Identity Guidelines
identityguidelinesVersion 1.1 — 08.01.18Identity guidelines are always a work-in-progress.1
table ofcontentsBrand StrategyVisual StyleDigital Applications06Our Vision16Color72Digital Co-branding07Our Mission19Typography77Social Media08Brand Values22Our Identity09Positioning23Logo Anatomy10Audience Segments25Primary Logo14Messaging29Secondary Logo33Tertiary Logo37Seal Logo40Legacy Lockups45Co-branding46The Hybrid Model54Logo Don’ts57Wayfinding & Signage60Brand Extensions65Visual Options
letterfrom theSecretaryFor more than 171 years, the name “Smithsonian” has embodied American excellence in museumcollections, scholarship, education, and historic, artistic, and scientific exploration. During thattime, the breadth and depth of our work has steadily expanded. We have become an increasinglyinternational institution, and our museums, research centers, and educational divisions have forgedtheir own strong identities. Understandably, many people outside the Institution are not aware of allwe are and everything we do.If we are to maximize our reach and impact, all of us must not only work more closely with eachother, we must also more effectively convey to those outside the Smithsonian the full scope ofour institutional activities. Our new Strategic Plan, with its overarching goal of “One Smithsonian,”underscores that necessity. With our important work in a wide variety of disciplines, the Smithsonianis truly “everything under the sun.” Nothing better represents that than our iconic sunburst logo.The Smithsonian seal, since its 1966 unveiling, has been an apt symbol of our mission, “the increaseand diffusion of knowledge,” a tenet of the Enlightenment era embraced by our benefactor, theEnglish scientist James Smithson. This symbol was fully embraced by the late Ivan Chermayeff, therenowned graphic designer who developed our comprehensive logo system in the late 1990s.Like the Institution writ large, our brand must keep up with the times and adapt to new forms ofcommunication that were not prevalent decades before. Our organizations use the sunburst in avariety of ways, on many digital and analog platforms, and our team worked to make the logo easierto read and adaptable enough to be incorporated into the individual brands of museums and otherSmithsonian organizations.Guided by our “One Smithsonian” motto, the branding committee also solicited feedback frompeople across the Institution. These guidelines reflect your input, and I am confident they willhelp each organization amplify its message and reach. A more streamlined, unified brand will bemutually beneficial: individual parts of the Smithsonian will reinforce the association with the trustedSmithsonian name, and your dynamic, creative work will elevate the prestige of the entire Institutionin the minds of the public.Thank you to the Office of Public Affairs’ Marketing team for putting together this useful guide withthe support of the branding committee. As you implement its guidelines, I encourage you to let usknow what we can do to make it even more effective. In the meantime, I think you will be pleasedwith the results as we realize our goal of moving together as “One Smithsonian.”Dr. David J. Skorton13th Secretary of the Smithsonian
identityguidelinesThis document captures the essence of the Smithsonian brand.Our brand is how the world sees, talks about, and experiences theSmithsonian. Our public image is the sum of all impressions made inthe media, advertising, wayfinding, stationery, web, social media, video,animation, and all other communications.A strong identity captures the essence of an organization’s purpose.A well-branded institution projects a unified character that effectivelyreinforces its various activities.Use this guide to inform what we do and say, express how we look andspeak, and, most importantly, remember why we do it.Segmentation modeling by Morris Hargreaves McIntyre (MHM), 20170 Smithsonian4
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Brand StrategyOur VisionWe aspire to:Build on the Smithsonian’sunique strengths to engageand inspire more peoplewhere they are and withgreater impact.0 Smithsonian6
Brand StrategyOur MissionWe work for:Te increase and difusionof knowledge.0 Smithsonian7
Brand StrategyBrand ValuesTese are personality traits that give life to our brand:Smithsonian is AuthenticRelevantWe stay true to the Smithsonian’s purpose toincrease and diffuse knowledge.We reflect an understanding of audience needs andinterests.InformativeConversationalWe connect the dots so the public doesn’t have to.We’re smart and accessible.TrustworthyEnthusiasticWe inspire confidence in our audience.We genuinely enjoy sharing information with others.0 Smithsonian8
