Claudius Prinsenlaan

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1.0 Presentation

2.0 Concept

3.0 Basic standards �.� Initials 3.1.1BasicTypeface �.2 Library’s initial 3.2.1Analysis 3.2.2Storyline 3.2.3Structure 3.2.4Silhouettes 3.2.5Construction 3.2.6FinalInitial �.� City Hall’s initial 3.3.1Analysis 3.3.2Storyline 3.3.3Structure 3.3.4Silhouettes 3.3.5Construction 3.3.6FinalInitial �.� Holland Casino’s initial 3.4.1Analysis 3.4.2Storyline 3.4.3Structure 3.4.4Silhouettes 3.4.5Construction 3.4.6Finalinitial �.5 Het Rondeel’s initial 3.5.1Analysis 3.5.2Storyline 3.5.3Structure 3.5.4Silhouettes 3.5.5Construction 3.5.6FinalInitial4.0 Colors �.� Colors in the CP 4.1.1Predominantcolors 4.1.2Complementarycolors �.2 Color Palette 4.2.1Colormodels

Content6

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Content �.� Color application 4.3.1Library’scolor 4.3.2CityHall’scolor 4.3.3HollandCasino’scolor 4.3.4HetRondeel’scolor5.0 Typography 5.� Typography palette 5.1.1Primarytypeface 5.1.2Complementarytypeface6.0 Applications 6.� Format/Proportions 6.2 Flags 6.2.1Shapeandsize 6.2.2Technique 6.2.3Materials 6.2.4Finishes 6.2.5Flag’ssupport 6.� Mats 6.3.1Guidingphrases 6.3.2Format 6.3.3Composition/Library 6.3.4Composition/CityHall 6.3.5Composition/Casino 6.3.6Composition/HetRondeel 6.3.7Technique 6.3.8Finishes 6.� Nameplates 6.3.1Format 6.3.2Composition/Library 6.3.3Composition/CityHall 6.3.4Composition/Casino 6.3.5Composition/HetRondeel 6.3.6Technique

7.0 Restriction

8.0 Renders

505152535455565758596162646566676869717273747576777879818283848586

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1.0 Presentation

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Becauseof permanentreconstruction,theClaudiusPrinsenlaan(CP)haslostitsidentity:infactithasbecomeablurredimageof itself.Thedesignof thearea,theuseof materialsandcolorsof thedifferentbuildingsintheCPseemmoreorlesssimilar.Asatransferroutetothecitycentreof Breda,theuseof thestreet also can be defined as mono-functional. Bothaspectshavemadetheusersof theareaunawareof theirsurrounding.Tobringbackasharpenedsightof thestreetitisnecessarytoguidetheusersandletthemknowwhatisthemainqualityof thestreetanditsbuildings.

The first step to guide the users to see the potentialandthequalitiesof theCPwouldbetogettheirattentionback.Toachievethisitwillbenecessarytoshowtheoutstandingfeaturesof thestreet.Onlywhentheattentionhasbeengainedback,itwillbecomepossibletobringtheinsideout,toshowthedifferentfunctionsof thebuildingsandconsequentlyof thestreet.

1.0 Presentation

Bringingtheinsideoutbyusingtheconceptof previewingisnotsomethingnew;ithasbeenusedinthedifferentwaysof storytelling.Inmusicitcanbefoundaspreludeandoverture.Inliteratureitisshownintheprologueand,moredetailed,intheformof theornamentedinitials. And more recently, in the film indus-try, we find the so called movie trailer. The commonelementinthecompositionof theseshort-cut introductions is their aim to outline thestory’scontextandtohookthespectator.

TogettheusershookedtotheCPisneces-sarytoshowthemcertainlevelsof quality.Althoughtheconceptof showingoff hasingeneralthenegativeconnotationof presump-tuousnessandarrogance,itcanaswellhaveapositiveone.Thepositivesideistheonerelatedtoqualityandcompetition,togivethebestthatyouhave,toshowitoff.ItisfromthisperspectivethatitwillbeappliedintheCP,aimingtoincreasethequalityof itsidentity.

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2.0 Concept

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Showing off the CP

Thevisualizationof theCPwillbeasaspec-tacularentréetoBreda.Takinginspirationfromtheillustratedprologuesandtheirornamentedinitials,acollectionof initialswillbecreatedfortheCPanditsmostimportantbuildings.Theuseof ornamentedinitialsbringthepossibilityto tell stories about the specific buildings within itsdesign,andatthesametimecanberelatedtoahighlevelof craftsmanship.Itallowsshowingoff inamannerof highquality.Theapplicationof theinitialswillbeembeddedinatheatricalambiance(aspartof anexperience),inordertopromotetheCPonthebestqualitylevelconsideredasstimulatingforshowingoff.

