Property style guidelines. Packwood

Transcription

1 Property style guidelines

2 Contents 02 Contents 04 Governing ideas 05 Story, genre and line 06 Choice of visual elements 07 Zoning the property 09 Define your theme 10 Define your colour palette 11 Define your graphic imagery 12 Define your graphic textures 13 Define your graphic iconography 14 Define your materials 15 Define your typography 16 Design application guide 17 Visual guide to zoning the property 18 Design application 29 Mood reference 02

3 How can we bring every place to life using the National Trust brand? Building a bespoke creative platform for your property. 03

4 Governing ideas The best way to create a unified visit and a strong sense of story is through consistent use of a common visual language. This means using a small number of repeating elements in a way that draws on the story and spirit of place. A well designed and carefully thought through style book provides a way of telling the property story in way that is consistent with both the spirit of the place and our brand guidelines. There are three steps to creating a property style book each of which requires some specialist input. 04

5 Story, genre and line 1 Step Define your theme and your line. had a strong theme A house to dream of, a garden to dream in and although we thought about a shorter version for the line, like A place to dream, we decided to use the whole theme as it brings out the different elements of the property and puts across the offer. This theme captures the house as one man s vision of the perfect Tudor house and a collection of other people s dreams, and the garden as a restful place to dream in. Define what type of story you are telling (genre and narrative structure). This is a story of voyage and return, with mood being the key rather than character. You depart from the real world as you enter the property, through a transitional space and into a dream world, at the centre of which is an individual with a particular dream, expressed as a perfectly crafted interior and surrounded by a dreamscape the gardens and park. Define how the story will be told. Outside the story will be delivered through symbols, objects, visual prompts and illustrations. This is not an explanatory space. Inside the mystery can be solved, with space to explain and add depth, to uncover the layers of the dream. 05

6 Choice of visual elements 2 Step The core idea here is that the choice of a small number of repeating elements creates more scope for creativity and leads to greater visual unity. Define your colours from the brand palette and estate colour Define your icons distinctive visuals that encapsulate the uniqueness of your place Define your materials the substances which are part of your genius loci plus perhaps contemporary substances that chime or resonate with it (think of the glass pyramid outside the Louvre) Define your textures Define your graphics (2D visuals which may draw from your icons and textures) For we called on property, architectural and curatorial input. 06

7 Zoning the property 3 Step A visitor journey was to help plan how the story should unfold at. This helped us to define four different zones, which we have used to define how the style book should be applied. Welcome and functional spaces are about meeting the needs of visitors and staff and introducing the National Trust as well as the visit to. Welcome and functional spaces Once you leave the welcome area into the park land our aim is for you to enter a dream world, conveying the peaceful mood of the property. The use of colour and iconography will guide visitors around, with touches of humour, showing them the way to the house, gardens and parkland walks. Within the property we do not want to burst this dream with reminders of the outside wall. Functional These spaces introduce both the National Trust and the overarching unique story of, so specific material is used alongside other National Trust content. Examples of such spaces at are the car park, visitor welcome, and pre and post visit locations such as the website and off site literature. Backstage These spaces are necessary to run the property, but are not seen by visitors and need to be clearly signalled as such. Strict style rules do not apply to the areas that visitors do not see. 07

8 Hughenden Zoning the property continued 3 Step Welcome and functional spaces Explaining These spaces convey the story of the property and include the visitor facilities retail and café areas, and some rooms of the house. Here the visual language can be used to enhance the mood by creating complimentary signs, posters, room cards etc. Immersive These spaces are about trying to evoke a distinct atmosphere of a period. Choice of interpretive devices in these spaces should be guided by story and curatorial advice. In these spaces the style book may not apply (it may be more appropriate to use something of the period), but it should still be used in the design of discreet interpretation that does not detract from the visual experience. At these spaces include the gardens, park and adventure walk. 08

