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For my senior capstone project, I undertook a conceptual re-branding of the Utah Shakespeare Festival. This included creating a new logo with several variations, a set of season posters and playbills, a stationery set including business cards and a style guide detailing logo usage, color and imagery choices and other brand considerations. Each piece in this project was individually silk-screened. My goal for this project was to present a unique alternative to the current brand that still embodied the spirit of the festival.

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Introduction� i

Logo� 1Color�Palette� 3Imagery� 7Typography�&�Hierarchies� 9Sizing� 10Paper�&�Printing�Methods� 10

About�This�Project�� 11Thanks� 12

table of contents

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Style�Guide:�Introduction

The�Utah�Shakespeare�Festival�(recently�changed�from�the�Utah�Shakespearean�Festival)�is�a�Tony-Award-Winning�regional�festival�located�in�Cedar�City,�Utah.�The�2010-2011�season�will�be�the�festival’s�50th�Anniversary.�In�celebration�of�that,�I�have�studied�USF�for�my�senior�project�and�would�like�to�present�a�conceptual�re-branding�of�the�festival.

The�Utah�Shakespeare�Festival�did�not�in�any�way�participate�in�or�fund�this�project.�It�was�undertaken�as�a�personal�project�during�my�time�studying�at�Southern�Utah�University.

In�undertaking�this�project,�I�endeavor�to�treat�the�existing�brand�of�the�Utah�Shakespeare�Festival�with�the�utmost�respect�while�presenting�an�alternative�visual�aesthetic�and�conceptual�meaning�behind�the�brand�that�will�further�place�USF�as�a�forerunner�in�its�discipline.�I�believe�that�the�Utah�Shakespeare�Festival�is�unique�in�its�vision,�its�location�and�most�especially�the�passion�of�the�people�who�work�to�make�it�a�reality.�I�would�like�to�see�the�visual�presentation�of�USF�be�just�as�respected,�innovative�and�self-aware�as�the�festival�itself.

With�this�rebranding�scheme�that�follows�in�the�next�few�pages,�I�have�developed�a�contemporary�identity�for�the�Utah�Shakespeare�Festival�that�not�only�draws�upon�its�rich�history,�but�speaks�to�the�future�as�well.�A�rebranding�could�have�a�dramatic�effect�upon�the�consumer’s�perception�of�the�festival�as�a�brand�and�in�the�best-case�scenario�will�bring�in�new�generations�of�patrons�while�still�appealing�to�exisiting�patrons.�This�new�interest�and�support�could�very�well�be�the�push�the�festival�and�the�community�of�Cedar�City�needs�in�this�time�of�economic�insecurity.

For�this�project,�I�have�conceptualized�and�designed�a�logo�with�several�variations,�chosen�a�color�palette�and�paired�each�with�a�pattern,�established�typographical�standards�for�the�brand,�selected�paper�and�printing�methods,�designed�posters,�playbills,�stationary,�envelopes,�and�business�cards.

While�this�is�by�no�means�a�comprehensive�study�of�the�brand�and�a�finalized�rebranding�scheme,�I�believe�that�as�a�concept�it�is�very�approachable�and�I�hope�that�it�may�serve�as�a�springboard�for�further�discussion�and�inspiration�as�the�Utah�Shakespeare�Festival�prepares�for�its�50th�Anniversary�Season.

introduction

i

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utah shakespeare festival

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The�redesigned�logo�draws�upon�the�rich�history�of�the�Utah�Shakespeare�Festival�and�references�previous�designs�that�are�well-known�in�the�community�and�among�patrons.�The�motif�of�a�flag�which�is�repeated�in�older�logos�has�been�simplified�and�stylized�but�is�still�immediately�recognizable.�

This�contemporary�take�on�the�same�concept�also�includes�updated�typography�that�is�extremely�legible�and�unique.�The�heirarchy�serves�to�establish�what�is�unique�about�the�Utah�Shakespeare�Festival�among�similar�brands:�Utah.�Between�the�many�different�Shakespeare�Festivals�across�the�United�States,�the�easiest�way�for�a�patron�to�differ�between�these�is�to�note�the�location�of�each.�When�placed�in�context�with�other�festivals,�the�Utah�Shakespeare�Festival�should�highlight�its�unique�location�as�a�brand�positioning�tool.�

There�are�four�variations�of�the�logo�that�will�be�used�depending�upon�the�application,�size�and�colors�available.

fig. 1This�variation�of�the�logo�is�the�official�mark�and�should�be�used�first�and�foremost�on�all�publications,�print�or�digitally�based.�It�should�be�placed�along�the�right-hand�side�of�the�document�and�extended�past�the�bleed�line�so�the�edge�is�flush.�Whenever�possible,�the�placement�should�preferably�be�in�the�bottom�(always�right-hand)�portion�of�the�design.�This�logo�variation�should�never�be�used�smaller�than�one�inch�in�height.

fig. 2This�second�variation�of�the�logo�is�to�be�used�when�the�official�logo�design,�for�whatever�reason,�will�not�work�well�on�the�publication.�A�specific�example�would�be�business�envelopes:�the�design�must�be�constrained�to�the�left�top�corner�of�the�envelope�so�this�variation�of�the�logo�would�be�the�better�choice.�The�use�of�this�variation�will�have�to�be�addressed�on�a�case-by-case�basis.�As�with�the�first�variation,�this�logo�should�not�be�used�smaller�than�one�inch�in�height.

fig. 3Small-scale�versions�of�the�logo�are�used�repeatedly�in�publications�such�as�handbooks,�catalogs,�program�layouts,�contracts�and�any�other�sort�of�multi-page�document.�This�design�employs�only�the�initials�of�the�festival,�ensuring�that�even�when�shrunk�to�a�very�small�size,�it�remains�legible.�In�context,�this�small-scale�logo�should�always�be�accompanied�by�one�of�the�large-scale�logos�used�on�a�main�page�of�the�publication.�This�logo�should�be�shrunk�to�no�more�than�a�quarter�inch�in�height�and�should�always�be�placed�against�the�right-hand�side�of�the�document�(refer�to�Fig.�1�instructions).

fig. 4This�final�variation�of�the�logo�is�to�be�used�again�on�repeating�pages�of�a�publication�or�on�items�that�are�not�large�enough�to�support�the�official�logo.�Examples�of�this�would�include�this�document�(see�upper�left-hand�corner�of�page)�and�items�like�pencils�or�pens�that�the�festival�may�want�to�produce�with�a�logo.�This�variation�may�be�used�smaller�than�any�others�but�must�be�kept�to�at�least�one-eighth�of�an�inch�in�height.

logo

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Style�Guide:�Logo

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large-scale usage

fig. 1

small-scale usage

fig. 3

fig. 2

fig. 4

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usf utah shakespeare festival

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One�of�the�most�effective�ways�to�establish�a�brand�mood�is�through�the�use�of�color.�The�Utah�Shake-speare�Festival�will�use�the�color�gold�to�establish�themselves�as�the�authority�on�contemporary�Shake-speare�while�referencing�historical�influences.�

The�most�important�consideration�is�that�the�use�of�gold�must�never�be�tacky�or�forced.�Gold�requires�elegance�and�sophistication.�The�use�of�Pantone�and�other�swatches�that�imitate�gold�is�never�a�good�idea.�It�must�always�appear�to�be�authentic�and�yet�effort-less.�Consistency�will�be�extremely�important�with�color�as�well.

