global brand standards - herman miller · hermanmillercombrandstandards y fi herman miller inc....

hermanmiller.com/brandstandards

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© 2013 Herman Miller, Inc.

IDENTITYHERMAN MILLER COLLECTIONFOUNDATION VOICE RESOURCESTYPOGRAPHY LAYOUTENVIRONMENTSVISUALS

Global Brand Standards

September 2013

hermanmiller.com/brandstandards

Y


IDENTITYHERMAN MILLER COLLECTIONFOUNDATION VOICE RESOURCESTYPOGRAPHY LAYOUTENVIRONMENTSVISUALS

COLLECTIONContext

Principles

Program

Lifestyle Philosophy

Design Values

IDENTITYLogomark Evolution

Logomark Usage

Logomark Restrictions

Wordmark Usage

Logo Clearzone

Logo Sizes

Brand Color

Table of Contents

TYPOGRAPHYCorporate Typefaces

Trademark Symbols

ENVIRONMENTSPop Up Shop

Shop in Shops

LAYOUTPrint

Three-Dimensional

Digital

VISUALSPhotography

Illustration

Pattern

VOICEDefinition

Metaphor

Examples

Style

Resources

Nomenclature

Naming

Trademark

and Copyright

RESOURCESFOUNDATIONMission Statement

Design Tenets

hermanmiller.com/brandstandards© 2013 Herman Miller, Inc.

Y IDENTITYHERMAN MILLER COLLECTIONFOUNDATION VOICE RESOURCESTYPOGRAPHY LAYOUTENVIRONMENTSVISUALS

The Herman Miller brand is one of our most valuable assets. We want you to become advocates for our brand and to help us use it consistently. Our brand is expressed in many ways—our behavior, our products, our communications. We are asking you to pay special attention to all the ways we express our brand.

Foundation

Mission Statement Design Tenets



INSPIRING DESIGNS TO HELP PEOPLE DO GREAT THINGS

Mission StatementFoundation

Our mission:

Makes clear our reason for existing.

Gives purpose to our actions.

Guides the organization forward.

Demonstrates our values.

Inspires everyone.




Design Tenets

Our design tenets guide everything we do. They help us remain focused on the things that matter, distinguish us among our peers, and result in designs that help people do great things.

Foundation




Design TenetsFoundation

1. Human Centered We design for people

2. Purposeful Design solves a problem

3. Integrity Everything relates to the problem

4. Original We don’t copy

5. Evident Quality The quality of our work is apparent

6. Sustainable Always protect the environment

7. Beautiful & Useful Do people want to own what we make?

8. Spirited Does it say “Herman Miller”?

9. Beyond Expectations Produce surprise and delight

10. Inevitable This is the way it has to be




The Herman Miller Collection draws on George Nelson’s vision of “a permanent collection designed to meet fully the requirements for modern living.” This comprehensive portfolio offers a breadth and depth of products to furnish complete environments in a myriad of settings, both residential and contract, elegant and casual.

Herman Miller Collection

Context Principles Program Lifestyle Philosophy Design Values



ContextHerman Miller Collection

The idea of the Collection is not entirely new. In his introduction to our 1952 catalog George Nelson wrote of “the continuing creation of a permanent collection designed to meet fully the requirements for modern living.” Nelson established a program and a philosophy for the Collection that allows us to continue it today.




Principles

As our first Design Director, Nelson defined a straightforward set of principles that guided Herman Miller, then as now: what we make is important; design is integral; the product must be honest; we decide what we make; a market for good design exists.





Program

The program is the breadth and depth of the products we offer. It includes updated archival pieces, furnishings from partners who share our values, and new designs from today’s top talent—a bridge between Herman Miller’s past, present, and future. Each piece is considered in relation to the rest of the Collection, the places where it will be used, and the people who will use it.





Lifestyle Philosophy

Eames, Nelson, Girard, and Noguchi created a design DNA for Herman Miller that defined “American Modernism”—they borrowed elements from International Style Modernism and mixed it with Organic Modernism to create a more optimistic, friendlier vision—“Modernism filtered through the California sunshine.”





Design Values

Herman Miller, through our deep association with leading designers, has come closer than anyone to incorporating craft and organic ideals into the mass production of functional objects for everyday life. Each piece in the Collection presents a solution that is as purposeful as it is beautiful. Achieving that balance requires a creative tension between the dualities that express our design values.





Design Values

Aspirational and Accessible Our designs and how we present them inspire and welcome everyday use.

