500 objects
ffrroomm tthhee mmuusseeuummss wwoorrlldd-
renownedd permanentt collllecttiion.
TThhiis 4400-ffoot CCollllectiion WWallll
allows yyou to shappe yyour own
ttoouurrss ooff tthhee mmuusseeuumm aanndd ttoo
discover the full breadth of the
This year the T CMA Performing
Arts Series A is host to some of
he worlds greatest living mas th -
ers of the violinGil Shaham, te
Midori, Roby Lakatos, Riccardo M
Minasi, to name but a few. Our M
MMaasstteerrss ooff tthhee VViioolliinn sseerriieess MM
akkes a curattoriiall llookk att tthhiis ttaa
magiicall iinstrument ffrom bbothh m
historical and styylistic ppoints h
ff vviieeww. IItt sshhoowwccaasseess mmaasstteerr oo
nstrumentalists not onlyy in in
CMAs C ArtLens app allows
ou to personalize your y
xperience at the museum. ex
You can use ArtLens to delve Y
nto layers of interpretative in
ontent on a variety of works co
nn tthhee ccoolllleeccttiioonn. OOnnccee yyoouu'rree iinn
tt tthhe museum, you can use iitt aatt
n GGallllery OOne, thhe CCllevellandd iin
Museum of Art's innovative M
ggaalllleerryy ffeeaattuurriinngg aarrtt, tteecchhnnoollooggyy, gg
nd interppretation,, as well as an
Brand Identity
Nomenclature:
Museum Offerings
In Body Text
1.06
The chart below details three broad criteria for determining a
particular museum offerings naming state: from no museum
name component for destinations or experiences within the
context of the museum gallery environment (left column); to the
use of the CMA acronym as suffix or prefix by museum events
or performance series that take place within the museum but
are at one remove from the gallery experience (middle column);
to the use of the museum name in an endorsement
capacity for events at a greater remove from the gallery
experience, taking place outside on the museum
grounds or off-site completely.
Brand Identity
Brand Architecture
Outdoor/off-site Museum environment Museum event/series
CMA Film
CMA Performing
Arts Series
Mix at CMA
branded communication
name in Gotham font (see 2.04)
CMA prefix/suffix
name in Gotham font
CMA endorsement in Gotham font
CMA Presents
Parade the Circle Gallery One
Ingalls Library
ArtLens
1.07
Here, the brand architecture categories introduced on
the previous page are shown (schematically) in the context of
the museums visual branding.
The default cover display font for CMA communications
is Gotham Book (see 2.04); this holds true for the names of
museum venues, departments, performance offerings, and
permanent collection galleries.
Current exceptions include Parade the Circle and Solstice,
two annual outdoor events; their type treatments vary
according to the nature or theme of the event. Other exceptions
are special exhibitions, each of which is accompanied by a
range of communications with a distinct look and feel based on
its subject. This variability is offset by the consistent treatment of
the CMA brand mark and other brand elements (for marketing
materials specifications see section 3.00).
Gallery
One
CMA
Performing
Arts Series
CMA Presents
Brand Identity
Brand Architecture and
the Brand Mark
Seasonal outdoor/off-site Museum environment Museum event/series
1.08
Basic Brand Elements
Core Colors
Type Families
The brand elements in this section
Core Colors and typographycomplement
the CMA Brand Mark and with it comprise
a basic toolset for the visual expression of
the CMA brand identity.
The Gotham and Palatino typeface families
provide stylistic and hierarchical coverage
for all textual content from messaging to
wayfinding, and the concise Core Color
palette provides a distillation of the museum
experience for general application, even
for image-free corporate and operational
communications.
Section 3.00 will expand on the elements
introduced in this section to convey
specifications for a comprehensive set
of marketing materials, including the
more robust and open-ended Spectrum
color system.
(216) 707-2264
2.00
Dark Core Blue: Pantone 300
Bright Core Blue: Pantone 2985
Core Blue on white:
Pantone 298
Core Blue is most often applied in a pairing of bright and dark,
as shown below left. This exemplifies the Incandescence
principle which informs most of the CMA visual brand system,
particularly across marketing, promotional, and visitor-facing
communications. The brand mark is rendered against white
(below, right) on stationery (see section 6.0) and a few other
instances in visitor-facing literature.
CMA Core Blue is the primary color iteration of the
CMA brand identity, and is the default component of the CMA
Core Color palette (see next page, 2.02). It is at once the
most neutral and the most aspirational of the Core Colors.
It represents the blue sky visible through the museum Atrium
canopy, and the natural light flooding the Atrium space so
central to the museum experience. It is the Core Color which
best represents the museum as an organization, inclusive
cultural destination, and civic entity.
Incandescence:
Core Blue

2.01
Darks
Brights
Core Color Pairs
Core Color Singles (for use against white)
Together the Core Colors evoke the earthy pigments that
comprise physical painting as well as the pure chromatic light
they shed in the viewers presence.
Note: the CMYK print process formulas given below are
standard equivalents based on Pantones for coated stock;
adjustment may be necessary for printing on uncoated or
off-white paper.
The CMA Core Color palette is composed of a quartet of
pairs, each of which expresses a primary or secondary
hue: Core Blue, Core Green, Core Gold, and Core Red. CMA
Core Blue is the default color pair for the brand identity. Purple
is excluded for simplicitys sake, and to retain an elemental
quality for the palette; Core Gray pair provides a neutral option.
Each pair achieves a monochromatic incandescence when an
element such as type or the brand mark is set in the brighter
tone against a background in the darker tone.
Pantone 137
Pantone 300
RGB 0 92 185
CMYK 100 62 7 0
Core Gray Core Blue
Pantone 2985
RGB 87 193 232
CMYK 58 4 2 0
Pantone 298*
RGB 64 180 229
CMYK 64 10 2 0
*darker than equivalent bright in Core pair
Core Green Core Gold Core Red
Pantone 357
RGB 29 86 50
CMYK 85 40 91 38
Pantone 369
RGB 99 167 10
CMYK 67 12 100 0
Pantone 369
RGB 99 167 10
CMYK 67 12 100 0
Pantone 1395
RGB 156 95 22
CMYK 30 63 100 18
Pantone 1375
RGB 255 158 22
CMYK 0 45 96 0
Pantone 1375
RGB 255 158 22
CMYK 0 45 96 0
Pantone 1815
RGB 128 37 40
CMYK 30 92 82 35
Pantone 185
RGB 235 0 41
CMYK 0 100 92 0
Pantone 185
RGB 235 0 41
CMYK 0 100 92 0
Pantone Cool Gray 9
RGB 119 119 122
CMYK 55 47 44
Pantone Cool Gray 4
RGB 189 187 187
CMYK 26 21 22 0
Pantone Cool Gray 6*
RGB 169 168 169
CMYK 35 29 28 0
Incandescence:
Core Colors
2.02
Core Color Pairs
Core Color Singles (brand mark against white)
Pantone 300
Pantone 2985
Pantone 1395
Pantone 1375
Pantone 357
Pantone 369
Pantone 1815
Pantone 185
Pantone Cool Gray 9
Pantone Cool Gray 4
Pantone 298* Pantone 1375 Pantone 369 Pantone 185
Pantone Cool Gray 6*
As demonstrated below, the incandescent effect of the color
pair serve to give the CMA brand mark a great flexibility of
expression, as is appropriate for the brand identity of an art
museum of CMAs breadth of offering and visitor experience.
As shown in the later sections of these guidelines, this approach
allows for a very organic kind of brand identity, one in which
the brand conforms to incidental contexta particular work of
art, or evocative image rather than act as a rigid stamp on a
diversity of content.
te)
Pantone 2985 Pantone 1375 Pantone 369
Pantone 185
Pantone 298* Pantone 1375 Pantone 369 Pantone 185
antone Cool Gray 4
antone Cool Gray 6*
Pa
Pa
Incandescence:
Core Colors-
Brand Mark Application
2.03
Gotham is a very practical and robust typeface family,
one with many weights and options. It has all the advantages
of a hard-working sans-serif while avoiding the usual
disadvantage of coldness or lack of personality. It is balanced,
friendly, efficient and crisp, with no quirky or ill-fitting
stand-out characters. It is inspired by American commercial
vernacular signage, and so inherits a modernity that engages.
Gotham Book is the preferred font for display treatments such
as brochure titles, headlines, subheads, newsletter mastheads,
etc. Heavier weights in the Gotham family may be used for
captions and for emphasis within serif body text.
Note: Gotham is a specialty typeface intended primarily for
marketing and other external communications; Arial may be
substituted for most day-to-day internal communications.
Primary Type Family:
Gotham
Bold Medium Book Light
Gotham
Gallery One ArtLens
Abc
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890!@#$%&*?{}+=
2.04
Palatino is one of the ten most-used typefaces; in spite of its
familiarity it retains a distinct old-world effect, due to its
calligraphic thicks and thins. It has the advantage of high
availability across platforms, including Microsoft, but it was
chosen for its compatibility with the primary CMA display
typeface Gotham. This is evident in the comparison (below, left)
of the lowercase letter a from each face. They share similar
character width, structure and curves.

Palatino has a high x-height and a generous width for a
typeface based on 16th Century Renaissance letter forms,
making it highly legible.
Palatino is the default choice for body text in CMA print
communications; it may be used in a more prominent capacity
(for internal headlines, pull-quotes, etc.), especially if a more
traditional or historic effect is desired (see 0.01).
Secondary Type Family:
Palatino
Lorem ipsum dolor sit amet, consect adipisicing elit,
sed iusmod tempor incid dunt ut enim aliqua. Duis aute
irure dolor in reprehenderit in voluptate velit esse
cillum dolore eu fugiat nulla pariatur. Duis aute irure
dolor in reprehenderit in voluptate velit esse cillum
fugiat nulla pariatur.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghij klmnopqrstuvwxyz
1234567890!@#$%&*?{}+=
aa
Gotham Book Palatino Regular
2.05
T HE CL E VE L AND
MUS E UM OF ART
Incorrect Applications
Clear Space:
1.02
Core Colors:
2.02, 3.04
CMA
Gallery
One
Do not use brand mark components in
isolation (See 3.30, 5.01, and 5.07 for
special exceptions).
Do not alter the drawing of the brand
mark or substitute another font for the
logotype.
Do not use the CMA acronym as a brand
mark component.
Do not use in a holding shape in a
manner not specified in Section 3.0
(See 3.07-3.13).
Do not reconfigure the components of
the brand mark.
Do not crop the brand mark or use it in a
super-graphic treatment.
Do not render the brand mark in a color
unrelated to its background, or swap the
values of a Core Color pair.
Do not distort the proportions of the
brand mark or render it in perspective.
2.06
Visitor Communications
Brand Experience
System Elements
Awareness/Orientation/Experience/Reengagement
3.00
Visitor Communications are the core of
the Cleveland Museum of Arts brand
identity system. For our purposes, the term
visitor includes anyone engaged by a
CMA brand touchpointfrom potential
visitors (advertising viewers, website users,
participants in CMAs popular special events,
recipients of the museums various outreach
initiatives, etc.) to visitors of the physical
museum site. Each touchpoint represents
some aspect of the CMA experience as well
as an opportunity to create expectations
around the next step of engagement
whether its using the ArtLens app, attending
an event or performance, a gallery visit, or
enjoying the privileges of membership.
To that end, the CMA visual system provides
a roadmap for the user/visitor experience, by
modulating the relationship between color,
imagery, and brand mark.
This section begins with a detailed look at
the many pathways of the CMA brand,
followed by a breakdown of the CMA brand
color hierarchy and how it helps define and
gives narrative form to the visitor experience.
Note: This section concerns brand elements
in promotional and display modes, and does
not cover interiors of brochures or other
multipage communications.
(216) 707-2264
SOCI AL MEDI A
ADVERTI SI NG / P. R.
PRESS
TAK E AWAY OR I E NTAT I ON/ E X P E R I E NC E R E E NGAGE ME NT
WEBSI TE
CMA SPONSORED EVENTS
WORD OF MOUTH
EXTERNAL SI GNAGE ENTRANCE ATRI UM WAYFI NDI NG BUI LDI NGS
MU S E U M E NV I R ONME NT COL L AT E R AL , ME R C H ANDI S E , e t c . DI R E C T MAR K E T I NG, e t c .
EDU / CORP / DONOR / COMMUNI TY OUTREACH
AWAR E NE S S
MAR K E T I NG, COMMU NI C AT I ONS , e t c .
STORE
PERFORMI NG ARTS / FI LM
PROVENANCE
I NGALLS LI BRARY
STUDI O CLASSES
DONOR OUTREACH
PRI VATE EVENTS
ANNUAL GI VI NG
DONORS CI RCLE
SUPPORTI NG CI RCLES
LASTI NG LEGACI ES
PERSONAL RELATI ONSHI P
MANAGEMENT
MEMBERSHI P OUTREACH
EXHI BI TI ON / EVENT LI TERATURE
REMI NDERS / RENEWALS
NEWSLETTERS
CLEVELAND ART MAGAZI NE
GENERAL I NFO LI TERATURE
GALLERY LI TERATURE
MEMBERSHI P LI TERATURE
AFFI LI ATE LI TERATURE
CMA / EXHI BI TI ON MERCHANDI SE
CALENDARS / PROGRAM BOOKLETS
EDUCATI ON LI TERATURE
LI BRARY LI TERATURE
EDUCATI ON LI TERATURE, CLASS WORK