positioningWe can no longer rely solely on demographic-basedtargeting. Treating everyone as one homogenousmass is ineffective — one size does not fit all.An audience-first approach allows us to segmentaudiences based on behavioral patterns and culturalinterest. The more we know about our audience, thebetter we can fulfill their needs.0 Smithsonian9
Brand StrategyAudience SegmentsExpressionMembers of the Expression segmentactively pursue life and place a high value ontheir free time. They are open to differentexperiences, cultures, and idea, and theircultural consumption is broad and frequent,making them one of the most highlyculturally active segments.Actively engaged and well networkedArts and culture are key elements of their lifestyleand a means of self-expression, a way of connectingwith like-minded individuals and fulfilling their needfor a sense of community.Their role in their communities means they are avaluable source of advocacy—Expressions loveto share, so when they learn something, they telleveryone. Membership schemes and participatoryevents can be a useful way to maintain a dialoguewith Expressions and secure their support andrecommendation.They are receptive to new ideas and have a widerange of interests including culture, learning, andnature. They don’t like hierarchies or exclusivity—allcultural experiences are valid to them and often noexperience is more worthwhile than another.Although they like adventure, innovation, anddiscovery, members of the Expression segment like toknow what they’re letting themselves in for and aretherefore receptive to reviews and recommendations.Expressions like to feel part of a crowd and enjoyshared experiences, so offering an opportunity fordialogue and discussion appeals.This segment likes experiences to be authentic, andthey enjoy opportunities to understand the creativeprocess. They tend to respond to opportunities toparticipate and are most likely to have taken part in awide number of artistic activities.Segmentation modeling by Morris Hargreaves McIntyre (MHM), 20170 Smithsonian10
Brand StrategyAudience SegmentsAfrmationAffirmations often lean toward brands asassurance to help them choose the bestoption. Affirmations welcome culture as away of enjoying quality time with friendsand family while at the same time improvingthemselves. This segment is interestedin less traditional art forms and large,mainstream events and activities; the latteroffers a low-risk means of satisfying theirvaried needs.Seeking valid, worthwhile experiencesArts and culture provide a means for Affirmations tovalidate themselves with their peers. This segmentcares what others think about them, and, as a result,want to be seen as engaging with cultural activities,not just popular entertainment.Conscientious decision makersAffirmations want enjoyable quality time with others,but they also seek self-improvement. They needmarketing to help them work out the “best” option,so they can be sure they are doing the right thing.Cultural institutions must clearly articulate thebenefits affirmations will get from engaging withthem, not just the features of an event.Affirmations often research their visits carefully, soan organization’s messaging should demonstrate itsvalue by offering a more worthwhile way of having afun time with others.Affirmations want to be viewed as “culturalconsumers.” Organizations can capitalize on this byoffering easy methods for sharing content online.They view arts and cultural organizations as aresource providing them with enjoyment andeducation while offering an environment for spendingquality time with others—in other words, a form of“wholesome leisure.”They are inclined to be regular visitors to a smallnumber of cultural organizations; ones they knowfrom experience can meet their needs.Segmentation modeling by Morris Hargreaves McIntyre (MHM), 20170 Smithsonian11