Accent�colors�are�also�very�important�as�they�will�serve�to�set�off�the�gold.�These�can�and�should�change�from�season�to�season�and�will�help�the�brand�con-tinue�to�feel�contemporary�but�still�authentic�while�reflecting�the�current�industry�trends.�For�this�season�I�have�used�jewel�tones�and�rich�muted�colors�that�all�complement�and�contrast�against�the�gold.�A�balance�between�warm�and�cool�colors�will�be�very�important�as�you�will�see�in�the�following�pages.�The�use�of�any�color�too�close�to�the�gold�in�value�or�tone�is�highly�discouraged.�It�is�suggested�that�each�color�chosen�is�tested�against�the�paper�used�for�printing�purposes�for�best�results.

fig. 5, 6, 7 & 8Every�variation�of�the�logo�should�appear�in�either�solid�black�or�in�solid�gold.�This�gold�was�acheived�by�hand�mixing�a�pigment�powder�with�acrylic�extender�base�to�produce�a�sheer,�almost�translucent�layer�of�gold�when�printed.�Again,�the�gold�must�always�be�

authentic.�

fig. 9 – 16As�stated�before,�the�accent�colors�for�each�season�can�change�as�long�as�they�complement�the�main�use�of�gold.�For�this�particular�season�jewel�tones�and�rich�muted�hues�have�been�used.�Each�of�these�colors�was�hand-mixed�for�printing�purposes�and�was�carefully�tested�against�the�paper�printed�on.

color palette

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Style�Guide:�Color Palette

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logo colors

fig. 5

fig. 7

fig. 6

fig. 8

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accent colors

fig. 9

fig. 11

fig. 10

fig. 12

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Style�Guide:�Color Palette

6

fig. 13

fig. 15

fig. 14

fig. 16

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Up�until�now,�the�Utah�Shakespeare�Festival�has�always�heavily�relied�upon�photographs�to�establish�the�brand�and�mood.�In�this�re-branding,�a�completely�different�direction�has�been�used�and�the�focus�has�switched�to�color,�texture,�typography�and�pattern�as�imagery.�All�these�elements�interact�together�as�layers�to�create�a�very�specific�and�consistent�brand.

Through�careful�selection�and�pairing�of�patterns�and�colors,�very�different�moods�can�be�established�for�each�production�that�speaks�to�the�theme�of�each�play�while�remaining�true�to�the�essential�brand.

Photographs�of�course�will�still�be�used�but�much�more�sparingly�and�to�greater�effect�in�publications.�The�main�focus�of�all�documents,�however,�should�always�be�the�use�of�texture�and�color.

None�of�the�patterns�used�should�be�representational�in�any�way.�They�should�always�be�geometric�based�but�through�the�shapes�relate�to�the�particular�theme�or�production�with�which�they�are�paired.�This�is�a�very�objective�task�so�there�is�no�wrong�answer.

All�of�the�patterns�used�for�this�rebranding�were�obtained�under�license�from�the�French�Paper�Company�(which�are�free�as�long�as�they�are�printed�on�French�Paper).�Patterns�may�be�constructed�by�the�designer�from�scratch�or�bought�from�stock�companies.�As�a�set,�the�patterns�for�each�season�should�always�work�together�so�it�is�recommended�that�they�come�from�the�same�source.

fig. 17, 18, 19 & 20These�patterns�are�samples�of�the�ones�used�for�this�rebranding.�For�more�examples�please�refer�to�the�actual�posters�and�playbills�designed.

imagery

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Style�Guide:�Imagery

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fig. 17

fig. 19

fig. 18

fig. 20

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The�use�of�typography�is�one�of�the�single�most�important�factors�in�design�and�plays�a�huge�part�in�the�rebranding�of�the�Utah�Shakespeare�Festival.�While�the�graphic�of�the�mark�is�unique,�the�mark�is�primarily�typographic,�which�is�a�departure�from�previous�logos�and�helps�to�establish�the�more�contemporary�feel�sought�after.�Because�of�the�mark’s�dependence�on�typography,�all�publications�from�the�festival�must�place�equal�importance�on�typography�and�most�especially�consistency�of�the�typography.�

The�official�fonts�of�the�Utah�Shakespeare�Festival�are�Hypatia�Sans�Pro�and�Minion�Pro.�Hypatia�Sans�should�always�be�used�for�titles�and�headings.�Minion�Pro�is�suited�for�large�amounts�of�text�that�is�meant�to�be�read,�much�like�in�this�publication.�

Titles�and�headers�must�always�be�set�in�small�caps,�semibold�and�kerned�similarly�to�the�official�logo�(slightly�looser�than�default,�depending�on�size�of�the�text).