CH
COL L E C T I ON
S P E C I AL
E X H I B I T I ONS
GAL L E RY ONE GALLERY ONE LI TERATURE/ ARTLENS / SOUVENI RS (?) PRESS G
external
CMA
CMA subbrand
Brand Experience
The CMA brand experience may be seen as a sequence
of discrete stages in the relationship between visitor and
museum. A broad awareness of CMA is cultivated via digital
and traditional marketing, as well as through various outreach
initiatives; these are reinforced by social media and the press
generated by newsworthy museum events such as the opening
of Gallery One. Awareness segues into orientation as the visitor
approaches the museum proper and learns what it has to offer
via introductory literature or media. At this point the visitor also
learns to navigate the museums physical space through maps
and wayfinding signs. The core of the visitors journey is of
course the direct experience of works of art and performance in
the unique cultural context of CMA; literature, communications
and merchandise at this stage provide takeaway, a reliving of the
experience through visual reproduction and by evoking the
ambience through color and message. Reengagement,
intitiated by the visitor or the museum, begins the cycle anew.
3.01
CMA Core Blue CMA Core Colors CMA Spectrum
Brand Experience:
Color Hierarchy
The CMA color hierarchy is a visual indicator of the visitors
proximity to the core CMA experience.
3.02
CMA Core Colors CMA Spectrum CM CMA Core Blue:
Awareness
Establishes CMAs identity in the
most inclusive mode
CMA as organization, cultural
destination, umbrella venue, and
civic entity
-Website
-Advertising (general)
-Development
Outreach
-Stationery
-Gallery One/ArtLens
Brand Experience:
Color Hierarchy
CMA Core Blue is the first sign to a potential visitor of the
of the Cleveland Museum of Art, and signifies a survey rather a
direct experience, although Gallery One challenges this distinc-
tion, as it represents a new way to engage with the
totality of the museum collection.
3.03
CMA Spectrum C CMA Core Blue CMA Core Colors:
Orientation
Represents CMAs commitment,
initial relationship with visitor or
prospective donor/member
CMA as advocate, portal,
environment
-Advertising
-Outreach, press kits,
presentations
-CMA special event
marketing
-Museum wayfinding
-General merchandise
-Departmental literature
Brand Experience:
Color Hierarchy
The full set of the CMA Core Colors, with the addition
of Core Gray, represents a shorthand for and a raising of
expectations for the direct experience. It is, in effect, the CMA
brand promise.
Communications using CMA Core Colors describe the diversity
of the museums offering without directly highlighting specific
exhibitions or works of art.
3.04
CMA Core Colors CMA Core Blue CMA Spectrum:
Experience to
Reengagement
The CMA visual brands most
versatile mode
CMA as optimal and memorable
firsthand cultural experience
-Gallery literature
-Exhibition marketing,
publications
-CMA magazines,
publications
-Invitations to
members, donors
Brand Experience:
Color Hierarchy
CMA Spectrum provides a harmonious and dynamic
framework for art, brand and visitor. It evokes the direct
experience of the visitor in the context of the CMA brand.
3.05
Abcdefghijk
Abcdefg
hijklmn
Abcdefg
hijklmnop
qrstuv
System Elements
Color, typography, layout, and supporting design
elements are the anchors of a coherent and consistent yet
versatile visual language.
The rest of this section provides layout schematics, design
examples, and other tools for managing the CMA visual brand
system and developing communications to address CMAs
range of offerings.
3.06
A. Brand mark applied at maximum
size within a square item (exterior
banner schematic see 4.01)
B. Brand mark applied within an item
sized to clear space (lapel pin schematic
see 5.09)
Footer:
Gotham Book
u/lc centered
(URL all lower case)
System Elements:
Brand Mark
and Clear Space
The CMA Brand Mark is the primary visual brand element.
Its most basic container and unit of application is the clear
space (see 1.02). Certain items, large and small, exist solely to
display the brand mark and so take on the proportions of the
clear space and allow little if nothing else.
On the left is a schematic for a large identity banner for
the exterior of the museum building; on the right is a
schematic for the lapel pin worn by Protection Services
staff and other personnel.
footer text
Gotham Book
Clear Space:
1.02
x
x
x
x
x
x
3.07
bottom of field/footer
(advertising, banners, posters, etc.)
6w
maximum width of brand bar
2w
minimum width of brand bar
w
width of clear space
top of field
(brochure covers, promotional cards, etc.)
System Elements:
Brand Bar
The Brand Bar is the second most widely applied element
in the CMA visual brand system. It provides both a stage for
anchoring the CMA brand mark, the most stable element of the
system, and a medium for color, the most dynamic element of
the system.
It appears at the top of brochures, cards, and magazine covers,
easily viewed on items displayed in a rack or stowed in a folder
pocket. It also appears at the bottom of ads and posters in a
signature or endorsement position.
Clear Space:
1.02
3.08
Miscellaneous text
Use point size hierarchy for structuring message
Gotham Book
24/25 maximum,
8/9 minimum
flrr
985
1.375
clear space .25
System Elements:
Brand Bar-
Promotion Card
9x6 horizontal
Promotion cards are mailed or displayed in public
venues such as coffee bars, schools or community centers.
Minimum specifications are provided below for type appearing
in the brand bar. Promotion cards are used to announce CMA
sponsored events for which some stylistic leeway is allowed
(see 3.32 for examples).
However, all type within the brand bar and in proximity to the
brand mark must belong to the Gotham type family; Gotham
Book is preferred. Larger display type should be set in upper
and lower case.
Gotham Book
Clear Space:
1.02
image field
cap-height alignment
3.09
December 7
1.75
3
Title Line 1
Title Line 2
Subtitle Line

Title Line 1
Title Line 2
Subtitle Line
Title Line 1
Title Line 2
Subtitle Line

Title Line 1
Title Line 2
Subtitle Line
(Optional Line) (Optional Line)
Alternate: Brand Field
Title:
34/36 Gotham Book
u/lc flrr
Subtitle:
16/17 Gotham Book
u/lc flrr
Optional Line:
16/17 Gotham Book
u/lc flrr
75 1.
3
Subtitle Line bt Subtitle Line
228ppt
Title Line 1 T
Title Line 2 Ti
Subtitle Line bt

Title Line 1
Title Line 2
Subtitle Line
(Optional Line) (Optional Line)
Alternate: Brand Field
100% scale 25% scale
.25
.896
(
1.2555
Tittle:
34/36 Gotham Book
u/lc fflrr
Subtittle:
16/17 Gotham Book
u/lc fflrr
Op Opti tion onal al LLin in nne: e:
16/17 Gotham Book
u/lc fflrr
36ppt
uu S e
clear space
LLi )
Note:
the first line of the title on a
slim rack brochure is always
positioned as shown, with its
baseline 3 from the top trim
(or 36pt from the base of the
brand bar), regardless of
whether a brand bar or a brand
field is used. This ensures a
consistent alignment of titles
across a row of brochures
displayed in a rack.
System Elements:
Brand Bar-
Slim Rack Brochures
4x9vertical
use of a deeper brand field (as shown below, right) to address
occasional limitations on image reproduction such as cropping
issues, and to accommodate type when there are prohibitions on
overprinting on the image. The 16 pt. optional line is intended
for event dates and other miscellaneous information.
Rack brochures are prominently displayed in the lobbies,
galleries, and corridors of the museum; they promote and evoke
the core CMA visitor experience (see 3.33-3.39, 3.41-3.43 for
examples). The 34 pt. title spec will accommodate most title
lengths; smaller point sizes are to be used sparingly.
Note: the brand bar is the default mode for staging the
CMA brand mark on museum brochures. However, the
narrow proportions of the slim rack brochure may require the
Gotham Book
Clear Space:
1.02
iimage field
3.10
Title Line 1
Title Line 2
Subtitle Line
Title Line 1
Title Line 2
Subtitle Line
Title:
60/60 Gotham Book
u/lc flrr
Subtitle:
18/20 Gotham Book
u/lc flrr
clear space
Subtitle Line
Title Line 1
Title Line 2
Subtitle Line
Tittle:
60/60 Gotham Book
u/lc fflrr
Subtittle:
18/20 Gotham Book
u/lc fflrr
clear space cle
.896
.25
1.25
30pt
ee n i L
60pt
System Elements:
Brand Bar-
Wide Rack Brochures
5x9 vertical
The 5 x 9 rack brochure format is used primarily
for foldouts like the museum Map, and shares typographic
specifications with the medium and large brochures (3.12, 3.13).
(see 3.33 for example).
Gotham Book
Clear Space:
1.02
iimage field
3.11
Title Line 1
Title Line 2
Subtitle/Dateline
Title Line 1
Title Line 2
Subtitle/Dateline
clear space
.25
.896
1.25
Title:
60/60 Gotham Book
u/lc flrr
Subtitle:
18/20 Gotham Book
u/lc flrr
30pt
System Elements:
Brand Bar-
Medium Brochure
5.75x10.5 vertical
The medium brochure format is appropriate for programs
and schedules; it is currently used for the Film series (see 3.40
for example).
60pt
Gotham Book
Clear Space:
1.02
image field
3.12
Title Line 1
Title Line 2
Subtitle/Dateline
Title Line 1
Title Line 2
Subtitle/Dateline
.25
.896
1.25
clear space
Title:
60/60 Gotham Book
u/lc flrr
Subtitle:
18/20 Gotham Book
u/lc flrr
30pt
60pt
System Elements:
Brand Bar-
Large Brochure
8.5x11 vertical
The large brochure format is used for schedules such as the
seasonal CMA Performing Arts Series brochure (see 3.40 for
example).
Gotham Book
Clear Space:
1.02
image field
3.13
2.19
3.36
Masthead:
48pt Gotham Book
u/lc flrr
Descriptor:
10pt Gotham Book
u/lc flrr
Dateline:
16pt Gotham Book
u/lc flrr
clear space
1
Descriptor line or tagline
.896
11.25
.675
.675
1p
3-column
2-column ll
2.19
1p
2.19
20pt
20pt
1p
3.36
System Elements:
Brand Bar-
Newsletter
8.25x10.5 vertical
The Brand Bar is used in this case for the masthead across
the top of a newsletter format. While there may be no primary
or prominent full-bleed image, the bar provides crucial color
real estate on communications for a valued constituent.
A basic 2- and 3-column grid is provided for content layout in
the schematic below (see 3.51 for example).
Note: The title text sizes indicated are recommended for impact
and legibility; text may be reduced as needed to allow for
longer titles or words.
Descriptor line or tagline
Masthead
Masthead
Descriptor Line
Date Line
Masthead
Descriptor Line
Date Line
M h d M
.25
M
3.14
.8 .8
.896
11.36
.55
.4
.4
48pt Gotham Book
u/lc flrr
Title
clear space
2.19
1p
1p
2.19
1p
2.19
.4
Header rule: 5pt
3.36 3.36
Title
100% scale
3-column
2-column l
25% scale
System Elements:
Information Sheet
8.5x11 vertical
A substantial number of museum communications for
the visiting public are generated via in-house office printers.
This information sheet format provides a practical alternative
to the CMA brand bar, which normally bleeds off of the top
trim and would appear hemmed in by the white borders
characteristic of office printing (see 3.44 for example).
Note: The title text sizes indicated are recommended for impact
and legibility; text may be reduced as needed to allow for
longer titles or words.
3.15
clear space
22ww
minimum width of field
w
width of clear space
h
height eig
of clear o cle
space pac
2h
minimum nim
height eig
of field fie
An upper right position for the CMA
brand mark is preferred on booklet and
brochure covers; a lower right position
is preferred for advertising and posters
for special exhibitions.
System Elements:
Brandmark on Large Field
Minimal guidelines are provided below around the staging
of the brand mark on a large open field, to ensure a clear
distinction from both brand bar and clear space staging.
The field must be no less than two clear space units high and no
less than two clear space units wide.
3.16
Title on One Line
Description Line One
Description Line Two
Description Line Three
Description Line Four
3
.25 (minimum)
.896
Title:
28/40 Gotham Book
u/lc flrr
Description:
12/30 Palatino Regular
u/lc flrr