Itisthepurposeof thisprojecttotransformtheCPinthealluresexperienceof “makinganspectacularentrance”,justasintheevents’redcarpetswelcomingtheguests,basedintheearlydaysthenobilityandarmieswerewelcomeintothecastles.Theaimisthustomaketheusersandinhabitantsof Bredaturnaroundandshethatinfact,“TheCPiscomingnow”.

2.0 Concept

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�.� Initials 3.1.1BasicTypeface �.2 Library’s initial 3.2.1Analysis 3.2.2Storyline 3.2.3Structure 3.2.4Silhouettes 3.2.5Construction 3.2.6FinalInitial �.� City Hall’s initial 3.3.1Analysis 3.3.2Storyline 3.3.3Structure 3.3.4Silhouettes 3.3.5Construction 3.3.6FinalInitial �.� Holland Casino’s initial 3.4.1Analysis 3.4.2Storyline 3.4.3Structure 3.4.4Silhouettes 3.4.5Construction 3.4.6Finalinitial �.5 Het Rondeel’s initial 3.5.1Analysis 3.5.2Storyline 3.5.3Structure 3.5.4Silhouettes 3.5.5Construction 3.5.6FinalInitial

3.0 Basic Standards

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Standing at the beginning

Ornamented/historiatedInitialsAnhistoriatedinitialisanenlargedletteratthebeginningof aparagraphorothersectionof text,whichcontainsapicture,formingasubject which represent a specific person or sceneof thetext.

Theactualexperienceatthemomentof walk-ingacrossthestreetistheoneof agenericplace.Asitwaspreviousmentioned,thereareimportantstoriestobetoldandadevicetorepresentthestorieshasbeenchosen,andtheonly thing left to do is to define how to apply inthepublicspaceaimingatmakingof theCPanentrée,withtheallusionof “showingoff ”inbothsensesof aspectacularharmonicentranceandtheexpertiseskillsrequiredintheelaborationof a“ornamentedinitial”

Thechoiceof ornamented initials derivesfromthefact,thatcraftsbyitself haveimplicittheextravalueof beingmadewiththebestthatthecraftsmanhad.Thishighlightedfeaturebringsouttheperfectionismanduniquenessof theproduct,andissupportedbythisquality.Itallows it to “show off ” in the most refined and humbleway.Itshouldnotpretendtofooltheconsumerbytheuseof giltorbragging,butbyshowingtherealpotentialandbestqualitypossible.Whenthisisleftonaside,theempti-nessof themeaningwillbesoonerorlateruncovered.

3.0 Basic Standards

3.1 Initials

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Althoughthedesignof eachInitialLetterwillbeuniqueandindependentof eachother,theuseof abasictypefaceisnecessaryinordertohavehomogeneityintheproportions.

3.1.1 Basis Typeface

ABCDEFGHIJKLMNOPQRSTUVWKYZ abcdefghijklmnopqrstuvwkyz 1234567890


ABCDEFGHIJKLMNOPQRSTUVWKYZ abcdefgh i jk lmnopqr s tuvwkyz 1234567890

Gill Sans Bold

Gill Sans Regular

Gill Sans Italic

Typeface name: Gill Sans

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3.2 Library’s initial

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3.2.1 Analysis

Analysisof thefeatures,servicesandquali-tiesthatcanbefoundinBreda’slibrary.Thisanalysiswillgeneratetheselectionof graphicelementsthatwillcomposethedesignof theInitialletter.

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Obsolete

A library isacollectionof information,sources, resources, books, and services,and the structure in which it is housed:itisorganizedforuseandmaintainedbyapublicbody,aninstitution,oraprivateindividual.

Inthemoretraditionalsense,alibraryisacollectionof books.The term can mean the collection, thebuildingthathousessuchacollection,orboth.

Library{Products{

Collection

Digital library /

al@din

Library for the

elderly

UITpunt Breda

Education

WiFi Internet

Biebweb

Feelings{Imagination

Knowledge

Stimulant

{FantasyStimulateimaginationNew Ideas

Impossiblethepossible

Hungerof knowledge

Experience/education{Positive

{Negative

Boredom

Ignorance

Notinteresting

Asantonymof knowledge

Knowledge Treasure{

Library’s concept analysis

3.2.2 Story line

Thedesignof the Initial Letter forBreda’slibrarywillfollowforafantasyfeelingintheseekof knowledge.