Brand StrategyAudience SegmentsStimulationStimulations pride themselves in beingahead of the curve. “Do somethingdifferent” is a maxim for life. They arenaturally curious and open to a wide rangeof experiences. Their interest is particularlypiqued by experiences that are out of theordinary or conversation starters.Adventurous and in the knowStimulations seek a varied and entertaining life ofnovelty and challenge—hence the varied array of artforms they engage with and the level of risk they arewilling to take. As well as being driven by curiosity,Stimulations enjoy the social experience of attendingevents and like to ensure they remain the ones “inthe know” within their peer group.Aligning with quirky, unusual brandsStimulations look for activities and brands that reflecttheir own self-image. They pride themselves in beingahead of the curve and will respond to clever, quirky,or “cool” marketing and design. Their early-adopternature can also make them good brand ambassadors.Stimulations can see marketing as an art form initself. They enjoy and appreciate “cool” marketing andcould help it “go viral” for arts organizations.While they keep an eye out for what’s on, they willbe faced with lots of “similar” options. Their interestwill be piqued by features that stand out as unusual,experimental, or with an interesting premise or hook.As innovators and early adopters, they are not guidedby the opinions of others. Rather, they are keen tobreak away from the mainstream, and they are at thehead of the pack in finding out about new events andactivities. Their strong sense of adventure and desireto stand out from the crowd constantly encouragesthem to try new things, even if it means going out ontheir own.Segmentation modeling by Morris Hargreaves McIntyre (MHM), 20170 Smithsonian12
Brand StrategyAudience SegmentsEssenceArts and culture are an incredibly importantpart of life for members of the Essencesegment. They will always make time forcultural experiences, and their appetitefor culture takes them to a wide rangeof venues. The Essence segment isdiscerning and well-informed. Their culturalconsumption is a source of self-fulfillmentand a means for experiencing life.Confident, sophisticated, inner-directedThe Essence segment often steers clear of themainstream.Pro-active and independent consumersEngaging Essences is, on the surface, notdifficult. Culture is not what they do—it is part ofwho they are—so they are proactive in keepingthemselves updated on the arts scene. However,they are fiercely independent. They take pride inliking things that are outside of the mainstream.Rather than attempting to sell to them—theyinherently mistrust and reject overt marketingspeak—organizations should provide them thetools that help them filter their options. Allowingthis segment to seek information themselves ismost effective.Essences praise quality and artistic integrity aboveall else, actively avoiding works they perceive to beamateur or populist. They enjoy discovering littleknown names and will pursue their artistic interestsas a priority.They pride themselves on the breadth andsophistication of their tastes, and they particularlyenjoy activities they consider to be “intellectual.”Essences are arts advocates. They recognize theimportance of supporting the arts at a personal andpolitical level and tend to be the segment most likelyto make financial donations to cultural organizations.Segmentation modeling by Morris Hargreaves McIntyre (MHM), 20170 Smithsonian13
Brand StrategyMessagingTis is how we talk:We are more than a museum.We are the world’s largest museum, education, and research complex.Ex.: We are an active institution of more than 22,000 people across 19 museums, nine research centers,21 libraries, and the National Zoo.We are relevant and accessible.We are opening new doors, analyzing big questions, and sharing stories with you.Ex.: We research the impact of invasive species to help solve environmental challenges.We are active.To better understand the world and our place in it, we are on the ground in morethan 140 countries researching, conserving, designing, and educating.Ex.: We inspire hope in underrepresented communities by training them to protect and recover theircultural heritage in the face of crisis.0 Smithsonian14
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colorOur color palette gives us a voice and personality thatelicits an emotional reaction. The Smithsonian colorpalette evokes a vibrant, bold, approachable, and everydaysensibility. The primary blue and yellow are the foundationof the brand and represents a sun and sky. Secondarycolors are designed to emphasize how wide-ranging anddiverse Smithsonian’s offerings are.0 Smithsonian16