System Elements:
Brandmark on Large Field-
Special Installation
Brochure
7x8 vertical
The Special Installation brochure format is unique to
the museums Contemporary Arts Installation Series, which
provide visitors with particularly dramatic and unexpected
experiences which are often interactive or participatory.
The absence of a primary image (and the deviation from the
CMA color system-at-large) is intended to enhance the element
of surprise and drama inherent in the Installation Series works
(see 3.46 for example).
clear space
Title on One Line
3.17
clear space
.25
.896
22pt Gotham Book
u/lc flrr
System Elements:
Exhibition Invitation
5x7 vertical
Exhibition Invitations are issued to museum donors and the
format is intended to highlight and reinforce the unique look
and feel of a particular special exhibitions graphic materials.
The CMA brand here takes a step back from the prominence of
the brand bar and cedes nearly all of the cover real estate to the
exhibition design.
This is is appropriate given that a donor is typically very
familiar with the museum, and so does not need ongoing
reinforcement of the overt museum brand (see 3.47 for
examples).
base alignment
Header
Header
image field
3.18
Dateline/Tagline
Dateline/Tagline
Dateline/Tagline
Dateline/Tagline
Title:
60/60 minimum size
Subtitle:
28/40 minimum size
Gotham Family
flrr
16pt maximum point size
19pt leading
Gotham Book
u/lc flrr
.25
.896
1.25
clear space
System Elements:
Magazine
8.5x11 vertical
The format used for the CMA member magazine
Cleveland Art follows the style of the exhibition invitation on
the previous page. The brand bar, which is a feature of CMA
literature displayed in the museum, is eliminated here to cede
prominence to the issues featured cover art (see 3.50 for
example).
image field
Masthead Line 1
Line 2
Subtitle on One Line
Masthead Line 1
Line 2
Subtitle on One Line
3.19
Display
Text
Display
Text
Display
Text
Display
Text
Display
Text
Display Display
Text
ay
xt
Display
Text
y
System Elements:
Supergraphic
On select occasions a subordinate symbol or emblem
will appear in proximity to the CMA brand mark (see 1.03
for the use of sponsor organizations logos). A visual
hierarchy is needed to avoid a conflict between the two marks
and to protect the integrity of the CMA brand mark.
The subordinate mark is applied as a supergraphic (large faint
background element) in a 10-15% tint of black (see 3.31, 3.41
for examples).
Given the variety of symbol types (especially among the
emblems of museum affiliate groups), some flexibility of
placement is granted as long the supergraphic does not violate
the CMA brand marks clear space. The supergraphic must
bleed off the edge or edges of a deep rack brochure field but
may appear in full on a larger field. Note: The schematics
below display a generic placeholder supergraphic.
Large horizontal field Rack brochure brand field
supergraphic does
not violate the brand
mark clear space
10-15%
tint of black
3.20
CORE BLUE CORE COLORS
CORE GRAY TI NTS OF COOL GRAY 10
CGRAY 10 100
60 | 70 | 800
100
60 | 70 | 800
CGRAY 5
TI NTS OF COOL GRAY 5
5 bands: minimum for standaarrddddd print sizes
12 bands: maximum for standard print sizes
xx
xx
x
x
System Elements:
Band Pattern
The band pattern is a secondary visual brand element,
recognizable to museum visitors as inspired by the bands of
alternating stone in the museum buildings facade. It is never
used in conjunction with imagery; it may only be used in
conjunction with the CMA brand mark if the topmost band
functions as a brand bar (see 3.08).
The band pattern may only be applied in CMA core colors or in
tints of Pantone Cool Gray 5 or 10, as per the chart below. To
maintain proportions which more readily evoke the look of the
museum facade, a maximum of 12 bands and a minimum of
five bands is used (see 5.06 for more examples).
3.21
Title
Title
System Elements:
Color-
CMA Spectrum
CMA Spectrum is our name for the open-end portion
of the CMA color palette. By extrapolating color from the
native palette of a given work of art, Spectrum emphasizes the
visitor experience at the core of our promise as a cultural
institution. The usual visual hierarchy is reversed: rather than
subordinating the individual work of art to a neutral or
monolithic museum brand expression, the CMA brand
expression conforms to the color context of the artwork.
As with CMA Core Color pairs (see 2.02), Spectrum pairs are
effectively monochromaticcontrasting variants of the same
hue. In the example below, the yellow lemons provide the most
obvious points of reference.
Wrapped Lemons, 2002, printed 2003
Zachary Zavislak (American, b. 1965)
chromogenic process color print
3.22
e
e
System Elements:
Color-
CMA Spectrum
The flexibility of the Spectrum approach is
demonstrated on 3.22-3.24 through the selection of three
unique color pairs from the same image for use in the framing
CMA brand elements.
Other areas of the image provide less obvious but
legitimate color choice reference; colors chosen from narrower
ranges of the image palette may in fact generate more dynamic
design compositions.
3.23
System Elements:
Color-
CMA Spectrum
Other areas of the image provide less obvious but
legitimate color choice reference; colors chosen from narrower
ranges of the image palette may in fact generate more dynamic
design compositions.
3.24
contrast too high contrast good contrast too low
System Elements:
Color-
CMA Spectrum
Value Guide
The CMA brand mark should appear luminescent
against the background. Both should retain a fair amount of
saturation; a diluted or muted effect is to be avoided. There is
no universal formula for achieving this, as color balance
is ultimately subject to many factors including the specific
hue and color temperature. The chart below is provided as
a general benchmark to aid in selecting color pairs with the
proper contrast.
The CMA brand mark should effectively pop, eliminating the
rightmost column, and the background should not go black to
the squinted eye, eliminating the leftmost column.
3.25
25% brand mark tint
55%
65%
75%
85%
95%
30% 35% 40% 45%
optimal contrast range
background
tint
System Elements:
Color-
CMA Spectrum
Value Guide
The matrix below is a pure value guide using
percentages of black: two juxtaposed, incremental
ranges of tintsone for the CMA brand mark and one for
the background. As one pair of percentages of black cannot
represent all acceptable pairs of color, this is intended as an
approximate guide, and provides an optimal range of pairs.
3.26
System Elements:
Color-
Core vs. Spectrum
Categories of imagery are paired below with the
appropriate CMA color mode. As a general rule, Core Blue
is the museum identity, the Core set represents the museums
broader community engagement, and Spectrum evokes the
nuanced, individualized experience of art which is the
museums primary mission (see 3.03-3.05).
Core Blue
Museum Special Event Department,
Resource
Performance Visual Art
Spectrum Core Colors
3.27
Title
Awareness Orientation Experience
Asoaring, light infused atrium.
Redesigned galleries for every work of art.
The culinary splendor of Provenance, our newrestaurant & caf.
Anewmuseumstore filled with unique, art-inspired gifts for you or your loved ones.
All part of your magnificent newCleveland Museumof Art.
Come see Clevelands masterpiece.
Come see amazing.
The newest masterpiece at
the Cleveland Museum of Art is
the Cleveland Museum of Art.
ClevelandArt.org
Body text may be set in
Gotham Book or Medium
with Bold or Black for
emphasis.
Body text may also be
set in Palatino Regular
with Italic, Bold, or Bold
Italic for emphasis.
Body text may be set in
Gotham Book or Medium
wit withh Bol Boldd or or Bla Black ck for for
emphasis.
Body t y ext may a y lso be
set in Palatino Regular
wit withh Ita Italic lic, Bol Boldd, or or Bol Boldd
Italic for emphasis.
Headline type in
Gotham Light, Book
or Medium preferred
Any offset from corner trim
required for brand mark
with clear space should be
kept to a minimum.
clear space
The lower right position is preferred
for the CMA brand mark in advertising:
a lower left position is allowed on
billboards or other environmental
applications for optimum visibility in
certain situations.
This sample web ad
follows the CMA Spectrum
approach as it promotes
a special exhibition and
prominently features a
work of art.
See 3.22-3.24, 3.39.

ADVERTISEMENT
Gotham Family
Palatino Family
Awareness:
Advertising
Advertising provides, for a potential visitor, what may
be the first...
exposure to the museums existence, or
general sense of the museums mission, vision or offerings
The communications emphasis is on the museum as
environment, not on the individual visitors unique experience
in the context of art. Core Blue is used to identify the start of
the visitors path to the museum and to the unique
experiences offered.
Note: use of the CMA brand bar at the footer position; this is
the preferred placement for ads and posters.
Advertising for special exhibitions properly belongs to the
Experience phase and uses the CMA Spectrum color approach.
IN AMERICA
FEBRUARY 19 TO MAY 28
Come see amazing.
Core Blue:
2.01, 3.03
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
3.28
clear space

EXHI BI TI ONS
SPECI AL EVENTS
MUSI C & PERFORMANCE
FI LMS
Type Color
Navigation: Core Bright Blue
Other: White, Core
Bright/Dark Blue
Gotham Family
Awareness:
Website
If advertising comprises a first signpost on the visitors
path to the museum, the CMA website is a first exposure to
its offerings. Images of art, performances, events and venues
within the museum environs are given equal emphasis;
Core Blue is the primary color of the website, and serves
to reinforce the museum as the framework and provider of
these diverse experiences.
The universal application of Core Blue and the consistent,
anchored placement of the CMA brand mark as shown on the
upper left are the key visual branding requirements throughout
the website. Note: the brand mark clear space must be
observed throughout the site as well.
Core Blue:
2.01, 3.03
Clear Space:
1.02
Note: the layout shown on
this page is illustrative, not
a finalized design.
3.29
CMA ArtLens CMA ArtLens
144px
108px
CMA Core Blue with
minimal gradients
(iOS 7 compliant)
CMA Core Blue
Exceptions to guideline practices:
- use of symbol without logotype
- violation of clear space
(see 1.01, 1.02)
Awareness:
Device Apps
(iOS 7)
The ArtLens app and the Gallery One experience that it
complements comprise an innovative approach to immersing
the visitor in the museum collection.
The CMA symbol in Core Blue is a shorthand signifier of the
museum presence (and the ArtLens apps promise) in the
narrow confines of a device interface. Note: due to the
restrictive size of the app icon, exceptions to brand mark
guideline practices are indicated.
Lock Up
Exception
Core Blue:
2.01, 3.03
Clear Space
Exception
! !
3.30
CMA ArtLens
ArtLens
supergraphic:
overprint of
10% Black
clear space
Title:
60/60 Gotham Book
(minimum)
u/lc flrr
1
Type Color
Title: White
Awareness:
Device Apps
(nomenclature,
visual hierarchy)
ArtLens functions as a portal leading to immersion in
CMAs diverse collection. While this allows for close examina-
tion of individual works of art, the interactions takes place
within the envelope of the singular app experience; the app
interface would display Core Blue throughout as the framing
CMA brand element. The lens iris graphic, which identifies
ArtLens unique status as a CMA product, is applied as a
supergraphic subordinate to the CMA brand mark as per the
practices outlined in 3.20.
The ArtLens name is set in a straightforward manner within
the app interface in the primary CMA brand font, Gotham
Book, without qualifying prefixes or suffixes. However, the app
is identified in the device user interface as CMA ArtLens to
compensate for the absence of the logotype in the app icon.
Supergraphics:
3.20
Clear Space:
1.02
Core Blue:
2.01, 3.03
Gotham Book
3.31
solstice
ART. MUSIC, COCKTAILS.
SOMETHING DIFFERENT.
EVERY MONTH.
ART. MUSIC, COCKTAILS.
SOMETHING DIFFERENT.
EVERY MONTH.
saturday june 21
clevelands hottest summer music festival
come see heardancedrinkcelebrate amazing
saturday june 21
clevelands hottest summer music festival
come see heardancedrinkcelebrate amazing
solstice
Type Color
Title: Match to Core Bright in
brand bar
Footer: White
Gotham Family
Orientation:
Special Event
Promotion Cards
9x6 horizontal

Special event promotional materials focus on
museum-sponsored experiences exclusive of any particular
exhibition or gallery, so the potential CMA brand element
palette extends beyond Core Blue to the four Core Color pairs
but not yet to the open-ended Spectrum. Each promotional
item is branded in the Core color pair which best matches the
image used. Note: Cards, posters and advertising generally use
the brand bar in the footer position.
The names of public museum-sponsored events are effectively
sub- brands with discrete stylistic elements. Other information,
especially within the band bar, is set in the CMA primary
standard typeface family Gotham.
Clear Space:
1.02
Core Colors:
2.02, 3.04
Promotion Cards:
3.09
3.32
Map
Awareness, Orientation:
Welcome Brochures
Rack, 4x9, 5x9 vertical
Welcome Brochures mark the transition from Awareness
to Orientation. Gallery One sets the tone of the experience
by resetting the first-time visitors expectations and providing
a more personal frame of reference for viewing a particular
work of art.
The Map orients the visitor within the vast space of the Ames
Family Atrium by providing Core Color-coded compass points
(see 4.04).
Gotham Book
Core Blue:
2.01, 3.03
Rack Brochures:
3.10, 3.11
Clear Space:
1.02
Type Color
Title: White
Gallery One
Title Line 1
Title Line 2
16/17 Subtitle
Title Line 1
Title Line 2
16/17 Subtitle

3.33
Experience:
Membership Brochures
Rack, 4x9 vertical
Membership brochures are offered alongside welcome
brochures in the racks at the reception and information
counters, and serve as prelude to various aspects of the visitor
experience.
Here, via the Spectrum color approach, the appearance of
the CMA brand mark resonates with each unique aspect of
the museum experience.
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Rack Brochures:
3.10
Type Color
Title: White
Join Us Join Us Join Us
Title Line 1
Title Line 2
16/17 Subtitle

3.34
Exhibitions Tunics
Wari Tapestry-Woven Tunics
CMA
Performing
Arts Series
2014-2015
Experience:
Gallery & Venue Brochures
Rack, 4x9 vertical
Brochures for gallery displays, exhibitions, and venues
within the museum provide more opportunites for the CMA
brand mark to be re-contextualized through color and resonate
with the varieties of visitor experience.
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Rack Brochures:
3.10
Type Color
Title, subtitle: White
Title Line 1
Title Line 2
16/17 Subtitle