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3.2.3 Structure

Useof thebasictypefacetostarttheconstruc-tionof theInitial. Theornamentstogeneratetheshapeof theinitialwillbesilhouettesof theselectedelementsresultedof theconcept’sanalysis

Letter B (Blibliotheek)GillsansTypeface

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Main Figures

3.2.4 Silhouettes

The figures used on the design of the initials aredividedintwogroups:

1. Main figures: Objects or elements refe- rringdirectlytothefunctionof eachbuilding

2. Supporting figures:Ornamentalandmethaphoricalelementswhohelptobringthetoneof voicetothedesignof theinitial.

Supporting Figures

Intheparticularcaseof thelibrarytwomainfigures will be used:

Book: Directreferencetothefunction.

Dove: Repetitiveelementfoundinsidethelibrary.

Twosupportingelementsareusedforthisinitial:

Floral motif: Referencetoknowledgeim-plicitinthegrowing.

Book/Butterfly: The book personified as a butterfly makes reference to “transformation”.

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3.2.5 Construction

Thebasictypefacewillbeusedonlyasaguidetomaintainproportions.

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3.2.6 Final Library’s Initial

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3.3 City Hall’s initial

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3.3.1 Analysis

Analysisof thefeatures,servicesandqualitiesthatcanbefoundinBreda’sCityHall.Thisanalysiswillgeneratetheselectionof graphicelementsthatwillcomposethedesignof theInitialletter.

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City Hall’s concept analysis

3.3.2 Story line

Therepresentationof Breda’sCityHallinthe form initialandbasedontheanalysisof elements,willhaveafeelingof positiveness and success,althoughsomeof thenegativesituationscouldbeincludedaspartof thedesign.

Acityhallor townhall is thechief ad-ministrative building of a city[1] ortown’sadministrationandusuallyhousesthe city or town council, its associateddepartments and their employees. It isalso usually the base of the city, town,borough,orcountymayor.

City Hall{Division{

Leven, reizen & papieren

Wonen en uw buurt

Werk en inkomen

Ondernemen

Zorg, welzijn & onderwijs

Bouwen & verbouwen

Verkeer & Vervoer

Sport, Ontspanning, Cultuur

& Kunst

Meldingen, klachten en acties

Feelings{Belonging

Acquirement

New life

{Success!ToimproveChange

Bepartof society

Birthof newbabies,marriages,buildingnewhouses.

Personalachievements{Positive

Negative

Bureaucracy

Obligation

Slownessinthepaper-work

Actionsnotmadebyleisureliness

Existing in numbers{

{ArrangementsPaperwork,alsore-latedtobureaucracyChangeRelatedtoproblems

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3.3.3 Structure


Letter G (Gemeente)GillsansTypeface

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Main Figures

3.3.4 Silhouettes




Supporting Figures

Paper piles: ReferencetothepaperworkheldbytheCityHall.

Hand: Representationof thehelpgivenbythecivilservants.

People: Thedifferentproceduresthatpeoplemakeinthecityhall,positiveandnegative.

Twosupportingelementsareusedforthisinitial:

Floral motif: TheconstantgrowingandchangeswhichhappensintheCityHall

Flying paper: Representationof thecompli-cationsexperiencedintheCityHall.

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3.3.5 Construction


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3.3.6 Final City Hall’s Initial

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3.4 Holland Casino’s initial

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3.4.1 Analysis

Analysisof thefeatures,servicesandquali-tiesthatfoundintheHollandCasino.Thisanalysiswillgeneratetheselectionof graphicelementsthatwillcomposethedesignof theInitialletter.

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Holland Casino’s concept analysis

3.4.2 Story line

Thecompositionforthedesignof theHol-landCasino’sinitialwillfollowthewayof asparklingandglitzyappliedtotheactionandemotionof gambling

Obsolete

Addiction

Thehousealwayswin

A casino is, in the modern sense of the word, a facility that houses andaccommodatescertaintypesof gam-bling activities. Casinos are mostcommonly built near or combinedwith hotels, restaurants, retail shop-ping, cruise ships and other touristattractions.Somecasinosareknownforhostingliveentertainmentevents,such as stand-up comedy, concerts, andsportingevents.

