DESIGN
MANUAL
A GUIDE TO THE PALATINE MODULAR IDENTITY
IDENTITY SYSTEM
FONTS
LOGO
COLOR
ALTERNATE LOGOS
USAGE & ALTERNATIVES
LOGO USAGE
LOGO MISUSE
STATIONERY
BUSINESS CARDS
LETTERHEAD & ENVELOPE
APPLICATIONS
POSTER
TYPOGRAPHY
BOOKMARKS
GUIDES & BOOKLETS
SIGNAGE
TABLE OF CONTENTS
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Palatine Hill has been home to some of Rome’s most important
emperors. Augustus, Nero, King Romulus and many more,
constructed their headquarters atop this hill overlooking their
great empire. These numerous generations evolved all facets
of development, from architecture to philosophy, leading up to
Rome’s current place as a seat of monumental history.
The spiraling rectangular forms of this mark represent that
expansive past built from Rome’s birth as a farming settlement
by Romulus (the smaller leaf shape) to the great feats of art and
architecture that would soon follow (the larger rounded squares).
The largest shape gives homage to the emperor’s place in Palatine, by depicting the profile of an emperor overlooking Rome
while referencing the profile of a column’s capital. The negative
space also hints at the literal state of the site, with part of the wall
destructed, as much of the buildings and structures appear today.
The logotype also echoes this idea of refinement and change
through the use of a combination sans serif, and serif typeface
that evolves its more refined serifs throughout the reading of the
word “PALATINE.”
IDENTITY
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The identity only uses one font family, in four different variations.
Quadraat Sans regular & bold, and Quadraat regular & bold.
These two fonts relate to each other formal as well as provide
distinct differences in their serif, san-serif composition. As seen
QUADRAAT
0123456789 !@ #$%^&*( )
ABCEDFGHIJKLMNOPQRSTUV W X Y Z
abcedf g hijklmnopqr s tuv w x y z
QUADRAAT SANS
0123456789 !@ #$%^&*( )
ABCEDFGHIJKLMNOPQRSTUV W X Y Z
abcedf g hijklmnopqr s tuv w x y z
in the logotype, these two fonts merge to give the impression of a
progression through time, similar to the history of Palatine.
Within the same idea the logotype and mark communicate the
idea of time’s passing, so can the juxtaposition of these two faces
within the application of the Palatine identity.
QUADRAAT BOLD
0123456789 ! @ #$%^&*( )
A BCEDFGH I J K L M NOP QR ST U V W X Y Z
abcedfgh ijk l m nopqr st uv w x yz
QUADRAAT SANS
0123456789 !@ #$%^&*( )
ABCEDFGHIJKLMNOPQR ST UV W X Y Z
abcedfg hijklmnopqrstuv w x y z
FONTS
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LOGO PROPORTIONS
The Palatine mark and the logotype create a sense of of growth
and historical progress through not only decoration, but also the
proportional relationships between all elements. By juxtaposing
16
X
four shapes of diminishing size and feature (rounded corners) this
idea is communicate in an abstract way that still allows for a bold
look and easy readibility at small sizes.
8X
X
2X
2X
2X
X
2X
5X
X
4X
24X
LOGO
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CLEARSPACE REQUIREMENTS
Because the logo is not typically balanced along the center of
the X and Y axis, the required clearspace surrounding the logo is
not proportional equally around. Leaving more space to the left
allows for a better compositional balance with the logo being
heavier on the right, yet relieved by the logotype below and to the
right. When in doubt, more space is reccomended.
5X
5X
3X
3X
LOGO
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GRID
Much of the mark is very geometric and focuses around 45 degree
angles. The only exceptions to these rigid modular increments
are the negative space of the emperor’s face in the main piece of
the mark and the logotype below. These two relate to each other
by only utilizing some serifs from Quadraat and incorporating the
more modular and uniform sans-serif style of Quadraat Sans.
LOGO
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Color is a very important element in the Palatine system. Because
there are four elements within the mark itself, there are four
colors. The two most dominant colors are the Pantone 497 C and
the Pantone 7516 C. These two have the most contrast and therefore are used in such a way as to provide better variety, organizaPantone 497 C
C85 M100 Y100 K0
tional direction and composition. The two other colors, Pantone
506 C and Pantone 696 C, provide the middle of the gradient and
can certainly be used, however are reserved for applications that
demand a wider variety of conceptual variety.
Pantone 506 C
C60 M90 Y70 K0
Pantone 696 C
C50 M80 Y80 K0
Pantone 7516 C
C40 M70 Y90 K 0
COLOR
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MARK
The mark can certainly be used by itself, as both a representation
of the brand as well as an artistic asset.
LOGOTYPE
The logotype can also be replaced as a logo for the brand, however when this is done, it’s neccessary to use the mark in some
way, shape or form.
HORIZONTAL ORIENTATION
The horizontal logo seen to the left can be substituted when
deemed neccessary with certain applications that leave little
vertical space, such as a wristband or sunglasses.
REVERSED & SIZED
When reversing the logo with a background, whether it be a
photo, color or illustration, all marks of the mark and logotype
must still be legible. The same is required of sizing the logo down
to a smaller mark, perhaps for the back of a brochure etc.