9 Define your theme A House to Dream of, a Garden to Dream in 09

10 Define your colour palette We took inspiration from the house and gardens at to choose the colours, and tried to pick ones which represented the iconic parts of the property. So we took dark green from the yew garden; red from the brickwork and the tapestries; blue from the sundials and gold to pick up on the rich feel of the interiors. We felt brown was an important colour to include as so many of the interiors are filled with polished wood panelling and floors. As there was no brown in the brand selection we included this as an estate colour. Joanne Davenport Visitor Experience, Community and Volunteer Manager This palette should form the basis of all visual communication and be printed as 100% solid. When circumstances require a wider range of colour variations, tints can be used. The selection of a tint must be carefully considered as certain tints have limited value and many are inappropriate for type. If you have an existing estate colour consider how this will work alongside your chosen colours. Estate Colour Pantone % Pantone % Pantone % Pantone % Pantone % 80% 80% 80% 80% 80% 60% 60% 60% 60% 60% 40% 40% 40% 40% 40% 20% 20% 20% 20% 20% Property Brand Palette National Trust Brand Palette Pantone 140 Greens Pantone 356 Pantone 7481 Pantone 7488 Pantone 389 Pantone 384 Metallics Pantone 871 Pantone 877 Darks Pantone 213 Pantone 021 Pantone 1788 Pantone 227 Pantone 525 Pantone 3125 Pantone 286 Pantone 2768 Pantone 425 Lights Pantone 706 Pantone 317 Pantone 7541 Pantone 587 Pantone 7485 Mono Black White 10

11 Define your graphic imagery We walked around the property looking for the images which really identified, choosing a view of the house, an image of the yew garden and of a sundial. Gateposts are a recurring feature of the gardens and we chose the gate into the yew garden as a graphic, along with an image of Baron Ash in front of the house he created. Joanne Davenport Visitor Experience, Community and Volunteer Manager When looking for graphic imagery consider how they will work as silhouette, choose images with high contrast and uncluttered backgrounds. Having a library of varying shapes allows you more flexibility. Your graphic imagery library is in monochrome, to allow you to use the colour palette as a tint or full colour. Overlapping images and transparency give a free and informal layout rather than rigidly structured ones. 11

12 National Trust Define your graphic textures 12 As with the colours we looked for patterns and surfaces which captured the feel of from the needlework in the house, to the yews and the render on the outside of the house. The tree trunk brought in the park and woodland on the estate. Joanne Davenport Visitor Experience, Community and Volunteer Manager Oak floor boards Render Tree rings Bricks Stitch needlework Yew tress

13 Define your graphic iconography These were chosen again to pick up on the iconic elements of, but also to try and capture the dream like quality of the place. The yew twig, sundial and rose all came from the property, while the butterfly, plant and mushrooms were chosen from external images to bring out particular areas like the woodland. Joanne Davenport Visitor Experience, Community and Volunteer Manager ß 13

14 Define your materials We chose polished wood and needlework to represent the house, York stone from the East court and polished concrete to link in with the new visitor facilities and to complement the contemporary feel of the gardens. Joanne Davenport Visitor Experience, Community and Volunteer Manager 01 York Stone 02 Heavy Weave Textile 03 Oak Wood 04 Polished Contrete

15 Define your typography While use of the National Trust typeface is mandatory, you can be expressive with letterspacing, weight and scale. The typeface was designed to have the warmth and modernity of a sans-serif typeface, and keeping a timeless quality too. Our typeface is an important asset of the National Trust: no other organisation is allowed to use it, and it helps us to be recognisable every time we write something. Where appropriate, a bespoke treatment of the National Trust typeface can be used in certain areas. The typeface family: National Trust Display ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz National Trust Bold ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz National Trust Regular ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz A House to Dream of, a Garden to Dream in. National Trust Italic ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 15

16 Design application guide The sheer number of elements of graphic elements across the property allow for varied expression in all your communications. Don t feel all of these should be used in every piece you create. Try to create something that is visually balanced. Visual elements should be revised and updated when you feel this is appropriate. Visual Elements Colour palette Iconography ß Materials Welcome to A House to Dream of, a Garden to Dream in. Imagery Graphic Textures Typography ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 16