Casino{Activities{

Games {AmericanRouletteBlackJackCaribbeanstudpokerMoneywheelPokerPuntobancoSlotmachines

Entertainment

events

Restaurants/

club {Bites

Brasserie

Downtown

Feelings{Pleasure

Glamour

Opulence

{GlitzyStimulateemotionsExcitement

Happysatisfaction

Ostentatiouslyrichandluxurious

Attractive/excitingquality{Positive

{Negative

Outlaw

Loss

Relatedtoillegalactions

The pleasure of playing and the emotion of gam-bling{

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3.4.3 Structure


Letter H (Holland)GillsansTypeface

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Main Figures

3.4.4 Silhouettes




Supporting Figures

Elementsof theinteriorof theHollandCa-sino.

Casino chips: Thesemakeareferencetothemainfunctionof thecasinos,thegambling.

Roulette: Togetherwiththechipscouldseemsasgenericelements,whichhelpstomakeadirectrelationwithacasino.

Carousel: More specific, in the Holland Ca-sinoinBredaahugecarouselcanbefoundaspartof theinsidedecoration.

These figures look for a more methaphorical meaning.

Sparkles: Togiveamagicalfeeling,theat-tractionfortheshine,thepossibilityof winning.

Card symbols: Elementsusedaslittledetailstoreinforcethefeelingof gaming/gambling.

Lucky 7:Referencetosuperstitionstoattractgoodluck.

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3.4.5 Construction


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3.4.6 Final Holland Casino’s Initial

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3.5 Het Rondeel’s initial

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3.5.1 Analysis

Analysisof thefeaturesandqualitiesthatcanbefoundintheelderlyhouse“HetRondeel”.Thisanalysiswillgeneratetheselectionof graphicelementsthatwillcomposethedesignof theInitialletter.

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Het Rondeel’s concept analysis

3.5.2 Story line

Dignity for the elderlyisthegeneralfeelingthatshouldbebringintherepresentationof theelderlyhouse“Het Rondeel”forthedesignof theinitial letterasaresultof theanalysisof elements.

Relatedtoillness

AgeismDiscrimination

Eenverpleeghuis(ook:verpleegtehuis)iseen voorziening waar patiënten kunnenwordenopgenomendienietmeerdespe-cialistischemedischehulpbehoevenvaneenziekenhuismaaranderzijdsniet ge-zondgenoegzijnomthuisteverblijven.De mogelijkheid om thuis te verblijvenwordtmedebepaalddoordevoorzienin-genzoalsmantelzorg,diethuisaanwezigzijn. Zie voor uitgebreidere informatie:Verpleeghuiszorg. In Vlaanderen wordtalgemeen de naam “Rust- en Verzorg-ingstehuis”of RVTgebruikt.

Elderly House{

Division{ {Dwellings

SOB Stichting

Ouderenwerk

Breda

Feelings{Respect

Experience

Knowledge

{DignityLong life

Admiration

Skillsaquired

Lifeachievement{Positive

Negative

Illness

End of life

Relatedtoelderly

Death

Experience in life{{

Care centre’ (zorg-

satelliet) with a

dinner function.

Weakness{

Gymnastics CanastaBridgeLiterature groupBilliardTable tennisEnglish courseFolkdanceYogaCulinary events Lunch meetingBingo

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3.5.3 Structure


Letter R (Rondeel)GillsansTypeface

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Main Figures

3.5.4 Silhouettes




Supporting Figures

Elderly man: Thedirectreferencetothefunctionof theelderlyhouse.Althoughisanelderlyman,therepresentationshouldbetheoneof anstrongperson.

Home pets: Insideof thedwellings,throughthewindows,homepetscanbeobserverandrelatedtotheelderly’scompany.

Elderly woman: Theintentionof creatingaelderlycouple,togetridof theideaof loneli-nesswithwhichelderlyismostlyrelated.

Floral motif: Referencetothedecorationandornamentationof theelderly’sdwellings.

Eagle: Symbolicrepresentationof protection,guardianship,skillandjudgment.

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3.5.5 Construction


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3.5.6 Final Het Rondeel’s Initial

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4.0 Colors

�.� Colors in the CP 4.1.1Predominantcolors 4.1.2Complementarycolors�.2 Color Palette 4.2.1Colormodels�.� Color application 4.3.1Library’scolorselection 4.3.2CityHall’scolor selection 4.3.3HollandCasino’scolor selection 4.3.4HetRondeel’scolorse lection

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Colors in the CP

To help define the colors that will be used in theapplicationof thesignsystemintheCP,thefirst step was to make an analysis of textures foundonthestreet.Generatingtheequivalentincolorsforthesetextures.