ALTERNATE LOGOS
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Use of the logo and its elements are integral to carrying through
the Palatine identity. By following the rules above and avoiding
the pitfalls listed in the pages ahead, the identity can be maintained with much greater honesty.
MASKING
Masking the logo can only be done with approved photographs
from the Palatine identity library, and must take up at least 50%
of the page it is being applied to. Exceptions are permitted in the
case of cropping the logo, or singling out its modular elements
in regards to the percentage requirement, however this does not
pass as use of the logo for branding, simply as visual punctuation.
LOGO USAGE
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MODULES
Because the mark is based off a modular principle, it makes sense
to treat the identity and its elements in a similar fashion. Rules
do apply to this practice. Modular use of the mark’s elements are
restricted to applications that lend to a series or system, such as
a book, guide, set of pencils and so on. Within that guideline, no
more than one piece of the mark may appear on any one given
application at a time. Furthermore the relative size within the set
must maintain the proportions of the mark. Therefore the elements will not relate to eachother in one single composition, but
will within the system.
PROFILE
The profile or “face” of the mark can be used in a similar way to
masking, by expanding the filled area to its right the profile can
be applied to any solid identity color as a border. This shape may
also be cropped as seen in the example left.
LOGO USAGE
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Any kind of treatment, adjustment, effect or change to the logo,
mark, logotype or its included elements is strictly prohibited.
Nothing should ever be rotated, moved or manipulated in any
way. Right, are just some examples of misused marks.
LOGO MISUSE
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The Palatine stationery acts as a good jumping off point for
implementing the identity into applications. While modest and
somewhat subdued compared to other applications, these three
pieces of the stationeryutilize the advantages of a modular identity while still promoting the brand just as effectively as any other
traditional brand would.
BUSINESS CARD
The business card takes full advantage of the Palatine color
BBING
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DIRE
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scheme while incorporating a dominant portion with the cropped
profile to the right. These elements together communicate a
classic, organized, yet updated identity.
9P
20.3822 F
06.69.4
01.493 .com
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alatin
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www.ptubbing@p
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STATIONERY
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LETTERHEAD
Like the business card, the letterhead makes use of the profile
in a slightly different way, for decoration and visual punctuation.
Much more of the face is visible in this application. The rest of the
format is quite formal, and subdued as much of Palatine’s mail is
administrative and political.
ENVELOPE
The envelope makes use of splitting the mark and logotype up
for a bit more interest and dynamism. By using the logotype as a
functional element of the envelope the mark is freed up to cradle
the address and provide for more diagnol movement, a characteristic of composition integral to the Palatine identity.
STATIONERY
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When implementing typography into applications within the system, it is important to treat the surrounding text in an approrpriate fashion as to maintain the identity.
WEIGHT
LOREM
IPSUM DOLO
Molendreet, secte dipsustrud tet velis nosto ea aliquatuero dunt
laorercipit wis nullaore magna consenim velit amconsecte dolore
dolor si blandiam et exer sent ing endre feuguero delesequam,
Regular should be used with all body text, such as the sentence
you are reading now. It may be used as display type, however that
is ill-advised in most cases, only with good reason should regular
weight be implemented for titles or other large pieces of text.
Within that, Quadraat Sans should be used for any type 10pt or
smaller, such as this text. The bold faces are reserved for titles,
pull quotes and any other text that needs to be called attention to.
SPACING
Leading for titles and tracking for all text should be kept as tight
as possible while still retaining legibility and readability. For body
text, -25 tracking is a good starting place, and for titles, -50. Leading for body text should be kept large and exaggerated.
CAPITAL CASE
All titles, headings or mastheads should use all capital case in all
applications in order to carry though the identity’s bold look.
TYPOGRAPHY
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In other applications seperate of the stationary, the identity ca
breathe a bit more. With a change in audience, pulling out all the
stops for the public, give-aways, posters is a must. Utilize this
modular and unexpectedly dynamic identity to take full advantage in the public eye.
POSTER
The poster is a good example of breaking into the exciting possibilites of the Palatine identity while still retaining an appropriate
look and feel. The large masked image communicates a strong
brand as well as an interesting image of the South face of the hill.
1/1/2008
GRAND RE-OPENING 2/1/2008
Palatine Hill, the birthplace of Rome, encompasses the entire history of this ancient city. From the founding of our first settlement to the residence of the most powerful
emperors to ever rule a society. Still, much of the history on this site remains a mystery, until now! Historians, archaeologists and political officials across the globe have
intensely studied these grounds over the past decades to provide the public with a better understanding of this foundation of the greatest city in the world. The city of Rome
and academics from around the world invite you to visit this newly refurbished area to open up a piece of history for yourself. Go on, get you some.
APPLICATIONS
PALATINE DESIGN MANUAL
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BOOKMARKS
These bookmarks represent a good use of the modular logo
across four different bookmarks within one series. By using the
modular system as a guiding tool for composition and layout, all
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four of these pieces tie into one mini-system of their own. Notice
the use of color throughout the typography as well as a slight
tinted paper to the background to give the mini-system a warmer
feel, perhaps relating more to the act of reading physical pages.