Pragmatic and Optimistic What interests us is a thoughtful response to how we live and work today.

Elegant in Form, Casual in Use We think furniture can be elegant and still feel casual.

Functional and Playful Our pieces work hard to provide a solution, but they are also fun.

Beautiful and Comfortable We aspire to sculpture, but we engineer for comfort.

Craft and Industrial Process We value craft, balancing it with the use of new technologies and materials.

Engineering and Artful The thinking behind our designs is apparent and celebrated.

Crisp Lines and Organic Curves Our designs express the distinct and the fluid in equal measure.

Beauty in Technology, Knowledge in Nature Inspiration and clarity arise from everything around us.





Identity

Color, design, words, and symbols—used creatively, these elements combine to make everything from business cards to buildings recognizable, memorable, and a powerful presentation of our brand.

Logomark Evolution Logomark Usage Wordmark UsageLogomark Restrictions Logo Clearzone Brand ColorLogo Sizes



Logomark EvolutionIdentity

Logomarks often evolve. The most recent evolution for ours has separated, or unlocked, the stylized M in the circle from the HermanMiller wordmark.Our intent is to emphasize the stylized M as the most important visual asset of the brand and give our customers a single, simple, and memorable symbol for our company. Compare this to Nike’s swoosh or Apple’s apple.




Logomark Usage

To keep the tips of the stylized M logomark crisp, use the correct file for your media.Screen: Work viewed on-screen (presentations or websites), use the logomark with tips that are more open and easily translated into pixels (Micro, see 2 below).

Print: Printed paper applications (from office copiers or professional offset printers), use the logomark with finer points (Normal or Display, see 2 below).

Special Substrates: Fabric embroidery, silkscreened plastics, signage, or embossed steel require additional testing and consideration. Please request a recommendation from Herman Miller Brand Marketing.

Herman Miller Collection Normal

Herman Miller Collection Display

Herman Miller Collection Micro

There are two ways to keep the logomark crisp:

1. Use an image file (.eps, .tif, or .gif) that is close to the actual size you need to prevent scaling the file size up or down by more than 10%. These files include both the logomark and wordmark.

2. Use one of the proprietary Herman Miller font files: Herman Miller Micro wide simplified tips that keep the mark open when viewed in small sizes (below 16pt); Herman Miller Normal small flat tips that keep the mark open when viewed in the most common sizes (16pt to 72pt); Herman Miller Display tips that come to a complete point for large sizes (above 72pt).

Identity




Logomark Usage

The Herman Miller Collection graphic identity is comprised of 3 parts: Logomark and Collection Wordmark Used together in a lock-up Examples of use: Signage, Invitations, Posters, Web Pages, Ads, and Brochures

Stacked Collection Wordmark and Logomark Used when there is a Sub-title Examples of use: Catalog/Pricebook Cover, Product Sheets, Care and Maintence Sheets, and Hang Tags

Logomark In print: Typically not used alone but may be if Herman Miller Collection is referenced elsewhere on a small print piece. Example of use: Postcards

In signage: Used typically on the exterior of a Herman Miller space that may house multiple Herman Miller sub-brands. Examples of use: Exterior architectural signage of The Herman Miller Pop Up Shop, exterior achitectural signage of the L-Wall configurations in Herman Miller Shop in Shops

Identity

HermanMiller Collection

HermanMiller CollectionSubtitle Here




Logomark Restrictions

Do not apply effects like drop-shadows, bevels, or stretched proportions.

Do not miscolor or outline the logomark (or wordmark).

Do not combine the logomark and wordmark.

Do not fill the logomark or wordmark with imagery or patterns.

Do not use the logomark or wordmark to create a pattern or border.

Identity




Wordmark Usage

The Herman Miller Collection wordmark can be used to supplement the stylized M logomark. When used, the wordmark is a one-word unit that requires an art file (.tif, .eps, .jpg, or .gif).

In other instances, such as in copy or in a headline, Herman Miller is always two words and should appear on the same line.

Identity

2013 Catalog

The Herm

an Miller Collection

2013 Catalog

For more information visit hermanmiller.com/collection

for download Page 2

Black 206 HM Red Black Cyan Magenta Yellow s1 s2 s3 s4

10-OCT-12 11:45:3810-OCT-12 11:45:38

3Introduction

The Herman Miller Collection

George Nelson said it best: Herman Miller doesn’t play “follow-the-leader.” What interests us is a thoughtful response to how we live and work today. We value authentic, design-driven solutions for the various rooms and settings in which we now work and play and eat and stay.