TheprevailingmaterialsandtexturesontheCParedifferenttypesof concreteandsomemetalobjects,whichgivestothestreetagenericplainfeeling.

Some accents in colors can be find on the CP as well,theseaccentswillbeusetoemphasizetheapplicationof the initial letters createdparticu-larlyforthestreet.

4.1 Color

Textures on the CP

Equivalent of the textures in colors

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Neutral colored street

Causedbytheexcessiveuseof concreteontheCP,thecolorizationof thestreetendedupbeing neutral colored. Although at first sight thiscouldbeconsiderasanegativeelement,theachromaticcolorcanbeseenasa“whitecanvas”wheretheinitialscanbeaccentedwiththeusecomplementarycolor.

4.1.1 Predominant colors

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Warm accent colors

ThecomplementarycolorschemefoundontheCPhasthefollowingthreepredominantfades:

1.Golden-ochrefade2.Redfade3.Green-yellowfade

Incontrastwiththeneutralandplaindominantcolorwhichbelongtoacoldpalette,thecom-plementarycolorsarepartof thewarmcolor’scategory,thegreenwillfallinthiscategoryaswellwhileithasayellowtint.

4.1.2 Complementary colors

1 2 3

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4.2 CP’s Color Palette

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Official color palette

Thecolorpaletteconsistintwobasicfadeswithtwocolorseach:

1.Bordeaux2.Golden-ochre

4.2 Color palette

1 2

Gradient of the four colors

Gradient from color to white

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4.2.1 Color models

CMYK color model

C: 5�%

M: ��%

Y: ��%

K: �5%

C: ��%

M: �5%

Y: ��%

K: 60%

C: ��%

M: �5%

Y: ��%

K: 60%

C: 2�%

M: ��%

Y: ��%

K: �%

RGB color model

R: 55%

G: ��%

B: ��%

R: ��%

G: 0%

B: 0%

R: 20�%

G: 153%

B: 5�%

R: 2��%

G: 200%

B: ��5%

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4.2.1 Color models

Web color model

# 371211

PMS colors

Pantone 4975 Pantone 1815 Pantone 1245 Pantone 459

#590000 #CB9D30 #D5C873

4.3 Color application

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4.3.1 Library’s color selection

Background Initial letter

C: 26%

M: 65%

Y: �00%

K: ��%

R: ��%

G: 97%

B: 0%

Pantone 7511#AB6100

CMYK color model RGB color model Web color PMS

C: ��%

M: 2�%

Y: �6%

K: 0%

R: 2�2%

G: 189%

B: ��%

Pantone 458# D4BD5E


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4.3.2 City Hall’s color selection


C: ��%

M: ��%

Y: �00%

K: �0%

R: �22%

G: 38%

B: 0%

Pantone 1685#7A2600


C: 22%

M: ��%

Y: �00%

K: 2%

R: 20�%

G: ��%

B: 20%

Pantone 1245# C99414


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C: ��%

M: �5%

Y: ��%

K: 60%

R: ��%

G: 0%

B: 0%

Pantone 1815#590000

4.3.3 Holland Casino’s color selection

BackgroundInitial letter



C: 38%

M: 95%

Y: 89%

K: 60%

R: 204%

G: 153%

B: 51%

Pantone 1245#CB9D30

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4.3.4 Het Rondeel’s color selection


C: ��%

M: �5%

Y: ��%

K: 60%

R: ��%

G: 0%

B: 0%

Pantone 1815#590000



C: 38%

M: 95%

Y: 89%

K: 60%

R: 204%

G: 153%

B: 51%

Pantone 1245#CB9D30

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5.0 Typography

5.0 Typography 5.� Typography Palette 5.1.1Primarytypeface 5.1.2Complementarytypeface

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5.1 Typography palette

Typography palette

AtypographypalettehasbeendevelopedthatofferstheCP the most flexibility in creating the applicationswhennecessary,forthedesignedsignsystem.

The palette is composed of one sans-serif and oneserif typefaceanditsvariations.

Sans-Serif TypefacesOptima

TheOptimafontfamilyhasbeenchosenastheprimarytypefacesfortheCP.Thistypefaceallow for flexibility and creative expression in textanddisplay.