3.35
A B
Exhibitions Exhibitions Exhibitions
When overprinting on the image is prohibited, the deeper brand
field replaces the brand bar (B) (See 3.10).
A feature of the recommended brand bar format
is the greater area share assigned to imagery. To ensure
optimum legibility, it is recommended that a gradient tint layer
be introduced between type and image as needed (A).
(A similar approach is taken by the user interface design of
many digital devices).
Experience:
Imagery & Text
on Brochures
Rack, 4x9 vertical
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Type Color
Title: White
3.36
Do not shift the brand mark from
its upper right position.
Do not apply the brand mark in
white or black.
Avoid simply applying the brand
mark in a tint of the brand bar
color.
Avoid arbitrary or high contrast
color choices.
Tunics
Tunics
Tunics
Tunics
Experience:
Incorrect Brand
Applications on Brochures
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Type Color
Title: White
3.37
Do not use a color field deeper
than 3 (see 3.10)
All display text (titles, headers)
are set in upper and lower case;
avoid all caps.
Do not set display text in fonts
other than Gotham Book.
Do not exclude the brand bar/
field on museum site brochures.
Tunics
TUNICS
Tunics
Tunics
Experience:
Incorrect Brand
Applications on Brochures
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Type Color
Title: White
3.38
IN AMERICA
FEB 19-MAY 28 WARI
Lords of the Ancient Andes
YOUTH
AND
BEAUTY
ART OF THE AMERI CAN TWENTI ES
JULY 1 TO SEPTEMBER 1 6
Experience:
Special Exhibitions
Brochures
Rack, 4x9 vertical
Special exhibition literature displayed in the museum
incorporates the visual design developed specifically for
each exhibition, within the framework of the CMA visual
brand system.
Use of the Spectrum color approach ensures a dynamic
harmony between CMA brand elements, exhibition design
elements, and the featured work of art.
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Type Color
Title: White
Other: follows exhibition design
Rack Brochures:
3.10
Title Line 1
Title Line 2
16/17 Subtitle

3.39
The Cleveland Museum Of Art Members Magazine
JAN/FEB 2013
Film
November/December 2014
Experience:
Medium/Large Brochures
Medium: 5.75x10.5 vertical
Large: 8.5x11 vertical
The medium and large brochure formats allow for a
greater volume of content than the typical rack brochure, such
as for season schedules and programs.
Note: Spectrum color pairs are derived from film and
performance imagery in the same way they are derived from
painting, prints, photography or images of sculpture.
Large Brochure:
3.13
Medium Brochure:
3.12
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Type Color
Title, subtitle: White
Title Line 1
Title Line 2
Subtitle/Dateline
Title Line 1
Title Line 2
Subtitle/Dateline
CMA Performing
Arts Series
2013 / 2014
3.40
Chairman, Womens Council,
The Cleveland Museum of Art
11150 East Boulevard
Cleveland OH 44106-1797
www.clevelandart.org
rear of brochure
C
Th
111
C
w
re ea
supergraphic does
not violate the brand
mark clear space
If the brochure cover features a work of
art, the color choices for the CMA brand
mark and the background field reflect the
Spectrum approach; otherwise a CMA
Core Color pair is to be used. An affiliate
groups identifying graphic may appear as
a supergraphic cropped by the edges of
the color field. The affiliate graphic may
wrap across the fold to the back of the
brochure and/or may appear in complete
form in the rear footer, as shown at right.
Womens
Council of
CMA
Experience:
Affiliates Brochures-
Use of Supergraphic
Rack, 4x9 vertical
Affiliate groups provide focused, social channels for
members to engage more deeply with CMA via their specific
interests. Some of the affiliate groups are their own 501(c)(3)
organizations and some have their own emblems or logotypes.
While the affiliate groups materials include brochures,
websites, stationery, event announcements, emails, newsletters,
etc., usage of the CMA brand mark and visual system should
be reserved for items that are available on-site at the museum
to ensure a consistent CMA brand expression. Specifically,
this includes informational/membership rack brochures for
each group. All other communications materials from the
affiliates should avoid use of the CMA brand mark or visual
elements. However, a line of copy such as An affiliate group of
the Cleveland Museum of Art is encouraged.
Gotham Book
Spectrum:
3.05, 3.22-3.24
Supergraphics:
3.20
Clear Space:
1.02
Type Color
Title, rear of
brochure:
White
Rack Brochures:
3.10
Title Line 1
Title Line 2
16/17 Subtitle

3.41
Special event brochures may
display non-CMA standard type
for the main title as the event
theme and proprietary design
may change from year to year.
Note: the examples shown on
this page are illustrative, not
actual brochures.
Orientation:
Special Events Brochures
Rack, 4x9 vertical
CMA-sponsored special events are dynamic and colorful
experiences which also serve to introduce the museum to
the public within the context of interactive creativity. These
brochures therefore belong to the range of Orientation literature
such as promotion cards (see 3.32) utilizing CMA Core
Colors, as they do not directly reference the museum
environment, collection or performance offerings.
Event dates may be indicated in the optional line position at the
top left in the brand bar or brand field (see 3.10). This reduces
the amount of text overprint on the image, and gives the date
some useful prominence.
Gotham Book
Clear Space:
1.02
Core Colors:
2.02, 3.04
Type Color
Title, information: White
Spe
dissp
forr t
theem
ma ay
No ot
this
acttu
June 8
CMA presents
Clevelands Signature Summer
Arts Event
Ju un
CM MA
Cleev
Arrts
September 20 & 21
Chalk Festival
Rack Brochures:
3.10
Title Line 1
Title Line 2
16/17 Subtitle

3.42
Ingalls Library Learn and Do Distance
Learning
Orientation:
Departmental Brochures
Rack, 4x9 vertical
Departmental Brochures describe CMAs offerings
beyond the galleries and perfomance venues: its library,
educational departments. These departments provide
ancillary activity for museum visitors and members, and
their communications do not directly reference works of

visual art or performance; their brochures are therfore
considered Orientation literature, and display CMA Core
Colors. Images should be selected with the Core Colors
in mind.
Gotham Book
Clear Space:
1.02
Core Colors:
2.02, 3.04
Type Color
Title: White
Rack Brochures:
3.10
Title Line 1
Title Line 2
16/17 Subtitle

3.43
Gestural Drawing in the
Atrium and Galleries
Pisicing elit, sed eiusmod tempor
incid dunt ut enim aliqua. Duis
aute irure dolor in reprehenderit in
voluptate velit esse cillum dolore
eu fugiat nulla pariatur. Ut enim ad
minim veniam, quis nostrud
exercitation ullamco com modo
consequat laboris nisi ut aliquip ex
ea commodo consequat. Lorem
ipsum duis aute irure
dolor velit.
REGISTRATION
Ut enim ad minim veniam, quis
nostrud exercitation duis aute
irure dolor in reprehenderit
ullamco commodo consequat
laboris nisi ut aliquip ex ea
commodo consequat. Lorem
ipsum duis aute irure dolor velit.
CANCELLATI ON
nostrud exercitation duis aute irure
dolor in reprehenderit ullamco
commodo consequat laboris nisi
WINTER ADULT STUDIOS
adipisicing elit, sed eiusmod
tempor incid dunt ut enim.
Drawing in the Galleries
Adipisicing elit, sed eiusmod
tempor incid dunt ut enim aliqua.
Duis aute irure dolor in
reprehenderit in voluptate velit
esse cillum dolore eu fugiat nulla
pariatur. Duis aute irure dolor in
esse cillum fugiat nulla pariatur.
Printmaking
nostrud exercitation ullamco com
modo consequat laboris nisi ut
aliquip ex ea commodo consequat.
Lorem ipsum duis aute irure
dolor velit.
Composition in Oil
nostrud exercitation ullamco
commodo consequat laboris nisi ut
velit adipisicing elit, sed eiusmod
pariatur. .
Introduction to Drawing
ut aliquip ex ea commodo
consequat. Lorem ipsum duis
aute irure dolor velit.
Traditional Portraits in Oil
esse cillum fugiat nulla pariatur. Ut
enim ad minim veniam, quis
Lorem ipsum duis aute irure dolor
velit.Lorem ipsum duis aute
irure dolor
Wednesday Morning Watercolor
Lorem duis aute irure dolor velit.
Watercolor in the Evening
Dipisicing elit, sed eiusmod
Duis in voluptate velit esse cillum
dolore eu fugiat nulla pariatur.
Painting for Beginners,
Oil and Acrylic
Adult Classes
Winter 2014
Title:
48pt Gotham Book
Dateline:
14/19 Gotham Book
CAPS & u/lc flrr
Subheads:
11/14 Gotham Narrow Medium
Body Text:
10/14 Palatino Regular
u/lc flrr
Orientation:
Department Program
Sheets
8.5x11 vertical
Internally-printed program sheets diplayed in the
museum use the CMA information sheet format. This format
incorporates the blank borders generated by inkjet or laser
printers and provides an alternative to the standard brand bar
format indicated for newsletters.
The masthead, including the CMA brand mark, are printed in a
bright Core Color; the color choice should be indicated by any
image prominently reproduced on the sheet.
Gotham Book
Gotham Narrow Medium
Palatino Regular Clear Space:
1.02
Title
Information Sheet:
3.15
Core Colors:
2.02, 3.04
Type Color
Masthead:
Core Bright
Body: Black w/Core
Bright highlights
3.44
Gestural Drawing in the
Atrium and Galleries
Pisicing elit, sed eiusmod tempor
incid dunt ut enim aliqua. Duis
aute irure dolor in reprehenderit in
voluptate velit esse cillum dolore
eu fugiat nulla pariatur. Ut enim ad
minim veniam, quis nostrud
exercitation ullamco com modo
consequat laboris nisi ut aliquip ex
ea commodo consequat. Lorem
ipsum duis aute irure
dolor velit.
REGISTRATION
nostrud exercitation duis aute
irure dolor in reprehenderit
ullamco commodo consequat
laboris nisi ut aliquip ex ea
commodo consequat. Lorem
CANCELLATI ON
WINTER ADULT STUDIOS
adipisicing elit, sed eiusmod
tempor incid dunt ut enim.
Drawing in the Galleries
Printmaking
Lorem ipsum duis aute irure
dolor velit.
Composition in Oil
velit adipisicing elit, sed eiusmod
pariatur. .
Introduction to Drawing
Traditional Portraits in Oil
esse cillum fugiat nulla pariatur. Ut
enim ad minim veniam, quis
velit.Lorem ipsum duis aute
irure dolor
Wednesday Morning Watercolor
Lorem duis aute irure dolor velit.
Watercolor in the Evening
Dipisicing elit, sed eiusmod
Duis in voluptate velit esse cillum
dolore eu fugiat nulla pariatur.
Painting for Beginners,
Oil and Acrylic
Adult Classes
Winter 2014
When generating documents
via inkjet or laser printer, avoid use
of the brand bar; the presence of
the white border around the brand
bar reduces the size and impact of
the CMA brand mark.
Orientation:
Department Program
Sheets-
Incorrect Application
8.5x11 vertical
Gotham Book
Palatino Regular Clear Space:
1.02
Core Colors:
2.02, 3.04
Type Color
Masthead:
Core Bright
Body: Black w/Core
Bright highlights
3.45
Forty-Part Motet
A sound installation by Jane Cardiff
From the collection of the National Gallery of Canada, Ottawa
May 4-June 9, 2013
Title on One Line Title on One Line
Equivalent of
PANTONE Cool Gray 1
or lighter
Clear Space:
1.02
Special Installation Brochure:
3.17
Special Installation
Brochure:
Contemporary Arts
Installation Series
7x8 vertical
The Contemporary Arts Installation Series Brochures
are unique in the CMA visual brand system in that they are
part of the installation environment and are set apart from the
other brochures on display in the museum. Their minimal style
and the lack of a front cover image serve to enhance the element
of surprise and drama inherent in the Installation Series works.
The cover stock and the overall dimensions are distinct from the
rest of the museum literature.
Points of consistency with the other museum brochures include
the size and location of the CMA brand mark, use of CMA fonts,
and the application of the Incandescence principle (the CMA
brand mark appears in a lighter shade of the cover stock color
through foils, screenprinting or other reproduction methods).
Gotham Book
Palatino Regular
Type Color
Title, description: Black
3.46
WARI
Circles Reception
Circles Reception
IN AMERICA
YOUTH
AND
BEAUTY
Header
In cases where it is not possible to overprint
type or other visual elements on imagery, the
brand bar may be used if it is closely matched
to a background value in the image.
See 3.49 for use of Spectrum color in
Reengagement literature.
Circles Reception
Reengagement:
Special Exhibitions-
Invitations to Donors
5x7 vertical
Invitations to exclusive viewings of special exhibitions are
extended to CMA members and donors. Since these are not
displayed in the museum and offered to regular visitors, they
constitute Reengagement communications for audiences
already familiar with CMA and its offerings.
For these recipients, the subject of the exhibition, and therefore
the image area, is the priority of the communication, and
museum brand elements are minimized, relative to literature
seen in the context of the museum environment.
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Exhibition Invitation:
3.18
Type Color
Header: Spectrum selection,
matches brand mark
Other: follows exhibition design
3.47
WARI
Circles Reception
Circles Reception
IN AMERICA
YOUTH
AND
BEAUTY
Circles Reception
Reengagement:
(Image and Clear Space)
Reengagement communications are one of the few
areas of the CMA visual brand system where the brand mark
may appear against an image and not on a solid color, such
as a brand bar or larger field. In such cases, care must be taken
to crop or position the image and other visual elements so as to
respect the clear space and the visual integrity of the CMA
brand mark.
Compare the examples below with the acceptable layouts
shown on the previoius page.
Gotham Book
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
3.48
Reengagement:
(Use of Spectrum Color)
Reengagement communications are an area of the CMA
visual brand system which indicate use of the Spectrum
approach while typically excluding the use of the brand bar or
brand field on which to stage the CMA brand mark.
On donor invitations, the brand mark appears without the
brand bar or solid color field, so a single color, not a pair, is
extrapolated from the work of art reproduced. The color
chosen must give the brand mark adequate contrast against
the background image.
Spectrum:
3.05, 3.22-3.24
3.49
Title
Title
The Cleveland Museum Of Art Members Magazine
JAN | FEB 2013
Reengagement:
Cleveland Art Magazine
8.5x11 vertical
Cleveland Art magazine is distributed to museum
members and is not typically on display alongside rack
brochures within the museum. The absence of the brand bar
identifies the magazine as a post-visit or Reengagement
communication, the cover of which serves to promote and
highlight a current special exhibition or otherwise topical
museum offering.
The CMA brand mark and secondary masthead text are
matched to the featured image through the Spectrum color
approach, as it is utilized for invitations to donors
(see previous page, 3.49).
Magazine:
3.19
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Gotham Family Type Color
Header: Spectrum selection,
matches brand mark
Title: White
3.50
Julius L. Greenfield
Endowment Fund Purchases
Art by Photojournalists
Lorem ipsum dolor sit amet, consect
adipisicing elit, sed eiusmod tempor incid
dunt ut enim aliqua. Duis aute irure dolor in
reprehenderit in voluptate velit esse cillum
dolore eu fugiat nulla pariatur. Duis aute
irure dolor in reprehenderit in voluptate velit
Ut enim ad minim veniam, quis nostrud
exercitation ullamco commodo consequat
laboris nisi ut aliquip ex ea commodo
consequat. Lorem ipsum duis aute irure
dolor velit. Duis aute irure dolor in
fugiat nulla pariatur.
Ut enim ad minim eiusmod tempor incid
dunt ut enim aliqua. Duis aute irure dolor in
dolore eu fugiat nulla pariatur. Duis aute
irure dolor in reprehenderit in voluptate velit
exercitation ullamco consequat laboris nisi
ut aliquip ex commodo consequat. Lorem
exercitation ullamco consequat laboris nisi
ut aliquip ex commodo consequat. Lorem
Lasting Legacies
An educational newsletter for donors and friends of the Cleveland Museum of Art
Spring 2014
Newsletter Format:
3.14
Orientation:
Donors Newsletter
8.25x10.5 vertical
Newsletters to donors are educational in focus and
therefore serve in the same Orientation capacity as departmen-
tal communications, rather than evoking the visitor experience
or promoting a specific exhibition.
The brand bar with brand mark at the top of the front page
doubles as a masthead, and the Core Color pair which most
closely matches the most prominent cover image is applied.
Gotham Family
Core Colors:
2.02 3.04
Newsllett tter FFormatt:
Masthead
Type Color
Masthead, tagline: White
Dateline: Core Dark of selected pair
Headlines, body: Black, w/highlights in
Core Bright of selected pair
3.51
Environmental Branding
Exterior Signage
Interior Signage
Conventionally, wayfinding and
identification signs are seen as self-
contained sets of architectural or
environmental details with a nominal
connection to an organizations branded
communications; often the only common
elements are a static treatment of
the logo, the primary font, and a limited,
mostly neutral palette.
As can be seen at the top of the Orientation/
Experience column on page 3.01, signage is
considered an intrinsic part of the Cleveland
Museum of Arts brand experience; this
section shows how the CMA identity,
exhibition graphics, visitor literature, and
internal wayfinding integrate through
environmental branding.
This section includes:
Exterior signage:
Renderings of banners for the
museum exterior
Interior wayfinding signage:
Recommendation for integration
with guide maps
Basic specifications
Renderings of notional placement
of wayfinding signage in CMA
atrium space
(216) 707-2264
4.00
Clear Space:
1.02
clear space cccccccccccccccccccccccccccccccccccccccccccccccccccccccccccllllllllllllllllllllllllllllllllllllllllllllllllllllllleeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaarrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssspppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaacccccccccccccccccccccccccccccccccccccccccceeeeeeeeeeeeeeeeeeeeeeeeeee
North Wing galleries now open.
Come see amazing. www.clevelandart.org
Exterior Signage:
Identity and
Promotional Banners
(CMA Collection)
The CMAs external facade banners are an expression of
the relationship between the CMA brand identity and the visitor
experience; as a configuration of brand mark and image they
are uniquely modular within the CMA visual brand system.
in their particularsthe permanent Core Blue of the brand
mark, the changing image bannerthey are more analogous to
the CMA web site homepage or general museum advertising;
the external banners fall within the Awareness phase of the
brand (see 3.03).
The brand mark is staged within a square banner slightly larger
than the clear space to allow for the URL or simple messaging
(taglines, etc.) at the footer. The image banner announces an
event with highly visible but low impact text, also at the foot,
and clear of the larger portion of the image.
Gotham Book
Gotham Bold
Core Blue:
2.01, 3.03
4.01
Come see amazing.
Come see amazing.
N
O
R
T
H
W
IN
G
G
A
L
L
E
R
IE
S
N
O
W