As our first Design Director, Nelson defined a straightforward set of principles that guided Herman Miller, then as now: what we make is important; design is integral; the product must be honest; we decide what we make; a market for good design exists. In turn, Nelson called for putting the philosophy into action, suggesting the “continuing creation of a permanent collection designed to meet fully the requirements for modern living.”

Drawing on Nelson’s timeless vision, we introduce the Herman Miller Collection. This comprehensive portfolio offers a breadth and depth of products to furnish complete environments in a myriad of settings, both residential and contract, elegant and casual, across a range of prices. You’ll find updated archival pieces, furnishings from

partners who share our values, and new designs from today’s top talent—a bridge between Herman Miller’s past, present, and future. Each piece is considered in relation to the whole—the rooms where it will be used, the people who will use it, and their continually evolving needs. Inside, you’ll see enduring designs that strike a balance between seemingly contradictory ideas: craft and industrial processes, aspiration and accessibility, sculpture and engineering, elegance and informality, beauty and comfort.

You’ll find designs from the 1950s by Charles and Ray Eames juxtaposed next to pieces by Bruce Burdick from the 1980s anchored effortlessly by furnishings from today by BassamFellows. Seen together, in every type of environment, you realize they speak the same language, and that they are built from the same set of timeless design principles that have guided Herman Miller from the start. Problems are solved together. Beauty, then, naturally follows.

3Introduction

The Herman Miller Collection

George Nelson said it best: Herman Miller doesn’t play “follow-the-leader.” What interests us is a thoughtful response to how we live and work today. We value authentic, design-driven solutions for the various rooms and settings in which we now work and play and eat and stay.

As our first Design Director, Nelson defined a straightforward set of principles that guided Herman Miller, then as now: what we make is important; design is integral; the product must be honest; we decide what we make; a market for good design exists. In turn, Nelson called for putting the philosophy into action, suggesting the “continuing creation of a permanent collection designed to meet fully the requirements for modern living.”

Drawing on Nelson’s timeless vision, we introduce the Herman Miller Collection. This comprehensive portfolio offers a breadth and depth of products to furnish complete environments in a myriad of settings, both residential and contract, elegant and casual, across a range of prices. You’ll find updated archival pieces, furnishings from

partners who share our values, and new designs from today’s top talent—a bridge between Herman Miller’s past, present, and future. Each piece is considered in relation to the whole—the rooms where it will be used, the people who will use it, and their continually evolving needs. Inside, you’ll see enduring designs that strike a balance between seemingly contradictory ideas: craft and industrial processes, aspiration and accessibility, sculpture and engineering, elegance and informality, beauty and comfort.

You’ll find designs from the 1950s by Charles and Ray Eames juxtaposed next to pieces by Bruce Burdick from the 1980s anchored effortlessly by furnishings from today by BassamFellows. Seen together, in every type of environment, you realize they speak the same language, and that they are built from the same set of timeless design principles that have guided Herman Miller from the start. Problems are solved together. Beauty, then, naturally follows.




Logo Clearzone

The logomark should always be surrounded by a clear space at least 50% of the logomark size.

Identity

HermanMiller Collection

HermanMiller CollectionSubtitle Here

x

Herm

HH




Logo Sizes

Go for impact, but balance the logomark with other elements.More space doesn’t require a larger logomark.

The logomark should be at least 1/4-inch in diameter.

← no smaller than 1/4 inch

Identity

POP UP SHOPMAY 9 – JULY 1, 201268 WOOSTER STREETNEW YORK

“the continuing creation of a permanent collection designed to meet fully the requirements for modern living.”

– George Nelson, 1952

©20

12 H

erm

an M

iller

, Inc

.




Brand Color

Logo Color

Please consider the intended media when applying the logomark; use the corresponding specification.Print: Paper applications (from office copiers or professional offset printers) use either 4-color process (CMYK) or spot color inks (Pantone Bright Red U). Suggested files: .tif or .eps

Screen: Work viewed on-screen (projected presentations or websites) use an RGB value. Suggested files: .jpg or .gif

Other: Embroidered amenities and product applications need special attention. Suggested file: .eps

When the logomark is placed on a white background,

the color of the stylized M should also be white.

0.0.0.100 0.0.0 Black

CMYK RGB Pantone

Identity




Black Logomark

The brand color of the Herman Miller Collection logomark, wordmark and copy is black on white and reversed to white on a colored background.