Visual StyleColor PalettePrimaryThe primary color palette is our resting place. It is designed to be usedin situations where the brand palette is not being used. For instance, usethese colors sparingly only on white, black, or non-duatoned photography.PMS: 2925 C / 299 UPMS: 116 C / 109 UPMS: BLACK 6CHEX: #009CDEHEX: #FFCD00HEX: #101820RGB: 0 156 222RGB: 255 205 0RGB: 16 24 32CMYK: 85 21 0 0CMYK: 0 14 100 0CMYK: 100 79 44 93SecondaryThe secondary palette consists of six main colors. These colorscomplement the primary palette and are used to create emphasisand promote variety in content.PMS: 655 CPMS: 7700 CPMS: 0821 CHEX: #002554HEX: #165C7DHEX: #74D1EARGB: 0 37 84RGB: 22 92 125RGB: 116 209 234CMYK: 100 79 12 59CMYK: 84 17 0 57CMYK: 47 0 7 0PMS: 158 CPMS: 7409 CWHITEHEX: #E87722HEX: #F0B323HEX: #ffffffRGB: 232 119 34RGB: 240 179 35RGB: 255 255 255CMYK: 0 62 95 0CMYK: 0 31 100 0CMYK: 0 0 0 00 Smithsonian17
Visual StyleColor PaletteTertiaryThe tertiary palette is neutral and subtle. Its purpose is to allow flexibilitywhen working on websites. You can use the light blue or light gray forpage divides or hover states. The darker-value gray tones can be usedon type to give a more approachable readability.HEX: #333F48HEX: #75787BHEX: #EFEFEFRGB: 51 63 72RGB: 117 120 123RGB: 239 239 239CMYK: 65 43 26 78CMYK: 30 22 17 57CMYK: 5 3 3 0HEX: #E2E8ECHEX: #D0D7DEHEX: #F0515ARGB: 226 232 236RGB: 208 215 222RGB: 240 81 90CMYK: 10 5 4 0CMYK: 17 10 8 0CMYK: 0 84 59 00 Smithsonian18
typographyTwo typefaces have been selected to support theSmithsonian brand: Minion Pro and Basier Circle.Each font has a personality of its own, yet theywork well together and are used in a way thatallows the identity system optimal flexibility in avariety of applications.0 Smithsonian19
Visual StyleTypographyPrimary TypefaceMinion lmnopqrstuvwxyz0123456789StylesAbout This FontRegularSemibold ItalicItalicBoldMediumBold ItalicMedium ItalicBold CondSemiboldBold Cond Italic0 SmithsonianMinion Pro is inspired by classical, old-styletypefaces of the late Renaissance, a period ofelegant, beautiful, and highly readable type designs.Minion Pro combines the aesthetic and functionalqualities that make text type highly readable with theversatility of OpenType digital technology, yieldingunprecedented flexibility and typographic control,whether for lengthy text or display settings.20
Visual StyleTypographySecondary TypefaceBasier ijklmnopqrstuvwxyz0123456789StylesAbout This FontRegularSemiboldItalicSemibold ItalicMediumBoldMedium ItalicBold Italic0 SmithsonianBasier Circle is a neo-grotesque sans-serif typeface.This modern and neutral font family is ideally suitablefor logotypes, branding, and editorial design, as wellas web and screen design.21
ouridentityA brand is more than just a logo. And a logo is more thanjust a mark or symbol. A logo must work with other designelements to seamlessly adapt across colors, dimensions, anduses. This is called a logo identity system.The Smithsonian has created a logo system that is flexibleenough to be broken apart or used in totality, depending onthe design need.As we roll out this expanded identity system, it’s importantto note that the logomark has not changed. In honoring ourlegacy, we not only retain the spirit of the original identifierlast updated by Ivan Chermayeff but also recognize thehistorical significance of the logomark itself.0 Smithsonian22
Visual StyleLogo AnatomyPositive and Reversed SpacingWhen the logo is reversed on a dark background, the Sunburstexpands to fill the sky to maintain visual balance. The spacebetween the logomark and the letter “S” should never be altered.logomark1logotype11 ! !"'11f;xed spadnglogomarklogotype Smithsonianfixed spacing0 Smithsonian23
Visual StyleLogo AnatomyClear SpaceOur logo must have space to breathe, with rules concerning spacingand margins. It should not be cramped or overshadowed by other visualdistractions. The logo clear space equals the ascent or ascender heightof letter “S” around all edges of the logo, which should be free from othergraphics and interference. If there is an instance where this rule has to bebroken, please contact a brand supervisor.Size ParametersThe Smithsonian logo may be resized as necessary. However, itshould follow these minimum size requirements to ensure that itis still readable, even when scaled to smaller dimensions.f.Smithsonia1.f.Smithsoni r--.1.5" .,r--.108px . Minimum print sizeMinimum digital sizeTo maintain the integrity of the primarylockup in print, a minimum width of 1.5inches has been set. The height shouldbe proportional.To maintain the integrity of the primarylockup in digital, a minimum width of 108pixels has been set. The height should beproportional.0 Smithsonian24