Serif TypefacesBaskerville

UseBaskervilleasthecomplementarytype-facefortheprimarybodytextinstationeryandpublications.

ppOptima typeface

Baskervile typeface

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5.1.1 Primary Typeface




Optima ExtraBlack

Optima Bold

Optima Bold Italic



Optima Regular

Optima Italic

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5.1.2 Complementary typeface


ABCDEFGHIJKLMNOPQRSTUVWKYZ abcdefghijklmnopqrstuvwkyz �2��56��0

ABCDEFGHIJKLMNOPQRSTUVWKYZabcdefghijklmnopqrstuvwkyz1234567890

Baskerville Bold

Baskerville semibold

Baskerville semibold italic



Baskerville Regular

Baskerville Italic

5�

6.0 Applications

6.0 Applications 6.� Format/Proportions 6.2 Flags 6.2.1Shapeandsize 6.2.2Technique 6.2.3Materials 6.2.4Finishes 6.2.5Flag’ssupport 6.� Mats 6.3.1Guidingphrases 6.3.2Format 6.3.3Composition/Library 6.3.4 Composition/CityHall 6.3.5Composition/Casino 6.3.6 Composition/HetRondeel 6.3.7Technique 6.3.8Finishes 6.� Nameplates 6.3.1Format 6.3.2Composition/Library 6.3.3 Composition/CityHall 6.3.4Composition/Casino 6.3.5 Composition/HetRondeel 6.3.6Technique

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6.0 Applications

CP’s sign system

Asignsystemtypicallyreferstoagroupof signswithacoherentdesignandpurpose.Frequently,significant effort is put into creating an intel-ligentpresentationof visuallyorientedinforma-tionsystems.

Intheparticularcaseof theCP,thesignsystemsimultaneously seeks to convey two facets - one, reinforcingandenhancingitsidentity,asenseof belongingthatitenjoysbothamongstitspeoplewithin(thestreet)aswellasoutsideof it.Andtheotherasasystemtonavigatethroughthestreet, in a more fluent way.

Inordertoachievethepreviousobjectives,thesignsystemfortheCPwillbedividedinthreelevels:

Flags: The first level will work as an Entrée, a welcomeintothestreetandwillbeappliedinthe form of flags.

Mats:Thesecondlevelwillhelptoguidetheusers to find the different locations on the street asaguidingsystem.

Nameplates: Thethirdlevelwillbefocusidentifythelocation/buildingsinadirectrela-tionwiththeplace.

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6.1 Format/Proportions

Golden Rectangle

Theproportionstocreatethesupportforthedifferent applications (flags, mats, nameplates), willbebuildupbasedonthegoldenrectangle.Theintentionof usingtheseproportionsistomakereferencetothecraftsmanshipof theRenaissance.

Golden Rectangle

Constructionof agoldenrectangle:1. Construct a unit square (red).2. Draw a line from the midpoint of one side to an opposite corner.3. Use that line as the radius to draw an arc that defines the long dimension of the rectangle.

1

12

√ 52

6.2 Flags

6�

6.2 Flags

The Entrée

ThewelcometotheCPwillbecreatedbytheuse of flags as a way of signaling and identifica-tion.Itwillhelptocommunicatetheidentityof thestreetbygeneratinganvisualimpactfortheusers.

The line of flags will precede as an introduc-tionforthestreet,byshowingoff,inakindof fanfare,celebratingtheidentityof theCP.

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6.2.1 Shape and size

Chevron shape

Chevronshapes(alsospelledCheveron) on flags, any ‘V’ shaped charge on a flag irrespective of thewidthof thearms.

185cm

300cm

X

X= 20 cm (1/15)

InitialLetter

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6.2.2 Technique

Machine embroidery

Theembroiderywillbestitchedwithacom-puterizedembroiderymachineusingpatterns“digitized”withembroiderysoftware.Inma-chine embroidery, different types of “fills” add texture and design to the finished work.

Thematerialstobeusedare:1. Satin Fabric2. Metallic threads

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6.2.3 Materials

Satin

Silksatinhasadirectreferencewiththecos-tumes and use of flags in earlier times. Its glossy surfacebringamoreintensecolorandshinethanotherfabrics.

Metallic Threads

Theglossyeffectof thesatinwillbereinforcedwittheuseof metallicthreads.Alwayslook-ingtoaccenttheapplicationof thesignsinthestreet.