O
P
E
N
.
C
O
M
E
S
E
E
A
M
A
Z
IN
G
.
Come see amazing.
N
O
R
T
H
W
IN
G
G
A
L
L
E
R
IE
S
N
O
W

O
P
E
N
.
C
O
M
E
S
E
E
A
M
A
Z
IN
G
.
Come see amazing.
Exterior Signage:
Promotional Banners-
Image and Type
(CMA Collection)
Exterior banners promoting the CMA collection are
intended to be straightforward and quickly and easily
comprehended. Below are unacceptable (and one acceptable)
configurations of the CMA image banner. Type should not
obscure the middle of the image, or be applied in a non-
standard style (wrong font, all caps, skewed, etc.)
The image should not be radically cropped if it is of a
representational figure or object (i.e. meaning or identification
must not be obscured); a detail of a pattern is acceptable if
legibility of overprinting text is optimized by the introduction of
a gradient tint layer (see 3.36, 6.31).
Gotham Book
Gotham Bold
4.02
Exterior Signage:
Identity and
Promotional Banners
(Special Exhibition)
The layout of a banner promoting a special exhibition is
determined by the established exhibition standards.
The appearance of the CMA brand identity banner remains
the same.
Gotham Book
Gotham Bold
Clear Space:
1.02
Core Blue:
2.01, 3.03
4.03
North Building
1916 Building
(South)
East
Wing
West
Wing
Atrium
Level 2
African
Ancient American
Japanese
Korean
Ingalls Library
Level 1
Information
Special Exhibition Tickets
Coat Check
Auditorium
Courtyard
Lifelong Learning Center
Museum Store
Visitors Lounge
Main Building Entry
North Wing
Level 2
European Art:
16th Century
17th Century
18th Century
Tapestry Court
Armory Court
Rotunda
South Building Entry
Level 1
Early Christian & Byzantine
Medieval
Early Renaissance
Northern Italian Renaissance
Egyptian
Ancient Greek & Roman
South Wing
Level 2
American & European
Sculpture
Cleveland School
Contemporary Art
Impressionism &
Post-Impressionism
Modern Art
Post-1945 Craft
19th Century American Art
East Terrace
Level LL
Special Exhibition Gallery 1
Levels LL to 2
East Elevators
East Escalator
East Wing
Level 2
Chinese
Himalayan
Indian/Mughal
Islamic
Southeast Asian
West Terrace
Level 1
Provenance
Caf & Restaurant
Levels 1 to 2
West Elevators
West Escalator
West Wing
Interior Signage:
Visitor Guide Map and
Wayfinding Panels
Museum visitors can get their bearings in the vast space
of the CMA atrium by cross-referencing Core Color-coded maps
(below, left) in the Visitor Guide brochure and the ArtLens app
with highly visible, eight-foot tall, freestanding panels stationed
at the appropriate cardinal points.
Core Colors:
2.02, 3.04
Clear Space:
1.02
Gotham Bold
Gotham Narrow Bold
Gotham Narrow Book
4.04
Level 2
African
Ancient American
Japanese
Korean
Ingalls Library
Level 1
Information
North Wing
Level 2
Europoen Art:
16th Century
17th Century
18th Century
Tapestry Court
Armory Court
Rotunda
South Wing North Wing
Level 2
Europoen Art:
16th Century
17th Century
18th Century
Tapestry Court
Armory Court
Rotunda
Level 2
African
Ancient American
Japanese
Korean
Ingalls Library
Level 1
Information
Level 2
African
Ancient American
Japanese
Korean
Ingalls Library
Level 1
Information
Coat Check
Auditorium
Courtyard
Lifelong Learning Center
Museum Store
Visitors Lounge
Main Building Entry
North Wing
30
89.25
7.5
25
5.5
baseline
Interior Signage:
Wayfinding Panels
Each direction is identified by a bold initial letter (N for
North, etc.) displayed at the top of the sign panel, as well as by
the color assigned to that cardinal point. The letter is set in the
CMA primary typeface family font Gotham Bold.
Core Colors:
2.02, 3.04
Gotham Bold
Gotham Narrow Bold
Gotham Narrow Book
4.05
Interior Signage:
Wayfinding Panels
These renderings approximate the appearance of the four
directional panels in positions identifying each of the four
wings or buildings of the museum. Color and initial letters give
the panels high visibility even across the greatest distances in
the museum atrium.
Core Colors:
2.02, 3.04
Gotham Bold
Gotham Narrow Bold
Gotham Narrow Book
4.06
Other On-Site
Branding
CMA Books
Merchandise
Uniforms
A major area of brand dissemination for
CMA is the Museum Store. Here the visitor
is offered an opportunity to revisit and
commemorate a powerful encounter with
artthrough books, reproductions and gift
items which the visitor browses through
and/or takes homes.
What the visitor also takes away from
the Museum Store is a sense of how the
Cleveland Museum of Art sees itself, through
the variety of branded merchandise. The
visual system introduced by rack brochures
and other items in the galleries is reinforced
by the sight of Core Colors on general
museum merchandise, and the use of
Spectrum colors on items pertaining directly
to the collection or special exhibitions.
A subtle brand message is also reinforced
through the treatment of the museum brand
mark and the judicious use of any secondary
visual brand motifs.
Specifications for brand usage on
CMA imprint books
Use of the band pattern as a
decorative brand element
Reproduction of the brand mark on
smaller merchandise
Identification badges and uniform
brand applications for museum
personnel
Use of Core vs. Spectrum color
throughout
Incorrect applications