Visual StylePrimary LogoColorSmithsonianMinimum Size0 Smithsonian0 Smithsonian25
Visual StylePrimary LogoPositive0 SmithsonianMinimum Size0 Smithsonian0 Smithsonian26
Visual StylePrimary LogoReversed SmithsonianMinimum Size Smithsonian Smithsonian27
Visual StylePrimary LogoColor VariationsThese color variations provide flexibility in usage but can onlybe used on Smithsonian black. These color variations should beused sparingly. Smithsonian Smithsonian Smithsonian28
Visual StyleSecondary LogoColorSmithsonianMinimum SizeSmithsonian0 Smithsonian29
Visual StyleSecondary LogoPositive0SmithsonianMinimum Size0Smithsonian0 Smithsonian30
Visual StyleSecondary LogoReversedMinimum Size31
Visual StyleSecondary LogoColor VariationsThese color variations provide flexibility in usage but can only beused on a Smithsonian black background. These color variationsshould be used sparingly.Minimum Size32
Visual StyleTertiary LogoColorSmithsonSmithsoniaiann InstitutioInstitutionnSmithsonSmithsoniaiann utioInstitutionn0 Smithsonian33
Visual StyleTertiary LogoPositive0Smithsonian Institution0Smithsonian Institution0SmithsonianInstitution0 Smithsonian34
Visual StyleTertiary LogoReversedSmithsonian InstitutionSmithsonian InstitutionSmithsonianInstitution35
Visual StyleTertiary LogoColor VariationsThese color variations provide flexibility in usage but can only be usedon a Smithsonian black background. These color variations should beused sparingly.Smithsonian InstitutionSmithsonian InstitutionSmithsonian InstitutionSmithsonian ution36
Visual StyleSeal LogoPositiveMinimum Size,t\\SO,y -1a"'1,.,,,.J'0 Smithsonianl'1ru't \. 037
Visual StyleSeal LogoColorTo be as flexible as possible with the brand, the Smithsonian logo can be used in avariety of ways. This is to promote brand usage on all platforms. The secondary logolockup is centered and the sun dimension increases for extra visibility and balance.Minimum Size0 Smithsonian38
Visual StyleSeal LogoReversedMinimum Size39
legacylockupsThere’s a lot of value gained when a museum createsits own brand. They appeal to nuanced audiences whileacknowledging their place in the Smithsonian family. However,while there is value in these custom graphic identities, theydon’t always work.For that reason, the following lockups are available for everymuseum, research center, and educational unit associatedwithin the Smithsonian. This allows every branch of theSmithsonian to have a logo available for use if needed. Theselogos are great for stationery, outreach materials, researchpapers, etc.0 Smithsonian40
Visual StyleLegacy LockupsMuseum and Research Unit LockupsSmithsonianMuseum/Unit NameSmithsonianMuseum/Unit Name0 Smithsonian41
Visual StyleLegacy LockupsLogo AnatomyWhen the logo is reversed on a dark background, the sunburstexpands to fill the sky to maintain visual balance. The spacebetween the logomark and the letter “S” in the logotype shouldnever be altered.SniitfisOlliall.::::c ·· ."'""' '"""d " h ;ght of "h" and baseline of sub-text.- -- -- -. . Museum/Unit .Title . .- -- -- -- -- -- -- -- -- -Smithsonian. . . . . . .- --- --- -- -ascent or ascender heightof "h" and baseline of sub-textMuseum/Unit Title0 Smithsonian42
Visual StyleLegacy LockupsReversed Color VariationsMuseum and research unit lockups can be used in a variety of ways.When reversed, color variations are limited to what is designated below.SmithsonianMuseum/Unit NameSmithsonianMuseum/Unit NameSmithsonianMuseum/Unit NameSmithsonianMuseum/Unit NameSmithsonianMuseum/Unit NameSmithsonianMuseum/Unit Name43
Visual StyleLegacy LockupsExamplesMuseum and research unit lockups are available for download at sonianSmithsonianSmithsonianNational Zoological ParkNational Air and Space MuseumWomen’s Committee0 SmithsonianBooksNational Portrait GalleryLatino Center44
co-brandingTe Hybrid ModelTo promote brand recognition, it is important to provide eachmuseum with a co-branded lockup or a solution around cobranding. The following rules are in place to help promotecohesion throughout the entire Institution.This concept firmly establishes the Smithsonian as part ofevery museum and mar ries the two brands together in onelockup without any additional clutter.0 Smithsonian45
Visual StyleTe Hybrid ModelTe Lockup—Visual RelationshipThe Smithsonian logo will be locked up or “mar ried” with each unit logo.The scale will be customized for each use in order to maintain hierarchyand visual balance.Below is the ideal visual relationship based on the golden ratio. Thiscalculation is based on the width of the unit logo. It’s important to notethat this proportion is only a visual starting place.NAT·1·0NAL·····. . .//MLJ·SELJMO O Smiths9 I NATURAL. /// \1r.t / C: J0 Smithsonian46