6�

6.2.4 Finishes

Flags

1. Library2. City Hall3. Holland Casino4. Het Rondeel (elderly house)

1 2

3 4

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6.2.5 Flag’s support

Poles

Made of special cast-aluminium, lacquered in white.Cylindricalpoleswith80mmof diam-eterand10mheight,withgyratorypotency(possibilitytoextendtill2mmaximum).In-cludescounterweighttokeepthebannertaut.

2cm

Ø80mm

Gyratorypotency

Goldenlatch

10m

6�

6.3 Mats

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6.3 Mats

Welcome mats

Welcomemats,astheirlocationatanen-tranceconstitutesa“welcome”tovisitors,andmaythereforealsobearsomeword,messageorsignof greeting.

Thematswillworkalsoasaroutingsystem,helpingtheusers(pedestriansandbikers)tonavigatethroughthestreet.

Theguidingsystemwillnotmakeuseof arrowstopointoutthebuildings,butitwillappealtotheuseof writtenlanguageasreminiscencetopoeticdevices.

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6.3.1 Guiding phrases

TheWelcomemats’,phraseswillbecreatingfollowingthenextsteps:

1. The first word should start with the sameinitialthanthenameofthebuilding.

2.Itshouldbewritteninahistoriatedway,describingthequalitiesandfeaturesofthedifferentbuildings.

3.Avoidingthementionofthebuilding’snamewhenitisnotnecessary.

4.Thetoneofvoiceshouldbesimilartotheoneusedinfairytales.

Binnen honderd meter ligt een schat, geen blinkend goud maar schitterende woorden, blijft de weg volgen en U kunt kennis achter-halen.

Ga verder zoeken en U kunt uzelf in nummers vinden. Op deze weg kan U uw blije boodschap laten weten en voor altijd op papier leven.

Hieruit ziet U een huis gevuld met spanning, U kunt daar uw geluk beproeven. Loop naar voren om het uit te vinden

Richting het centrum vindt U de hoek van de levenser-varing, Loop naar voren en U zult het Rondeel zien

Welcome Mats


1 2

3 4

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6.3.2 Format

X

X= 1/15

InitialLetter

Text

Border

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6.3.3 Composition/Library

� � innen honderd m eter ligt een s chat, geen blinkend goud maar schitterende woorden, blijft de w eg volgen e n U kunt kennis achterhalen.

Typeface

Optima Bold

Colors

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6.3.4 Composition/City Hall

Typeface

Optima Bold

Colors

�5

6.3.5 Composition/Holland Casino

Typeface

Optima Bold

Colors

� � ieruit ziet U een huis gevuld met spanning, U kunt daar uw geluk beproeven. Loop naar voren om het uit te vinden.

�6

6.3.6 Composition/Het Rondeel

Typeface

Optima Bold

Colors

� � i chting het centrum vindt U de hoek van de leven-servaring, kijkt erdoorheen en U zult het Rondeel zien

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6.3.7 Technique

Dye sublimated carpet

Rollsof heattransfermaterialareprintedontheVUTEkFabriVu,and,usingaspecializedheatpress,inksareappliedtostandardcarpet-ingat400°F,causingtheinkstobecomeagasthat is embedded into the fibers of the carpet. Carpetcreatedinthismannercanbesham-pooed,walkedonandotherwisetreatedlikeanynormalcarpetwithoutwearingoff theimageashappenswithotherdigitallycreatedcarpets,wheretheinkisappliedinalayerontopof thecarpet fibers

Print specifications

File format: PDF

1. Save as PDF. (PDF/X-1a:2001)

For Illustrator, Indesign, QuarkXPress,Coreldraw en Photoshop:

1.Convertfontstooutlines2.SettoCMYKcolormodel3. Print format scale 10% of final print size4.Avoiduseof effectsandtransparencies

Size and installation specification

Thesizeof thematswillbedeterminatebythelocationwhereitwillbeapplied,butitshouldalwaysrespecttheproportionsof thegoldenrectangle.

Thecarpetswillbegluedwithanadhesivecomposed of modified acrylic, for example (ROBERTS Medi-Seal Plus Low Odour).

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6.3.8 Finishes

Welcome mats


1 2

3 4

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6.4 Nameplates

�0

6.4 Nameplates

Nameplates

Thenameplatewillidentifyanddisplaythebuilding’snameinapersonalizedform.Inthiscasethenameplateswillhavearectangleshape(followingthegoldenrectangleproportions).

Thenameplatesforthedifferentbuildingwillmakeuseof thesamegrid,butthesizeandthetechniquecouldvary.Themainintentionistomakeof eachnameplateauniqueproduct,thatfits particularly the building for which it was made.