White Logomark

A white logomark can be used on black or on other colored backgrounds.

Identity

Brand Color




Supporting Color

Inspired by the colors of Alexander Girard, the supporting color palette adds pops of color to 3D environments, collateral, and photography.

Identity

Pantone 7548 U

0 12 98 0

255 201 21

Pantone 7682 U

53 27 2 0

128 151 191

Pantone 173 U

0 71 94 4

206 97 74

Bright Red U

0 93 100 0

251 55 0

Pantone 7606 U

0 36 17 4

222 160 154

Pantone 7702 U

59 0 8 8

93 171 198

Pantone 7749 U

12 0 76 52

128 131 99

Pantone 206 U

0 98 51 2

216 68 101

Brand Color




Typography

Consistent, frequent use of our corporate typeface creates trust and familiarity with viewers. It helps them make an immediate association with our company, and contributes to a congruous look and feel among all of our designs.

Corporate Typefaces Trademark Symbols



Corporate TypefacesTypography

Meta Collection OT is an important element for communicating the Herman Miller brand. Why? Like our company, the Meta type family is friendly and modern. Like good seating, Meta works in a wide range of sizes. It makes small copyright lines legible and provides impact for large applications on signs or trucks. Meta also translates well to both printed and on-screen presentations.

Meta must be used for all external communications. If a license for Meta is not available to you, purchase a license or work with a designer who does have a license.

.

When to Use Meta

We suggest four primary

versions of the Meta font

for creating branded

communications, Meta

Thin, Meta Light, Meta

Medium, and Meta Bold.

Meta ThinMeta LightMeta Medium Meta Bold 0123456789

Use lining figures.

Do not use old style figures.Do not use Meta Condensed.

To increase impact, the

Meta typeface is available in

multiple type styles. The two

most important styles are

Roman (or regular), and italic.

Meta RomanMeta Italic

0123456789Meta Condensed




Corporate TypefacesTypography

Meta Collection OT is Herman Miller’s principal typeface, but Arial is a good substitute because it is installed on every computer as a part of the operating system. Arial can be used for certain applications when Meta is not available, including internal documents, or external PowerPoint or e-mail messages.

When to Use Arial

Arial Book & Arial Bold 0123456789

Arial RomanArial Italic

We suggest two primary

versions of the Arial font

for creating branded

communications: Arial

Book and Arial Bold.

Use lining figures.To increase impact, the

Arial typeface is available

in multiple type styles. The

three most important styles

are Roman (or regular),

italic, and caps.




Trademark Symbols

The trademark and registered trademark symbols should be used consistently.To help, we’ve developed a simple formula for determining symbol size, where “y” is equal to the distance between the capline and the x-height line.

For type sizes 50 pts or less, the height of the trademark and service mark symbols should equal “½ y,” and the height of the registered trademark symbol should equal “y.”

For type sizes above 50 pts, the height of the trademark and service mark symbols should equal “¼ y,” and the height of the registered trademark symbol should equal “½ y.”

For Light and Thin type styles, the symbol should be Light.

For Book, Medium, and Bold type styles, the symbol should be Book.

Instructions: To apply these guidelines to a symbol, use the superscript setting, reduce the font size, change the style if needed, and align the top of the symbol to the capline.

Eames®

Eames®

Nelson™ Marshmallow Sofa

CAD PackSM

CAD PackTM

Typography

+ 50 pt

– 50 pt




Visuals

Visuals are the tangible manifestations of our brand—everything from logo treatments, stationery, and business cards to digital and environmental designs. Color, design, words, and symbols merge to make a compelling and lasting impression on the viewer.

IllustrationPhotography Pattern



Photography

Lifestyle

Shows product as hero in an architectural setting. Light is optimistic and warm. Camera angle takes the perspective of someone walking into the space.

Styling elements should reflect a lived-in feeling, an artful collage of objects and textures, and interesting views to nature.

Examples of use: Catalog, Brochure, Advertising, Public Relations

Visuals




Photography

Color Sweep

Shows full product range in an artful, graphic composition on a color chosen from the supporting color palette.

Examples of use: Catalog and Brochure

Visuals




Photography

Basic White Sweep

Versatile and descriptive. Shot in full-round and three-quarter views with soft, reflective shadows

Examples of use: Product Sheets, Catalog, Brochure, Pricebook, Website, Press Releases

Visuals




Photography

White-Sweep Environment

Realistic settings define use and scale and may suggest a lifestyle through propping.