(216) 707-2264
5.00
Clear Space/
Min. Size: 1.02
Other On-Site
Branding
CMA Books
Consistency in brand application is particularly challenging in the
case of book spine imprint marks. The CMA brand mark must be readily
legible on the thinnest pamphlets as well as on the heaviest coffee table
hardcovers. Given the variety of size applications, care should be taken to
keep the position of the brand mark consistent. In the schematic below,
the various CMA brand marks are positioned a quarter inch from the top
of the spine. The bottom of the spine is reserved for the emblem of a given
publishing partner. Note: the design specifications on 5.01-5.03 are subject
to any terms of agreement between CMA and a given publishing partner.
Maximum and minimum sizes are given; the clear space is observed
throughout, but on spines narrower than .5 the lockup rule is violated: the
symbol is printed without the logotype, which would be mostly illegible
below the brand marks minimum size. For spines .3 and narrower the
symbol is turned and applied vertically.
.25
to top
of spine
Standard brand mark
and clear space
Symbol only: use limited
to a few of the smallest
branding applications
.27
!
150% scale
111. 1.5 5 55 1111 66 .6 .66 6 66 55 .5 .5
.
33
!
Lockup
Exception
.75
maximum maximum
width, width
standard
brand mark
.6 .4
minimum minimum
width, width
standard
brand mark
.3
minimum, minimum
width, width
symbol
only
(horiz.)
5.01
Spectrum:
3.05, 3.22-3.24
Other On-Site
Branding
CMA Books:
Book Spine with
Front Cover Image
In cases where the front cover of a CMA book is illustrated by a
full-bleed image, as is typical of large art books, the spine is treated as a kind
of vertical brand bar, and a Spectrum-derived color pair is applied, based on
colors native to the front cover image.
Gotham family fonts are recommended (though not mandated) for CMA
imprint publications, to maintain visual consistency with other CMA
communications on display throughout the museum. A greater variety of
typographic styles is allowed on the books than on brochures, including all
caps, as in the notional designs on this page and the next.
Gotham Family
Clear Space:
1.02
Type Color
Titles: White
5.02
Spectrum:
3.05, 3.22-3.24
Other On-Site
Branding
CMA Books:
Book Spine with
Wraparound Image
In the case of imagery which wraps around the spine of a book,
the brand treatment is similar to that on invitations for special exhibitions
(see 3.47). While there is no brand bar, the brand mark is rendered in a
color harmonious with the front cover.
Gotham Family
Clear Space:
1.02
Type Color
Titles: White
5.03
Other On-Site
Branding
Merchandise:
Use of Solid Core Colors
The incandescent approach to color, utilized throughout the CMA
literature system, would achieve a new level prominence if applied
to personal wear and gift items in th Museum Store. Of course, in the case of
fabrics, the colors are subject to availability from vendors; in such a case it is
acceptable to follow the spirit of the CMA Core Color system if not the letter.
Clear Space:
1.02
Core Colors:
2.02, 3.04
5.04
2015 Calendar 2015 Calendar
2015 Calendar 2015 Calendar
Other On-Site
Branding
Merchandise:
Use of Spectrum
Color
Of course the many printed items in the Museum Store which are
associated with the museum collection or with a current special exhibition
would be subject to the application of the brand bar configuration and the
Spectrum color approach, as shown in the notional calendar cover designs
below. Stylistically, they are most closely related to CMA newsletters
(see 3.14). As the calendar is primarily a vehicle for the presentation of
works of art, title text appears in the brand bar.
The calendar is also allowed some stylictic distinctiveness as a consumer
purchase item rather than a marketing or informational piece, such as title
text set in a weight other than Gotham Book.
Clear Space:
1.02
Spectrum:
3.05, 3.22-3.24
Gotham Family Type Color
Titles: White
5.05
clear space
x
x
CORE BLUE CORE COLORS
CORE GRAY TI NTS OF COOL GRAY 10
CGRAY 10 100
60 | 70 | 80
100
60 | 70 | 80
CGRAY 5
TI NTS OF COOL GRAY 5
12 bands: maximum for standard print sizes
Other On-Site
Branding
Merchandise:
Use of Band Pattern
in Core Colors
The band motif is an optional visual brand element which is intended for
very narrow use within the CMA brand system. It is used in lieu of the brand
mark for patterns or decorative applications such as Museum Store bags or
gift items such as clothing and accessories. The CMA brand mark is not
intended for use in any decorative capacity, such as random textures
or patterns.
The brand mark should be positioned on a single band to appear as it does
when applied to a brand bar. The minimum and maximum parameters on
the number of bands in a single application are designed to allow for a brand
bar-style application of the brand mark.
Clear Space:
1.02
Core Colors:
2.02, 3.04
5.06
5 bands: minimum
Other On-Site
Branding
Merchandise:
Small Reproductions of
the Brand Mark
The smallest applications present some of the more challenging technical
and visual consistency issues in a brand identity system. In the example
below, the .4 minimum width for the brand mark holds for the fountain
pen, but proves impossible for a typical 8mm gauge pencil.
In such a case an exception is made to the lockup rule here in order to
implement the museum name in a legible and technically feasible manner.
Clear Space:
1.02
Core Colors:
2.02, 3.04
.4
minimum
The name and symbol
are set apart to minimize
the appearance that this
application represents an
alternate lockup.
Lockup
Exception
!!
5.07
John Surname
Grounds Crew
Staff
John Surname
Acme Interiors
Contractor
John Surname
Library
Volunteer
Name Surname
Position
Category
Jane Surname
Conservation
Intern
Jane Surname
Finance Committee Chair
Trustee
Jane Surname
Distance Learning
Work Study
.25 .7
clear space
.98
14pt
.125
.125
23pt
Gotham Book
u/lc flrr
11/14
Gotham Book
u/lc flrr
Other On-Site
Branding
Identification Badges
3.25x2 horizontal, 100% scale
The design for identification badges serves a dual purpose: to continue
the color-coded system previously in place while reinforcing the presence of
the CMA brand identity in the museum environment through the application
of the new Core Color palette. The use of the brand bar also echoes the brand
system literature on display throughout the museum.
The colors indicated for each personnel category correspond roughly
to the previous palette, except for Work Study, which is rendered in
CMA Core Gray.
Core Colors:
2.02, 3.04
Clear Space:
1.02
Gotham Book Type Color
Categories: White
Names/Positions: Black
5.08
clear space
Other On-Site
Branding
Uniforms
Core Colors:
2.02, 3.04
Spectrum:
3.05, 3.22-3.24
As with badges, CMA uniforms present an opportunity to reinforce
the CMA visual brand system for both visitors and museum personnel.
The Spectrum color approach may be applied when the available materials
preclude use of Core Color equivalents. The large examples A and B
approximate the previous generation of staff garment colors: navy blue polo
shirts for housekeeping, moss green hoodies for grounds and maintenance
crews, with the appropriate brighter shade for the emroidered CMA brand
mark. The smaller examples indicate Core Color equivalents, if available.
Shown in example C is a steel lapel pin appropriate for the more formal wear
of Protection Services staff and security managers.
Clear Space:
1.02
Navy A B C Moss
CMA Core
Bright/Dark
Gray
CMA Core
Bright/Dark
Blue
CMA Core
Dark Gray
on Black
CMA Core
Bright/Dark
Green
CMA Core
Bright/Dark
Gray
lapel pin
.75 to 1
wide
embroidered
brand mark
1.5 to 2
wide
5.09
Gotham Family
CMA
2015 Calendar
2015 Calendar
Do not substitute the CMA
acronym for the brand mark.
Do not exclude the brand
mark when applying other
brand elements.
Do not isolate brand mark
components when applying
at minimum size or larger.
Do not crop the brand
mark in a supergraphic
treatment.
Do not apply arbitrary
colors unrelated to the
imagery used.
When using the band
pattern, observe the
maximum number of bands
specified to avoid a
pinstripe effect.
Do not apply the brand
mark in a holding shape; if
applying brand mark on a
label, follow 3.16 and print
Core Bright Blue on white.
Use CMA Core Colors in the
absence of imagery.
Avoid pattern or texture
treatments of the brand
mark.
Do not use substitute fonts
in lieu of CMA primary or
secondary type families.
Other On-Site
Branding
Incorrect Applications
Clear Space:
1.02
Core Colors:
2.02, 3.04
Spectrum:
3.05, 3.22-3.24
5.10
Operational
Communications
Stationery
Forms
Presentations
6.00
While the Cleveland Museum of Art visual
brand is driven by promotional and visitor-
facing communications, its elements must
carry over into the museums administrative
and outreach operations as well.
Properly implemented CMA presentations
and correspondence will reinforce our brand
for recipients who have prior awareness of it
via external communications and/or who
have directly experienced the museum
environment.
The CMA brand is expressed in words
as well as images. While our presentations
are an effective vehicle for both, in this
section we demonstrate how stationery
can provide a secondary platform for
disseminating our vision message.
(216) 707-2264
Layout and type specifications
for presentations
Specifications for essential U.S. format
stationery:
- Standard/personalized letterhead
- #10 envelope
- Business card
- Memo
Basic guidelines for use of brand
elements on forms
For the benefit
of all the people
forever.
For the be benefit
of of aall ll tthhe peop
forever.
Jane Surname
Primary Title and
Secondary Title
T 216 000 0000
F 216 000 0000
jsurname@clevelandart.org
Operational
Communications:
Stationery
With the simplicity required of any vehicle for business
correspondence, the CMA Stationery system presents the CMA
brand mark on its own, outside the context of artwork or the
museum experience; yet the placement of its brand elements
echoes the layout of the CMA literature system. The brand mark
is anchored at upper right, and the block of information text is
to the far left (except on the envelope, which must conform to
U.S. postal regulations).
The back of the business card may be utilized as an opportunity
for presenting pull quotes from CMAs vision statement, or
other messaging which represents the museums mission and
philosophy.
6.01
May 21, 2015
Mr. Jonathan B. Jonas
The Smythe Agency Ltd
456 Broad St.
Suite 123
Chicago, IL 121212
Dear Ms. Smythe:
Ut enim ad minim veniam, quis nostrud exercitation ullamco commodo consequat
laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum duis aute irure dolor
velit. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum fugiat nulla
pariatur. Ut enim ad minim veniam, quis nostrud exercitation ullamco commodo
consequat laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum duis aute
irure dolor velit. Lorem ipsum dolor sit amet, consect adipisicing elit, sed eiusmod
tempor incid dunt ut enim aliqua. Duis aute irure dolor in reprehenderit in voluptate
velit esse cillum dolore eu fugiat nulla pariatur. Duis aute irure dolor
May 21, 2015
456 Broad St.
Suite 123
Chicago, IL 121212
Dear Ms. Smythe:
co cons nseq equa uatt la labo bori riss ni nisi si uutt al aliq iqui uipp ex ex eeaa co comm mmod odoo co cons nseq equa uat. t. LLor orem em iips psum um ddui uiss au aute te
velit esse cillum dolore eu fugi g at nulla ppariatur. Duis aute irure dolor
Operational
Communications:
Stationery-
Standard Letterhead
8.5x11 vertical, 100% scale
The Standard CMA Letterhead uses a single color: the
uncoated option for CMA Core Bright Blue, which is reserved
for the brand mark in Awareness phase communications.
The recommended body text typeface for CMA correspondence
is Palatino; Times Roman may be substituted.
6.02
10/13 Gotham Book u/lc flrr
fold
1
1
1.2
1
x
y
y
1
x
base alignment
fold
Letter content:
12/16 Palatino Regular u/lc flrr
(recommended)
base alignment
Gotham Bold
Gotham Book
Palatino Reg Core Bright Blue
2.01
Core Bright Blue
2.01
P 298 U
The Personalized CMA Letterhead uses two colors:
the uncoated option for CMA Core Bright Blue, the default color
for the brand mark, used here for the information block as well,
and the uncoated option for CMA Text Gray, used here for
personnel name and title.
Operational
Communications:
Stationery-
Personalized Letterhead
6.03
May 21, 2015
456 Broad St.
Suite 123
Chicago, IL 121212
Dear Ms. Smythe:
consequat laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum duis aute
velit esse cillum dolore eu fugiat nulla pariatur. Duis aute irure dolor
May 21, 2015
456 Broad St.
Suite 123
Chicago, IL 121212
Dear Ms. Smythe:
co cons nseq equa uatt la labo bori riss ni nisi si uutt al aliq iqui uipp ex ex eeaa co comm mmod odoo co cons nseq equa uat. t. LLor orem em iips psum um ddui uiss au aute te
velit esse cillum dolore eu fugi g at nulla ppariatur. Duis aute irure dolor
10/13 Gotham Bold u/lc flrr
1 line space
fold
1
1
1.2
1
x
y
y
1
x
base alignment
fold
Letter content:
(recommended)
Jane Surname
Primary & Secondary Title
base alignment
Gotham Bold
Gotham Book
Palatino Reg
P Cool Gray 9U
Core Bright Blue
2.01
Core Dark Gray
2.02
P 298 U
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum et sagittis leo.
Donec aliquet pulvinar magna, vel lobortis nisl pulvinar in. Aliquam imperdiet ante
ut metus pulvinar pharetra. Pellentesque habitant morbi tristique senectus et netus
et malesuada fames ac turpis egestas. Pellentesque at felis cursus, dictum justo in,
scelerisque diam. Etiam fermentum lobortis posuere.
Cras non sem lobortis, posuere velit nec, accumsan leo. Sed semper pharetra
vulputate. Vestibulum et vulputate nisl. Donec lacinia molestie cursus. Maecenas
felis est, adipiscing ut semper ac, imperdiet quis leo. Fusce ac commodo dui.
Sed ut volutpat lorem.
Vestibulum vitae risus nulla. Nulla molestie congue aliquet. Nam mattis dapibus
vulputate. Suspendisse quis ipsum quam. Mauris pulvinar lobortis tellus. Sed eget
pulvinar nunc. Curabitur non lacus sit amet leo tempor mollis non vel libero. Nulla
pretium felis diam, ac semper tellus venenatis nec. Sed egestas elementum nunc,
varius lacinia dui tempus eu. Nulla vulputate metus nec vestibulum mollis. Sed ac
libero sed justo pretium facilisis quis sit amet massa. Aenean quis lorem ut massa
egestas iaculis. Aenean et urna et massa dapibus sagittis. Pellentesque viverra
placerat quam eu rhoncus. Morbi accumsan porttitor nunc, a vulputate ligula
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum et sagittis leo.
Donec aliquet pulvinar magna, vel lobortis nisl pulvinar in. Aliquam imperdiet ante
ut metus pulvinar pharetra. Pellentesque habitant morbi tristique senectus et netus
et malesuada fames ac turpis egestas. Pellentesque at felis cursus, dictum justo in,
scelerisque diam. Etiam fermentum lobortis posuere.
Cras non sem lobortis, posuere velit nec, accumsan leo. Sed semper pharetra
vulputate. Vestibulum et vulputate nisl. Donec lacinia molestie cursus. Maecenas
felis est, adipiscing ut semper ac, imperdiet quis leo. Fusce ac commodo dui.
Sed ut volutpat lorem.
Vestibulum vitae risus nulla. Nulla molestie congue aliquet. Nam mattis dapibus
vulputate. Suspendisse quis ipsum quam. Mauris pulvinar lobortis tellus. Sed eget
pulvinar nunc. Curabitur non lacus sit amet leo tempor mollis non vel libero. Nulla
pretium felis diam, ac semper tellus venenatis nec. Sed egestas elementum nunc,
va vari rius us llac acin inia ia ddui ui ttem empu puss eu eu.. Nu Null llaa vu vulp lput utat atee me metu tuss ne necc ve vest stib ibul ulum um mmol olli lis. s. SSed ed aacc
libero sed justo pretium facilisis quis sit amet massa. Aenean quis lorem ut massa
egestas iaculis. Aenean et urna et massa dapibus sagittis. Pellentesque viverra
pl p acerat qquam eu rhoncus. Morbi accumsan pporttitor nunc, a vulpu p tate lig gula
1
1.2
x
y
y
1
x
The CMA 2nd Sheet uses one color: the uncoated option
for CMA Core Bright Blue, the default color for the brand mark.
See next page, 6.05 for other operational uses of the CMA
2nd sheet. The recommended body text typeface for CMA
correspondence is Palatino; Times Roman may be substituted.
Operational
Communications:
Stationery-
2nd Sheet