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6.4.1 Format

InitialLetter Name

Number

X

X= 1/30

�2

6.4.2 Composition/Library

Typeface

Optima ExtraBlack

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6.4.3 Composition/City Hall

Typeface

Optima ExtraBlack

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6.4.4 Composition/Holland Casino

Typeface

Optima ExtraBlack

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6.4.5 Composition/Het Rondeel

Typeface

Optima ExtraBlack

�6

6.4.6 Technique

Embossing

Thistechnologyallowsprinting(embossing)onmaterialssuchasleather,imitationleatherandpaper.Thistechnologyrequiresmanufacturinganembossingdieof athermallyconductivematerialshapedasthelogo,whichmaywhen-everbeusedagainasitsservicelifeisalmostunlimited.

Theembossingmaybemadewithafoilthatcreatesaveryconspicuousembossedworkwiththechosenfoilcolor(silverinthiscase).

3D Laser Engraving System

Duringthelaserengravingprocess,thetargetmaterialisessentiallyvaporizedbythelaserbeam.Toachievethisresult,theintensityof thelaser beam is set to exceed a specific threshold value.Thisthresholdintensityisparticularlyhighwithmaterialsthatareelectricallyconduc-tive,suchasmetals.

The software will accept true 8-bit or 256 differ-entcolorsof grayforresolution.Thatmeansthereare256differentpowerlevelsfromblacktowhite.Thereforethedesignshouldbeshadedin gray (8-bit grayscale) to give the depth de-siredintheplate.

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6.4.6 Technique Continued

Edge-lit Sign

Theseattractivesignsareilluminatedfromtheedgeof anacrylicpanelthatcanbelasercuttoanyshapeandthenetchedtoaddareal“popof light”withintheacrylicpanel.Toaddevenmoreinteresttoyourbrandlogocoloredtranslucentvinyl’scanbeincludedtocreateamultitudeof colorswithinasinglepanel.

* uses very little electricity * and are virtually maintenance free for up to 50,000 hours

(5 years on 24/7).

Flat Gilding

1.Flatgildingis achieved by first laying down athinlayerof size(glue)usuallywithapaintbrush. The size is allowed to dry, then is re-moistenedbyexhalingonit.Thisimpartsjustenoughmoisturetoallowthegoldtoadheretothesize.Thegoldisthenlightlypressedontothesizethroughglassinepaper.Anyloosebitsof goldarebrushedoff.Whencompletelydry,thegoldisthenburnishedtoahighgloss.Youwillprobablyseeimperfections.Manytimesallthat is needed is another layer of gold to fill in a crackorcoveramistake.

2.Mountedandframedinawoodpanelforitsinstallation.

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7.0 Restrictions

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7.0 Restrictions

Unacceptable Uses

Itisextremelyimportantforbrandsuccessthattheinitial lettersof theCPbedisplayedcorrectly.Thisincludesalwaysusingthecorrecttypefacesandthecorrectrelativepositioningandsizeof allelements.Theexamplesonthisandthefollowingpagesillustrateunacceptabledisplays.

1.Donotdistortanyportionoftheinitial.

2.Donotcropanyportionoftheinitial.

3.Donottilttheinitial

4.Donotrotatetheinitial.

5.Donotmirrortheinitial.

1

2

3

4

5

�0

7.0 Restrictions Continued

Unacceptable Uses

6.Donotalterthetypefaceofthetext.

7.Donotalterthecompositionofthegrid.

8.Donotchangeorientationoftheformat.

9.Donotchangetheproportionsoftheformat.

6

7

8

9

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Unacceptable Uses

10.Donotalterthearrangeoftheinforma-tioninthedifferentapplications.

11.Donotinterchangeinitialsandnames.

12.Donotexceedthemarginlimits.

13.Donotusetwoinitialsormoreinoneapplication.

10

11

12

13

�2


Unacceptable Uses

14.Donotswitchbackgroundforforecolorinanycase.

15.Donotswitchcolorswiththeoneofotherinitials.

16. Do not use colors out of the official colorpalette.

17.Donotapplygradienttotheinitials.

14

15

16

17

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8.0 Renders

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8.0 Renders Application of the sign system in the CP

�5

8.0 Renders Continued

�6


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Colophon

Research and Graphic designYojanaHernándezValdivia Contact [email protected]

TypefaceBaskerville

PrintArkPrint,Rotterdam

200�

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Claudius Prinsenlaan

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Transcript of Claudius Prinsenlaan