Visual StyleTe Hybrid ModelTe Lockup—ExamplesNationalPortraitGalleryFREER ISACKLERO SmithsonianO SmithsonianNATIONALMUSEUMofNATURALHISTORYO SmithsonianO ENTER0 Smithsonian47
Visual StyleTe Hybrid ModelTe Lockup—Examples ReversedNationalPortraitGalleryFREER ISACKLER Smithsonian SmithsonianNATIONALMUSEUMofNATURALHISTORY Smithsonian ENTER Smithsonian48
Visual StyleTe Hybrid ModelTe Lockup—Color FlexibilityBy allowing more flexibility with the Smithsonian logo, units can adopt a morecohesive approach to co-branding. The custom sky color is only allowed inthe locked up version of the unit logo. When using the Smithsonian logo onits own, use approved Smithsonian brand color variations.NationalPortraitGalleryFREER ISACKLERO SmithsonianO SmithsonianNATIONALMUSEUMofNATURALHISTORYO SmithsonianO ENTER0 Smithsonian49
Visual StyleTe Hybrid ModelTe Lockup—MockupsThe examples below show how “The lockup” can be used.\'-\ -. " ,.TT .P - --, VIS. , ART - At;JffIHEAMERICANEXPERIENCE--0 Smithsonian50
Visual StyleTe Hybrid ModelInitial ViewThe Smithsonian Sunburst logo can also be separated from a unit logo aslong as it fits within specific parameters. In order to maintain a connectionwith the Smithsonian Sunburst and the unit logo, both have to be presentin the “initial view” whether in a digital or print application.rSmit �·iMinimum print sizeTo maintain the integrity ofthe primary lockup in print, aminimum width of 1.5 incheshas been set. The height shouldbe proportional.LoremIpsomInitial px ···············1 Smithsonian*Example is not to scale.0 SmithsonianMinimum digital sizeTo maintain the integrity ofthe primary lockup in digital, aminimum width of 108 pixelshas been set. The height shouldbe proportional.51
Visual StyleTe Hybrid ModelInitial View—MockupsThe examples below show how “initial view” can be used.0 Smithsonian52
Visual StyleTe Hybrid ModelTe Lockup and Initial View RecapThe LockupInitial ISTORYMUSEUMof0 SmithsonianLoremIpsomInitial View Smithsonian0 Smithsonian53
logodon’tsThe integrity of the Smithsonian logo must berespected at all times and should not be altered in anyway. DO NOT link elements, including names, logos, orsymbols, to the Smithsonian lockup unless approved bythe Smithsonian brand team.0 Smithsonian54
Visual StyleLogo Don’tsThe integrity of the Smithsonian logo must be respectedat all times and should not be altered in any way. anDO NOT attempt to recreate or alter thelogo with the original assets.sonianDO NOT change the orientation of the logo. n1anDO NOT stretch, distort, or scale thelogo disproportionately.0Smithsonian ---------------DO NOT add extraneous effects, like dropshadows, outlines, or bevels.55
Visual StyleLogo Don’tse sm· on1anDO NOT alter or substitute the color.DO NOT place the logo on backgrounds that aretoo busy or have insufficient contrast.onian DO NOT position wordmark over crucialphotographic details such as faces orproducts.0 SmithsonianDO NOT use the logo with the symbol.56
wayfnding& signageA wayfinding system helps to create connections betweena visitor and the physical environment. When a visitornavigates one of our public spaces, there should be clearcommunication and consideration in design that helps bringawareness to the Smithsonian brand. The following pagesdemonstrate ways the Smithsonian brand can be consideredin solving wayfinding problems.0 Smithsonian57
Visual StyleWayfndingThe center of the diagram below is the most important touchpoint forbrand recognition. At this stage of the visitors’ experience, it should beobvious that they are in a Smithsonian museum. As visitors begin toexplore the interior walls of one of our museums, Smithsonian brandawareness becomes less dominant and the connection is made withthe unit brand. This is to promote the opportunity we have to createstories and connect with our audience.0 Smithsonian58
Visual StyleSignageThe example below shows how co-branding can be appliedto museum signage.co-branded ORY0 SmithsonianNATIONAL. . MUS5li tfi initial view··1co-branding ·····.m .lorem ipsu.m .lorem ipsu.m .lorem ipsu.m .lorem ipsu.m .lorem ipsu.m .lorem ipsu: floor 1floor 1floor 2floor 2floor 3floor 3O SJDlthsonianWELCOME0 Smithsonian59