6.04
Letter content:
(recommended)
1
base alignment
fold fold
1
Palatino Reg
Core Bright Blue
2.01
P 298 U
For such items with negligible or no body content, Gotham
Book is recommended. Helvetica or Arial may be substituted if
Gotham is unavailable on the system generating the document.
As a ready-made proper staging of the CMA brand
mark, the 2nd sheet may be used for miscellaneous internal
items such as impromptu forms and covers for meeting packets,
as shown in the example below.
1
1.2
x
y
y
1
x
x-height-to-base alignment
Name of Convening Body
Date, Time
Location
Operational
Communications:
Stationery-
2nd Sheet, Repurposed

6.05
Title: 35pt Gotham Book u/lc flrr
Information block: 10/13 Gotham Book u/lc flrr
Meeting
base alignment
P 298 U
Core Bright Blue
2.01
Gotham Book
Jane Surname
Robert Jones
P. Picman, D. Langley, H. Thaler
May 21, 2015
The Mix Planning Committee Meeting
Ut enim ad minim veniam, quis nostrud exercitation ullamco commodo
consequat laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum
duis aute irure dolor velit. Duis aute irure dolor in reprehenderit in
voluptate velit esse cillum fugiat nulla pariatur. Ut enim ad minim veniam,
quis nostrud exercitation ullamco commodo consequat laboris nisi ut
aliquip ex ea commodo consequat. Lorem ipsum duis aute irure dolor velit.
Lorem ipsum dolor sit amet, consect adipisicing elit, sed eiusmod tempor
incid dunt ut enim aliqua. Duis aute irure dolor in reprehenderit in
voluptate velit esse cillum dolore eu fugiat nulla pariatur. Duis aute irure
Jane Surname
Robert Jones
P. Picman, D. Langley, H. Thaler
May 21, 2015
al aliq iqui uipp ex ex eeaa co comm mmod odoo co cons nseq equa uat. t. LLor orem em iips psum um ddui uiss au aute te iiru rure re ddol olor or vvel elit it..
volupt p ate velit esse cillum dolore eu fugi g at nulla ppariatur. Duis aute irure
x
To
From
cc
Date
Re
Operational
Communications:
Stationery-
Memo

6.06
35pt Gotham Book u/lc flrr
Prompts: 10/32 Gotham Book u/lc flrr
1 line space between prompts
Memo content:
1 line space between entries
fold fold
1
1 x .75
y
y
1
Memo
base alignment
1
1.2
The CMA Memo uses two colors: the uncoated option for
CMA Core Bright Blue, the default color for the brand mark,
used here for the header as well, and the uncoated option for
CMA Text Gray, used here for information prompts.
Gotham Book
Palatino Reg P Cool Gray 9U P 298 U
Core Bright Blue
2.01
Core Dark Gray
2.02
35pt Gotham Book u/lc flrr
Prompts: 10/32 Gotham Book u/lc flrr
1 line space minimum between prompts
Memo content:
1 line space between entries
Jane Surname
Robert Jones
May 21, 2015
voluptate velit esse cillum dolore eu fugiat nulla pariatur voluptate velit
esse cillum fugiat nulla pariatur. Ut enim ad minim veniam, quis nostrud
exercitation ullamco commodo consequat laboris nisi ut aute irure
35pt Gotham Book u/
Prompts: 10/32 Gotham Book u/
1 line space minimum between pro
Memo con
12/1 / 6 Palatino Reggular u/l /
1 line space between en
lc flrr
lc flrr
ompts
ntent:
c flrr
ntriess
Jane Surname
Robert Jones
May 21, 2015
in inci cidd du dunt nt uutt en enim im aali liqu qua. a. DDui uiss au aute te iiru rure re ddol olor or iinn re repr preh ehen ende deri ritt in in
voluptate velit esse cillum dolore eu fugiat nulla pariatur voluptate velit
esse cillum fugiat nulla pariatur. Ut enim ad minim veniam, quis nostrud
exercitation ullamco commodo consequ q at laboris nisi ut aute irure
1
1.2
x
y
y
1
x
Fax
The CMA Fax prints 100% black, to ensure a crisp
transmission.
Operational
Communications:
Stationery-
Fax

6.07
fold fold
1
PANTONE
CGray9U
1
Gotham Book
Palatino Reg 100% Black
Attn
From
Date
Re
Operational
Communications-
Forms:
Basic Format, 8.5x11
6.08
Blue 1
information may be placed as needed in the header area
provided it does not violate the brand mark clear space.
An 8-column grid provides for consistent placement of brand
elements as well as flexibility for individual form content.
Gotham Narrow Bold is recommended for form content.
Forms are produced internally to meet a broad variety of
needs: registration forms, order forms, invoices, etc. The CMA
Forms Basic Format provides a standard for form headers to
ensure a consistent treatment of our brand mark and other basic
brand elements, i.e. color and type.
The CMA brand mark is anchored at the upper right, as
on CMA stationery and the covers of museum publications and
brochures. The form title is on the upper left, and other
Clear Space:
1.02
Core Bright Blue
2.01
P 298 U
Gotham Book
Gotham Bold
Gotham Narrow Book
Name
Local Address
City Zip State
Zip State
Telephone (Local) Telephone (Work)
E-mail Address
Home Address (if different from local address)
City
Telephone (Home)
CMA Member
School Affiliation Department Degree
Department Title Extension
CMA Staff
Faculty Student
Full time Part time
y
Name
Local Address
City Zip State
Zip Zip Sta State te
Telephone (Local) Telephone (Work)
E-mail Address
Hom Home A e Addr ddress ess (i (if d f diff iffere erent nt fro from l m loca ocal a l addr ddress ess))
Cit Cityy
Tel Teleph ephone one (H (Home ome))
CMA CMA Me Membe mberr
School Affiliation Department Degree
Department Title Extension
CMA CMA St St ff aff
Fac Facult ultyy Stu Studen dentt
Full time Part time
1
1.2
x
y
yy
x
2
.45
.45
Title:
18/19 Gotham Book
with Gotham Bold highlights, u/lc flrr
Header rule: 5pt
Form rules: .5pt
Field prompts:
7pt Gotham Narrow Book, u/lc flrr
7.5/10 Gotham Narrow Book
u/lc flrr
Ingalls Library and
Museum Archives
Patron Registration
Form
.87 .87
.09
The Ingalls Library is a
non-circulating art
research collection
intended to assist visitors
with research needs
that cannot be met by local
public, university, and
college library collections.
clear space
Documents between 5.5 and 4 in height display a .7-wide
brand mark, matching that on the business card. Documents
under 4 in height display a .6-wide brand mark. The header
rule is flush to the bottom of the brand mark clear space.
Gotham Narrow Bold is recommended for form content.
For small CMA forms a quarter-page (4.25 x 5.5) in size or
smaller, the header dimensions are determined by the size of the
brand mark and its clear space.
Operational
Communications-
Forms:
Small Format
100% scale
6.09
Title 14/15
Title 14/15
Title 14/15
Title 14/15
.6
.7
3x 5
4.25x 5.5
Title 12/13
Title 12/13
Title:
14/15 or 12/13 Gotham Book
with Gotham Bold highlights, u/lc flrr
Header rule: 5pt
Form rules: .5pt
Field prompts:
7pt Gotham Narrow Book, u/lc flrr
Prompt
Prompt
Prompt
Prompt
Prompt
Prompt
clear space
5x 3
.23
.23
.16 .16
.23
.23
Gotham Book
Gotham Bold
Gotham Narrow Book Clear Space:
1.02
Core Bright Blue
2.01
P 298 U
6.10
Operational
Communications:
Stationery-
#10 Envelope
100% scale
The CMA #10 Envelope uses a single color: the uncoated
option for CMA Core Bright Blue, the default color for the brand
mark, used here for the information block as well.
Mailing address:
(recommended)
P 298 U
Core Bright Blue
2.01
Gotham Book
Palatino Reg
Request line:
8pt Gotham Book Italic u/lc flrr
Alternative return address configuration:
Address service requested
11 1115 1500 Ea East st BBou oule leva vard rd
1
44.112255
x x
x
y
yyy
456 Broad St.
Su Suit itee 12 1233
Chicago, IL 121212
2
Mailing adddress:
(recommennded)
Requ q e
8pt Gotham Book Italic u
est line:
u/lc fflr lrrr
Alternative return address configuration:
Address service requested
6.11
Operational
Communications:
Stationery-
#10 Department
Window Envelope
100% scale
The CMA #10 Department Window Envelope uses a single
color: the uncoated option for CMA Core Bright Blue, the
default color for the brand mark, used here for the information
block and department name as well.
Department Name
1
x x
x
y
yyy
2-line space
P 298 U
Core Bright Blue
2.01
Gotham Book
.7
.25 .25
clear space
6.12
Operational
Communications:
Stationery-
Business Card
125% scale
The front of the CMA Business Card uses two colors: the
uncoated option for CMA Text Gray, used here for personnel
name and title, and the uncoated option for CMA Core Bright
Blue, which is reserved for the brand mark in Awareness phase
communications, including the website. Following the letter-
head and other CMA literature, the brand mark is anchored at
the upper right, and text is at the far right and below.
The default color option of the Core Blue (uncoated) set is
provided for messaging on the back of the card.
Note: mark placement observes the clear space as indicated
in Section 1.
.7
.25 .25
back front
Jane Surname
Primary Title and
Secondary Title
T 216 000 0000
F 216 000 0000
.25
1-line space
1-line space
back
.25
Vision Statement quote
on two or three lines.
(16/21 Gotham Book u/lc flrr)
P 298 U
Core Bright Blue
2.01
Gotham Bold
Gotham Book P 298 U
Core Dark Blue
2.01
Core Dark Gray
2.02
Clear Space:
1.02
P Cool Gray 9U P 300 U
6.13
Operational
Communications:
Stationery-
Business Card:
Vision Messages
While 21st Century media provides a broad platform for
telling our brand story in ways that engage virtually all of our
senses, nothing can replace simple and direct human contact.
Messages on our business cards represent opportunities to
enhance our social interactions to reframe someones
perception of CMA and to inspire, one thought at a time.
For the benefit
of all the people
forever.
Lorem ipsum dolor
sit amet.
Duis aute irure
dolor in reprehenderit.
Consectetur adipisicing
elit, sed do eiusmod
tempor incididunt.
P 298 U
Core Bright Blue
2.01
Gotham Book
P 298 U
Core Dark Blue
2.01
P 300 U
Jane Smith Surname
Primary Title and
Secondary Title
T 216 000 0000
F 216 000 0000
Cleveland OH 44106 1797
Jane Smith Surname
Primary Title and
Secondary Title
T 216 000 0000
F 216 000 0000
Jane Smith Surname
Primary Title and
Secondary Title
T 216 000 0000
F 216 000 0000
Jane Smith Surname
Primary Title and
Secondary Title
T 216 000 0000
F 216 000 0000
6.14
A specialized iteration of the CMA business cards is
provided as an outreach tool which evokes the richness
of the visitor experience and the art collection at its core.
The CMA Core Colors are used here as a brand proprietary
shorthand for the open-ended color spectrum used in the
museums visitor-oriented and promotional communications.
The core colors are also harmoniously reflected on the front
of the card.
The core color business card iteration is intended for use
by Development and Curatorial personnel, as well as
Marketing staff.
Operational
Communications:
Stationery-
Business Card:
Use of Core Colors
For the benefit
of all the people
forever.
For the benefit
of all the people
forever.
For the benefit
of all the people
forever.
For the benefit
of all the people
forever.
Gotham Bold
Gotham Book
Core Dark Gray
2.02
Clear Space:
1.02
P Cool Gray 9U
Core Colors:
2.02, 3.04
Operational
Communications:
Presentations
Presentations are a key medium for the exposure of the
CMA brand and the dissemination of our voice, vision, and
philosophy. Consistency in style, layout, and use of CMA brand
elements will provide a recognizable extension of our brand as
presented in other areas of our communications. Presentations
utilize two basic variations of the CMA Brand Bar
as seen in promotional and visitor-oriented literature,
and therefore establish a similar dynamic between image,
text, and brand mark. In presentations, the CMA brand mark is
anchored at the lower right.
The visual brand system also provides the flexibility for distinct
styles for both curatorial and outreach initiative presentations.
6.15
Medieval and
Renaissance Art
Medieval and Renaissance Art
Key Concepts
-Public/private devotional images
versus secular art
-Similarities and differences between
Medieval and Renaissance art
-Various materials and techniques
3 Medieval and Renaissance Art May 9, 2014
Ugolino di Nerio (Italian), Virgin and Child with Saints
c. 1320, tempera and gold on wood panel
Leonard C. Hanna, Jr. Fund, 1961.40
6 Medieval and Renaissance Art May 9, 2014
Examples of a curatorial
presentation
A Culture
of Philanthropy
The First 100 Years
A local, national and world treasure
-A cultural anchor
-An educational hub
-A community connection

Built on a foundation of generosity,
vitality and strength, the museum
is entering a time of profound
transformation but unparalleled
opportunity.
5 A Culture of Philanthropy May 9, 2014
Examples of a development
outreach presentation
Operational
Communications:
Presentations-
12-Column Grid
Standard 10 x 7.5 PPT Format
The two magenta lines in the schematic below indicate the
positions of the two basic brand bar formats for presentation.
A 12-column grid is provided for the flexibility required by a
broad range of visuals, including the variety of artworks in our
collection and different approaches to visualizing data.
6.16
.5 .5 .6 .
1
6
4
.6 .
1
6
4
.5
.5
.5
clear space
Operational
Communications:
Presentations-
Title Slide
Note: the typeface family Arial may be substituted for
creating presentations if the primary typeface Gotham is not
avialable for a given workstation.
The title slide uses the larger of the two brand bar formats for
presentation: it is the height of the bottom margin plus two
vertical grid units. The greater, upper portion of the title slide is
reserved for the use of a single background image.
See 6.29-6.31 for guidelines on the use of background images
in presentation.