17 Visual guide to zoning the property 1. Functional These spaces introduce both the National Trust and the property story (car parking, welcome and ticketing). 2. Backstage These areas are not part of the visit and which need to be clearly signalled as such. Strict style rules do not apply backstage.. 1. Functional areas such as visitor welcome, parking etc. Welcome to A House to Dream of, a Garden to Dream in 3. Explaining A House to Dream of, a Garden to Dream in. Please let your children enjoy all the activies in this room. Please don t leave children in the room unattended. 3. Explaining In these spaces we are actively telling our story through the use of text or other devices (exhibition rooms, for example). Sensitive use of colour and materials can help to cater for the needs of visitors in these spaces without intruding on the atmosphere of the space. Why don t you try writing in Japanese, then take them home to show others. Have fun! Thank you. Joy Tovey House Manager 4. Immersive These spaces may well be of the period and interpretative devices will be drawn from research evidence. The style book should be used to inform supporting material such as room folders, maps, leaflets. 2. Backstage 4. Immersive from Perfumes to Poisons: A gentleman farmer s garden Caution Please take care when crossing the road ahead. Simp orem quid us ea sequia am untorro beatur alis cus nos dolori um quam, es ma ne et quae. Mus eos pore soltiunt autem. Icia debit, comnimi nvendis illenti orrunt aut am adi Simp orem quid us ea sequia am untorro beatur alis cus nos doloricum quam, es ma ne et quae. Mus eos pore soluptiunt tem. Icia debit, comnimi nvendis illenti orrunt aut am adi duntem assunt, of audiat. Ihil incid qu Car Park & Toilets 17

18 Design application Welcome to A House to Dream of, a Garden to Dream in. Welcome to A House to Dream of, a Garden to Dream in. 18

19 Design application Walks Smconsenibh enim velenim ipis elit lutat adit. Deleniam qui bla consectem in veliquismod et aliquissi. In earchit laboria pero qui acium id exerum ellacer emperum eatiist, que quat haribus A House to Dream of, a Garden to Dream in. Smconsenibh enim velenim ipis elit lutat adit. Deleniam qui bla consectem in veliquismod et aliquissi. In earchit laboria pero qui acium id exerum ellacer emperum eatiist, que quat haribus, nullore sum expelibus et laut optaqua tibusam ducid ut facit recto officatem same essi is aut ullaccus et re es qui il ipsa Conserit molupta experem ea quias nimagnatus et ped magnihi llabo. Ut et quamusanisim faccull oreped ut lantiur mi, ullorum quid quiae non resti bla dolenda aborepudae A House to Dream of, a Garden to Dream in. To avoid stressing the livestock in these fields, please keep your dog on the lead at all times. Thank you 19

20 Design application A House to Dream of, a Garden to Dream in The Lake The Yew Garden The Yew walk House Shop Car Park Kitchen Garden NT leaflet dispenser NT leaflet dispenser A4 information display A4 information display 20

21 Design application Walk The Yew Garden Meadow Trail Wildflower Walk Garden Walk Baron Ash Walk 21

22 Design application Thank you for keeping on the path. 22

23 Design application Tapestry Collection Ecum cumendel il miligna temodigentio blab intia voloribus et aliquos sum Tapestry Collection 23

24 Design application Cafe Type on concrete 27 Screenprint on Fabric

25 Design application Welcome to A House to Dream of, a Garden to Dream in. The house is originally 16th-century, yet its interiors were extensively restored between the world wars by Graham Baron Ash to create a fascinating 20th-century evocation of domestic Tudor architecture. House contains a fine collection of 16th-century textiles and furniture, and the gardens have renowned herbaceous borders and a famous collection of yews. 28

26 Mood reference old and new Kitchen Garden 29

27 Mood reference tell A Dream Once a dream did weave a shade O'er my Angel-guarded bed, That an Emmet lost its way Where on grass methought I lay. Troubled, 'wilder'd, and forlorn, Dark, benighted, travel-worn, Over many a tangled spray, All heart-broken I heard her say: ``O, my children! do they cry? Do they hear their father sigh? Now they look abroad to see: Now return and weep for me.'' Pitying, I drop'd a tear; But I saw a glow-worm near, Who replied: ``What wailing wight Calls the watchman of the night? ``I am set to light the ground, While the beetle goes his round: Follow now the beetle's hum; Little wanderer, hie thee home.'' A Dream by William Blake 30

28 Mood reference play 31

29 Mood reference sundials 32

30 For more help and advice contact your consultancy or the design team at Heelis. If you require this information in alternative formats, please telephone or nationaltrust.org.uk