Examples of use: Catalog, Brochure, Press Releases

Visuals

67

Eames Desk Unit: Multi-color surface: Black frame; pg 65

Eames Storage Unit 200 Series: Multi-color surface; Black frame; pg 65

Eames Molded Plastic Side Chair Dowel Base: Red shell finish; Ebony base; pg 35 Working and Storage




IllustrationVisuals

Line Art Illustrations

Detail is reduced in complex patterns. To show the product’s components and mechanics clearly at small sizes Illustrations are scaled at 3/₁₆ inch: 1 foot.

The defined clearspace is the space between each different view of the product (e.g. Front, Side and Top) This is 0.3125 inches.

All tick mark and dimensions are placed 0.125 inches away from each view.

16.5

32.75

23 18

34.75*

19.75*

47 1658

.5




IllustrationVisuals

Product Dimension Icons are used to accurately depictsize and scale of our furniture. Dimensions should followthe style shown here.




Pattern

The Nelson Office created this pattern —an artful repetition of the stylized M—for the cover of a Herman Miller press release. To the original black-and-white version, we added a two-color interpretation. Use of the one- or two-color version depends on how it is being applied. A layered, transparent effect can be achieved with the two-color version by adding color from the Supporting Color Palette. Always preview draw-downs from the printer to ensure overprinting can be achieved successfully.Examples of use: One-color typically for architectural graphics in vinyl or screen printing. Two-color typically for print collateral such as ads, posters, or catalog cover.

Visuals




Environments

Collection environments are three-dimensional expressions of our lifestyle philosophy. Vignettes are realistic and allude to how people live and work. Through their arrangement, colors, and propping, they suggest an inhabited space with a lived-in, welcoming quality that is aspirational and accessible.

Pop Up Shop Shop in Shops



Pop Up ShopEnvironments




Shop in ShopsEnvironments




Layout

With a compelling balance of image, typography, and symbols, a well-designed layout can be one of the most effective tools for clearly communicating a message. Our designs feature layouts that are simple yet dynamic, concise yet informative.

Print Three-Dimensional Digital



Print

Catalog

Lifestyle photography leads and is used with color and white sweep images to tell product stories. A clear zone beneath images gives the spread air and allows space for captions and page numbers. Typography communicates the hierarchy of information. Color bands indicate sections and aid navigation. Captions and page numbers are consistently located throughout.

Layout

Tuxedo Museum Bench: Quilted; Brown MCL Leather; Satin Chrome base; pg 9

Nelson Miniature Chest 6 Drawer: Teak and Dark Brown Teak combination;

White laminate top; Polished Aluminum base; pg 73

I Beam™ Coffee TableDesigned by Ward Bennett for Geiger, 1963

Ward Bennett’s accomplishments as an artist and creator spanned perhaps every discipline of design. Yet with every piece, be it sculpture, textiles, jewelry, a chair, or the fork within a set of flatware, Bennett consistently used one approach: seeing beyond the surface to reduce a design to its very essence. He found interest in materials—both elegant and industrial—that could endure, have extended use, and yield new interpretations.

Bennett’s design ethos manifests fully in his versatile I Beam Table. Based on a section of strong, supportive I beam, the table co-opts the form, texture, and tone of twentieth-century architecture’s most iconic building material. Alone, its powder-coated cast aluminum base acts as a clean, durable pedestal or side table. Topped with glass or stone options, it functions as a quietly refined coffee table around which a range of seating may be comfortably placed. Without trying to make a statement or provide a punch line, the design brings subtlety and sophistication to any space. I Beam Coffee Table shown in Glass top, Black cast aluminum base.

Sled™ ChairDesigned by Ward Bennett for Geiger, 1963

This timeless design by Bennett draws the eye downward to its distinctive base, a straightforward X shape welded from tubular steel and mounted on parallel rails. Its comfortable seat and back cradle the sitter. Elegant without being showy, it can be upholstered in most textile or leather options. Sled Chair shown in Luggage MCL Leather, Satin Chrome frame.

Living and Lounge




Print

Catalog

Color sweep photography portrays the product family. The background color is from the Supporting Color palette (see page 32). Used with lifestyle photography and white sweep photos, these images work together to convey the product story.

Layout

Eames Molded Plastic ChairEames Wire ChairDesigned by Charles and Ray Eames, 1950, 1951

In the 1940s, Charles and Ray Eames were fascinated by what was new: new shapes, materials, and techniques. Their focus was on plastics because the novel and exciting material could be molded into organic shapes that would conform to the body—and allow their designs to do more with less.