72/72 Gotham Book
u/lc flrr
33/36 Gotham Book
u/lc flrr
background
Image
6.17
Title on Two to
Three Lines
Subtitle on One Line is Preferred,
but May Take Two

Gotham Book
(Alternative: Arial Regular)
Clear Space:
1.02
Operational
Communications:
Presentations-
Section Divider Slide
The section divider slide uses the smaller of the two brand
bar formats for presentation: it is the height of the bottom
margin plus one vertical grid unit. The greater, upper portion of
the title slide is reserved for the use of a single background
image or color (solid or tint).
See 6.29-6.31 for guidelines on the use of background images
in presentation.
55pt Gotham Book
u/lc flrr
12pt Gotham Narrow Medium
u/lc flrr
background
Image,
solid color
or tint
background
6.18
Section Title
clear space
00 Title/Footer Month, Day, Year
Gotham Book
(Alternative: Arial Regular) Clear Space:
1.02
Operational
Communications:
Presentations-
Quote Slide
The quote slide may function as a prologue or as a section
divider, as does the section title slide. It may be seen as a
stylistic counterpart to the back of the CMA business card as a
simple platform for CMA messaging.
Quote: 33/43 Gotham Book u/lc flrr
with highlights in Gotham Bold
solid color
or tint
background
(no image)
6.19
Coming together is a beginning;
Keeping together is progress;
working together is success.
Henry Ford
clear space
Gotham Bold
Gotham Book
(Alternative: Arial Bold, Regular) Clear Space:
1.02
Operational
Communications:
Presentations-
Standard Text Slide
The standard text slide utilizes the same placement of brand
mark and footer as the section title slide.
33/36 Gotham Book
u/lc flrr
33/36 Gotham Medium
u/lc flrr
30/33 Gotham Book
u/lc flrr
44pt leading between items
solid color
or tint
background
(no image)
Section Title
Page Header
-Regular bullet text regular bullet text
regular bullet text
regular bullet text
regular bullet text
6.20
u/lc flrr
clear space
Gotham Book
(Alternative: Arial Regular, Bold) Clear Space:
1.02
clear space
Operational
Communications:
Presentations-
Optional Text Slide
The optional text slide utilizes the same footer as the section
title slide; the background is a 5% tint behind dark text to
provide visual relief from color backgrounds in longer or more
data-driven presentations.
33/36 Gotham Book
u/lc flrr
33/36 Gotham Medium
u/lc flrr
30/33 Gotham Book
u/lc flrr
44pt leading between items
background
5% black

Section Title
Page Header
regular bullet text
regular bullet text
regular bullet text
6.21
u/lc flrr
Clear Space:
1.02
Gotham Book
(Alternative: Arial Regular, Bold)
Operational
Communications:
Presentations-
Use of Artwork Imagery:
Full Frame vs. Silhouette
The CMA presentation format is intended to provide a
neutral setting for the dynamic presentation of original works of
art of all types contained in the museums collections and
galleries. For this purpose near-white backgrounds are
most effective. A background tint of 5% black reduces the glare
associated with projecting pure white in a darkened room,
while providing a proper staging for artwork.
Objects, sculptures, etc.: If time for preparation allows, a
silhouetted object is preferred (right) to viewing the object
against a dark, colored, or complex background. Personnel
creating curatorial presentations are encouraged to contact
the Design Department for guidance in the preparation of
silhouetted artwork.
6.22
Crucifix with Scenes of the Passion,
c. 1230-1240 (Italy, Pisa) tempera
with gold on panel, 1995.5
Medieval and Renaissance Art May 9, 2014
12/18 Gotham Book w/Italic
u/lc flr
u/lc flrr
background
and brand mark
5% black
brand bar
20% black
Operational
Communications:
Presentations-
Catalogue Slide
(Silhouette)
The formal presentation of artwork requires completely
neutral framing; a catalogue slide uses a neutral brand bar and
background with light tints of black as specified below.
6.23
clear space
Crucifi
c. 1230
with g w g
Clear Space:
1.02
Gotham Book
(Alternative:
Arial Regular, Bold)
25% Black
5% Black
Type Color
Caption: Core Dk Gray
Footer: White
12/18 Gotham Book w/Italic
u/lc flr
u/lc flrr
clear space
Full-frame imagery
flush to at least one edge
brand bar
20% black
Operational
Communications:
Presentations-
Catalogue Slide
(Full Frame)
The formal presentation of artwork requires completely
neutral framing; a catalogue slide uses a neutral brand bar and
background with light tints of black as specified below.
6.24
background
and brand mark
5% black
Gotham Book
(Alternative:
Arial Regular, Bold)
25% Black
Clear Space:
1.02
5% Black
Type Color
Caption: Core Dk Gray
Footer: White
Operational
Communications:
Presentations-
Use of Core Colors:
Outreach & Curatorial
The CMA Core Colors provide a simple option for
creating dynamic and brand-proprietary brand presentations.
They may be used for either outreach or curatorial presentations.
The full Core palette may be more of a need in an art-driven
curatorial context; while otherwise the CMA Core Blue set is
the default brand color choice, the full Core palette is available
for outreach presentations.
See 2.03 for proper Core Color usage with the CMA brand mark.
Chinese Art
American Painting
and Sculpture
6.25
Medieval and
Renaissance Art
A Culture
of Philanthropy
Type Color
Title slide: White
Gotham Book
(Alternative:
Arial Regular) Clear Space:
1.02
Core Colors:
2.02, 3.04
Operational
Communications:
Presentations-
Core Color Through
a Curatorial Presentation
The core color chosen is used consistently throughout the
presentation, and therefore should be as harmonious as possible
with the various images used in the presentation, but a neutral
scheme is always used when formally presenting artwork
(catalogue slide).
Medieval and
Renaissance Art
6.26
Medieval and Renaissance Art
Key Concepts
-Public/private devotional images
versus secular art
-Similarities and differences between
Medieval and Renaissance art
-Various materials and techniques
Medieval Art
hieratic
gold leaf
tempera paint
Christianity
stained glass
workshop
Medieval and Renaissance Art May 9, 2014 Medieval and Renaissance Art May 9, 2014
25% Black
5% Black
descriptive terms:
40% tint of
selected Core Bright
Type Color
Title slide: White
Footer, Text slide:
Core Bright,
White
Gotham Book
(Alternative:
1.02
Core Colors:
2.02, 3.04
Operational
Communications:
Presentations-
Use of Spectrum Color:
Curatorial
The CMA Spectrum approach towards incorporating
incidental color (specific to artwork or performance imagery
used in a particular communication) ensures a harmonious
relationship between text, image, and brand mark, and there-
fore between the the diversity of the museum experience and
the brand itself. Spectrum is an option available for curatorial
presentations in addition to the CMA Core Color palette
(see 6.25-6.26) in case a more precise correlation to a
specific work of art is desired.
Personnel creating curatorial presentations are encouraged
to contact the Design Department for guidance in the use of
Spectrum color.
6.27
Arms and Armor
Contemporary
Art
African Art
American Painting
and Sculpture
Type Color
Title slide: White
Gotham Book
(Alternative:
1.02
Spectrum:
3.05, 3.22-3.24
African Art
Operational
Communications:
Presentations-
Spectrum Color Through
a Curatorial Presentation
The Spectrum color chosen is used consistently throughout
the presentation, and therefore should be as harmonious as
possible with the various images used in the presentation, but a
neutral scheme is always used when formally presenting
artwork (catalogue slide).
6.28
African Art
The CMA Collection
-Contains about 250 works
-Focus is on masks & figures from
West and Central Africa, carved in wood
-Strengths include metal and ivory objects
from the ancient Kingdom of Benin
-Core: Katherine C. White donation of
100+objects
African Art May 9, 2014
African Art
Materials
ivory
gold leaf
copper alloys
beads
animal skins
gold
fibers
African Art May 9, 2014 African Art May 9, 2014
Leopard Caryatid Stool, possibly 1800s
Equatorial Africa, Cameroon, Bandjoun kingdom
wood, cotton, fabric and glass beads
Overall - h:51.00 w:38.00 d:43.00 cm
Severance and Greta Millikin Purchase Fund 2006.138
25% Black
5% Black
Type Color
Title slide: White
Footer, Text slide:
Spectrum, White
Gotham Book
(Alternative:
1.02
Spectrum:
3.05, 3.22-3.24
6.29
Operational
Communications:
Presentations-
Background Imagery
In such cases care is to be taken that the artwork is shown as
large as possible without being partially covered by type or
other visual elements.
Background imagery for a title or section divider slide
should generally be used to evoke its subject matter, rather than
strive for formal representation. Original artwork should be
cropped when used as background imagery so as to provide a
full-frame texture, or an endpaper effect. Occasionally this
not feasible due to restrictions in the reproduction of specific
works of art or artist oeuvres (see the example of compliance
treatment, below).
Contemporary
Art
American Painting
and Sculpture
Preferred treatment:
textural detail
Compliance treatment:
full artwork
Type Color
Title slide: White
Gotham Book
(Alternative:
1.02
Spectrum:
3.05, 3.22-3.24
6.30
Operational
Communications:
Presentations-
Background
Imagery & Type
A background image needs to bear a proper relationship
to text layered over it; the CMA presentation format only allows
background images on title slides or section divider slides.
Background images must also be positioned properly to allow
for maximum legibility of the text layer.
A Culture
of Philanthropy
A Culture of Philanthropy May 9, 2014
The First
100 Years
A Culture
of Philanthropy
The First
100 Years
African Art
Materials
ivory
gold leaf
copper alloys
beads
animal skins
gold
fibers
African Art May 9, 2014
Coming together is a beginning;
Keeping together is progress;
working together is success.
Henry Ford
6.31
Operational
Communications:
Presentations-
Patterned
Background Imagery
When selecting a patterned background image care
should taken that it allows for maximum text legibility.
If necessary an intermediate tint layer should be used between
it and the text layer.
Medieval and
Renaissance Art
Medieval and
Renaissance Art
+ =
Medieval and
Renaissance Art
Gradient
tint layer
needed
be based on a selected Core Color or Core Color Set).
Personnel creating charts or graphs for presentation are
encouraged to contact the Design Department for guidance in
the use of tints or transparent color.
6.32
Operational
Communications:
Presentations-
Use of Color in
Charts and Graphs
The CMA visual brand system stresses a streamlined and
mono- or duochromatic approach to color within one item of
communication, whether that be a brochure, a single business
card, or a single presentation deck. In keeping with that
principle, the color chosen for a presentation flows through any
attendant information graphics. The information hierarchy
within the graphic is built on varying tints or the percentages
of transparency of one or two colors (most charts and graphs
would appear in an outreach context, and would therefore
Gotham Family
(Alternative:
Arial Family)
Type Color
Core Bright, White
as shown
Core Colors:
2.02, 3.04
Tints
PANTONE
298U 300U
7.00
For More Information For Further Information
7.00
The Cleveland Museum of Art Marketing
Department oversees brand standards
for all museum communicationsincluding
advertising, development outreach,
departmental and operational.
If you have any questions or comments
regarding the content of these brand system
guidelines, please contact the Marketing
Department at: (216) 707-2264

Cma GL Apr4

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Cma GL Apr4

Uploaded by

Copyright:

Available Formats

This document

is intended solely for

You might also like