Body�text�should�be�set�in�either�9�or�10�point�and�left�to�default�kerning�and�paragraph�spacing�settings.�Small�details�like�optical�margin�alignment,�metric�vs.�optical�spacing,�paragraph,�spacing,�etc.�are�left�to�the�designer�although�consistency�is�again�emphasized.

typography &heirarchies

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Style�Guide:�Typography & Heirarchies, Sizing, Paper & Printing Methods

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sizingStandard�sizes�have�been�used�throughout�this�rebranding�scheme.�Posters�were�designed�at�11x17"�with�a�.25"�bleed;�playbills�were�designed�slightly�smaller�than�standard�at�8x5.5"�(8x11"�unfolded);�stationary�was�designed�on�standard�letter-size�paper�(8.5x11"),�envelopes�were�designed�as�standard�number�10�mailers�(4.125x9.5");�and�business�cards�were�designed�at�3.5x2".

All�products�were�printed�on�French�Paper’s��Off-White�Dur-O-Tone�line.�As�with�all�other�aspects�of�this�rebranding,�consistency�is�encouraged�with�the�use�of�paper.�Text�weight�paper�used�was�80�lb.�and�cover�weight�was��also�80�lb.

This�paper�was�chosen�for�its�sheen,�slight�dapple�texture�and�warm�tone�that�complements�the�official�gold�color�used.�

paper & printing methods

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This�project�was�conceived�and�designed�as�my�senior�thesis�project�during�her�last�semester�of�studying�graphic�design�and�photography�at�Southern�Utah�University.�Because�of�the�university’s�close�ties�with�the�Utah�Shakespeare�Festiaval,�I�have�been�afforded�a�very�intimate�and�unique�perspective�of�the�role�the�Utah�Shakespeare�Festival�plays�in�the�community�of�Cedar�City�as�well�as�the�wider�arts�community�in�the�United�States.�

As�stated�in�the�introduction,�I�received�no�funding�or�participation�from�the�Utah�Shakespeare�Festival.�I�wanted�to�be�able�to�approach�the�project�indepen-dently�as�an�observer�to�be�able�to�offer�a�completely�different�alternative�to�the�festival’s�current�visual�brand.�

Each�piece�in�this�project�was�conceptualized�and�designed�by�myself.�Each�item�is�a�hand-pulled�silk-screen�print�produced�at�Southern�Utah�University’s�printmaking�studio.

If�you�are�interested�in�learning�more�about�this�project,�please�don’t�hesitate�to�contact�me�via�my�website�www.danellecheney.com�or�through�my�email�[email protected].

All�designs,�text�and�images�©�2010�Danelle�Cheney.

All�patterns�used�in�designs�©�French�Paper�Co.

about this project

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Style�Guide:�About this Project & Thanks

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This�project�would�not�have�been�possible�were�it�not�for�several�truly�amazing�people�who�served�as�consultants�and�assistants.

First�and�foremost,�my�professors�Jeff�Hanson�and�Jay�Merryweather,�whose�encouragement�and�advice�are�always�invaluable;

The�printmaking�professor,�Brian�Hoover,�and�his�eternal�patience�as�I�learned�to�appreciate�just�how�tricky�silkscreening�can�be;

My�arts�consultant,�Dominic�Yeager,�for�his�patience�and�dedication�to�making�sure�that�I�“get”�just�what�theatre�is�all�about;

Kate�Montoya,�printmaking�guru,�who�kept�me�on�my�toes�with�good�conversation�and�is�the�best�printmaking�buddy�anyone�could�ask�for;

Tony�Morlock,�for�keeping�me�company�when�the�hours�got�long;

All�my�other�friends�who�never�ceased�to�text,�IM,�Facebook�and�call�with�words�of�encouragement;

French�Paper,�and�their�awesome�products;

Southern�Utah�University,�which�has�great�printmaking�facilities;

and�of�course�the�Utah�Shakspeare�Festival.

thanks

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