brandextensionsTo create a fun and engaging branding system, it isimportant to include visual elements. The following pageshighlight key elements that support our logo identity.These are called brand extensions and should act asa visual guide to help start the creative process whenworking with the brand.0 Smithsonian60
Visual StyleBrand ExtensionsThe sun can be used as a decorative element as long as it isaccompanied by the Smithsonian logo. The colors stem from theprimary and secondary palette. The sun should always be brighterthan the background color.Sunburst Rules Stay within theapproved Smithsonianprimary and secondarycolor palette. The sun should alwaysbe brighter than thebackground color. Do not crop too muchof the sun so that itloses its recognition. When using thesunburst as a designelement, you arerequired to have theSmithsonian lockupincluded in thecomposition.0 Smithsonian61
Visual StyleBrand ExtensionsThese abstract elements can be used to create cohesion and brandawareness in a composition. These visual elements fit within our brandand can be used in a wide variety of ways.Brand Shapes Rules Use these brandelements sparingly. Do not combine morethan one style ofbrand extension into asingle composition.0 Smithsonian62
Visual StyleBrand Extensions in UseThis example incorporates the Smithsonian logo identity along withcomplementing brand elements.reversed logocustom type tomatch bookcover titlebrand extensionTITLE OF BOOK GOES HEREbook artworkbook artwork0 SmithsonianLorem ipsum dolor sit amet consectetueradipiscing elit sed diam nonummy nibheuismod tincidunt ut laoreetincorporationof brandcolorspublisher brand areabrand extension0 Smithsonian63
Visual StyleBrand Extensions in UseThis example incorporates the Smithsonian logo identity along withcomplementing brand elements.reversed logocustom type tomatch book
23 Logo Anatomy 25 Primary Logo 29 Secondary Logo 33 Tertiary Logo 37 Seal Logo 40 Legacy Lockups . Thank you to the Office of Public Affairs’ Marketing team for putting together this useful guide with . naturally curious and open to a wide range of experiences. Their interest is particularly
63-3 Digital Identity Guidelines (Overview); NIST SP 800-63A: Digital Identity Guidelines: Enrollment and Identity Proofing; NIST SP 800-63B Digital Identity Guidelines: Authentication and Life Cycle Ma
There is more than one way to verify an identity. Here is another way to verify the identity in Example 1. Rewrite as the difference of fractions. Reciprocal identity Pythagorean identity Combining Fractions Before Using Identities Ve rify the identity Solution Add fractions. Simplify. Pythagorean identity
Identity fabrication: A completely fictitious identity without any real PII Identity manipulation: Using slightly modified real PII to create a new identity Identity compilation: A combination of real and fake PII to form a new identity Until now, credit bureaus or financial institutions lacked means of matching social security .
Identity, Credential, and Access Management (ICAM) Identity Manager User Guide - Access Role User: OCIO MobileLinc_IT-Support-OCIO-IT 5 P a g e USDA For Official Use Only 2. Log into Identity Manager 2.1 Access the Identity Manager User Interface To access EEMS Identity Manager, go to the following URL: https://www.eauth.usda.gov
A framework for identity management (ISO/IEC 24760) A framework for identity management Prof. Dr. Kai Rannenberg . 6.1 Access to identity information 10 6.2 Identity information lifecycle management 11 6.3 Quality of identity information 12 6.3.1 General 12
SAP NetWeaver Identity Management Distribution of users and role assignments for SAP and non-SAP systems Definition and rule-based assignment of meta roles Central Identity store Approval Workflows Identity Mgmt. monitoring & Audit HCM Integration e.g. Order2Cash e.g. on-boarding HCM Identity virtualization and identity as service through .
identity theft and restore their identity if it has been compromised. There is no standard term to describe these services, which sometimes are also referred to as "identity theft protection services," "identity protection services, " "identity monitoring services, " and "credit monitoring services," among other variations.
IBM Security Identity server The following servers ar e supported: v IBM Security Identity Manager server V ersion 6.0 v IBM Security Identity Manager server V ersion 7.0 v IBM Security Privileged Identity Manager V ersion 2.0 v IBM Security Identity Governance and Intelligence server V ersion 5.2.2 PeopleSoft Enterprise V ersion 9.0 V ersion 9.1