NERO’S
GOLDEN
PALACE
APPLICATIONS
PALATINE DESIGN MANUAL
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GUIDES & PUBLICATIONS
Any type of publication design is a perfect opportunity to utilize
the modular logo system over the course of the pages. By seperating each element, the system gains harmony and interest
through variations in composition using the modular mark.
THE BIRTHPLACE OF
THE ANCIENTS &
ROME
THE EARLY EMPERORS
ROMULUS & REMUS
Before their lives began, Romulus and
Remus’ grandfather Numitor and his brother
Amulius, descendants of fugitives from Troy,
gold Aeneas brought with him from Troy.
Because Amulius held the treasury, thus
having more power than his brother, he
dethroned Numitor as the rightful king. Out
of fear that Numitor’s daughter, Rhea Silvia,
would produce children that would one day
overthrow him as king, he forced Rhea to
become a Vestal Virgin, a priestess sworn to
abstinence.
The Roman Republic was the phase of the
historians; Roman citizens of the time
ancient Roman civilization characterized
by a republican form of government.
ceased to exist. The early Julio-Claudian
The republican period began with the
“Emperors” maintained that the res
overthrow of the Monarchy c. 509 BC and
publica still existed, albeit under the
She was discovered to be pregnant never-
lasted over 450 years until its subversion,
protection of their extraordinary pow-
theless she bore the twin boys, as told, of
through a series of civil wars, into the
ers, and would eventually return to its
remarkable size and beauty, later named
Principate form of government and the
full Republican form. The Roman state
Imperial period. The precise event which
father’s death. Numitor received the soverreceived the royal treasury, including the
THE FIRST CAESAR
Republic is a task of dispute by modern
did not recognize that the Republic had
received the throne of Alba Longa upon their
eign powers as his birthright while Amulius
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Determining the precise end of the
THE SHE-WOLF MOTHER
Romulus and Remus. Amulius was enraged
continued to call itself a res publica as
and ordered Rhea and the twins killed. Ac-
signaled the transition of the Roman
long as it continued to use Latin as its
counts vary on how; in one account, he had
Republic into the Roman Empire is a
official language.
matter of interpretation. Historians have
Rhea buried alive (the standard punishment
proposed the appointment of Julius
for Vestal Virgins who violated their vow of
Caesar as perpetual dictator (44 BC), the
celibacy) the death of the twins by exposure;
Battle of Actium (2 September 31 BC),
In another, he ordered Rhea thrown in the
and the Roman Senate’s grant of Octa-
Tiber with the twins.
vian’s extraordinary powers under the
first settlement (January 16, 27 BC), as
candidates for the defining pivotal event.
5
3
ONCE A CULT...
The first recorded significant persecution of
Christians at the hands of the authorities of
OUTSIDE INFLUENCE
the Roman Empire was that of the year 64,
when, as reported by the Roman historian
Most of Europe (west of the Rhine and
Tacitus, the Emperor Nero blamed them for
south of the Alps); coastal northern
CHRISTIAN EXILES
Africa, together with the adjacent
province of Egypt; the Balkans, the Black
The relationship between Constantine I and
Sea, and Asia Minor; and also much of the
Christianity entails both the nature of the
Levant. Hence the Imperium Romanum
THE RISE OF ROME
conversion of the emperor to Christianity,
subsumed, west-to-east, modern-day
and his relations with the Christian Church.
Portugal, Spain, England and France,
The Latin term Imperium Romanum (Ro-
Italy, Albania and Greece, the Balkans,
man Empire), probably the best-known
and Turkey; southward it embraced parts
Latin expression where the word imperium
of the Middle East: present day Syria,
denotes a territory, indicates the part of the
Lebanon, and more.
that year’s great Fire of Rome.
Though Emperor Constantine I was exposed
to Christianity by his mother, St. Helena,
there is scholarly controversy as to whether
he adopted his mother’s Christianity in his
youth, or whether he adopted it gradually
world under Roman rule. From the time of
over the course of his life.[1] Whatever the
Augustus to the Fall of the Western Empire,
case, the accession of Constantine was a
Rome’s dominion covered all of the follow-
turning point for the Christian Church. In
ing: England and Wales.
313, Constantine issued the Edict of Milan,
FROM MANY, ONE.
legalizing Christian worship, and the emperor would be a great patron of the Church
*.1&3*"-
and set a precedent for the position of the
Christian Emperor within the Church that
would be followed for centuries.
9
CONSTANTINE, THE
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APPLICATIONS
PALATINE DESIGN MANUAL
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SIGNAGE & WAYFINDING
Signage around the site can be tricky in such a historical sanctuary, but this identity aims to keep things simple and easy for
toursists to not only find their way but expand their knowledge
and experience at Palatine. This signage is a large part of a
cohesive effort with historians and officials to bring more life and
experience into a site that is quite barren of any information or
knowledge regarding the history and ancient events.
MAP
YOU ARE HERE
APPLICATIONS
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