The Eameses adapted the plywood molding techniques they developed during World War II to produce plastic shells, while also perfecting another practice with which they had been experimenting—the creation of a bent, welded wire base. The result was the process that allowed the manufacture of the first mass-produced, single-form seat and back shell. Soon after, their strong, lightweight, quality chair out of bent wire also emerged. True to their design philosophy, the Eameses wanted the materials of the chair to take center stage. Today, in keeping with the designers’ original intent, they still do.

Eames Molded Plastic Side Chair and Armchair OptionsWire, 4-leg, dowel, or stacking (Side Chair only) baseBlack or Trivalent Chrome base finishEbony, Maple, or Walnut dowel finishVarious shell colors

Eames Molded Plastic Armchair Rocker Base OptionsBlack or Trivalent Chrome base finishMaple or Walnut rocker finishVarious shell colors

Eames Wire Chair OptionsWire seat/wire back, leather seat/leather back, or leather seat/wire backTrivalent Chrome shell and base finishHerman Miller proprietary textiles

Dining and Meeting




PrintLayout

Eames Aluminum Group Lounge Chair and Ottoman Outdoor: Graphite Outdoor Weave; Graphite Satin frame; pg 83

Eames Table Universal Base Round Outdoor: Georgia Grey Marble top; Graphite Satin column and base; pg 89 Outdoor




PrintLayout

101

Osso StoolShe Said Stoolpg 50

Stool_OneSteelwood Stoolpg 75

Paso Doble Stool

Lyra StoolDéjà-vu StoolSpecial Bombo StoolBombo StoolAl Bombo® Stool

Nelson Pedestal Stoolpg 17

Eames Walnut Stool C-Shapepg 9

Eames Walnut Stool B-Shapepg 9

Eames Walnut Stool A-Shapepg 9

Capelli Stool

Stools

Landmark Chairpg 71

Full Twist Guest Chairpg 45

Side and Stacking Chairs

Envelope Chairpg 61

She Said Lowide Chairpg 53

She Said Chairpg 53

He Said ChairBranca Chairpg 47

Osso Chairpg 61

Troy ChairSteelwood Chairpg 75

Paso Doble Chair without ArmsPaso Doble Chair with ArmsDéjà-vu ChairChair_One 4-Star Base Chair_One Stacking Base

Chair First LeatherChair FirstFolding Air-ChairAir-Chair without ArmsAir-Chair with Arms

Nelson Swag Leg Armchairpg 62

Eames Molded Plastic Armchair 4-leg Basepg 35

Eames Molded Plastic Armchair Dowel Basepg 35

Eames Molded Plastic Armchair Wire Basepg 35

Eames Wire Chairpg 35

Product Offering




Print

Product Sheet

Photography is always white sweep. Illustrations begin at the lower left-hand area of the sheet and can extend across the bottom, if necessary. Branding follows the hierarchy of sub-brand, product name, and logomark. Copy appears in this order: designer, original production date, design for the environment, warranty, and ends with a 40–50 word description. Copyright information appears vertically at lower right.

Layout

45

DesignerJasper Morrison for Magis

Original Production Date2000

Design for the Environment0% recycled content; 100% recyclable

Warranty2 years

This is no ordinary plastic chair. The air-molding manufacturing process behind it is complex, but the result is simple: high-quality, lightweight, stackable seating that’s stylish in any setting, indoors or out. Available with and without arms, the comfortable chair comes in a variety of colors. Sold in sets of 4.

Air-Chair

19 20

19

31

21 20

18

29

No Arms Arms

Mag

is®

is a

regi

ster

ed tr

adem

ark

of M

agis

Spa

.




Print

Cards

Use of color and graphic language are consistent with other Collection materials. The design can reflect archival materials, be a creative interpretation of them, or reproduce the original. Sizes can vary but postal regulations must be considered if cards are to be mailed. Copy is succinct.

Layout




PrintLayout




Three-DimensionalLayout




Digital

Website

Lifestyle photography is featured prominently. Current and archival images creatively convey editorial stories. Typography communicates the hierarchy of information. Color bands indicate sections and aid navigation. Copy is consistent across all Collection materials.

Layout




Digital

Online Store

Layout




Digital

E-vite

One way to create an e-vite is to work with Brand Design to create custom graphics and messaging.

Logo size should be consistent on all e-vites.

Ye-vite

We’re glad you attended Cynthia Roe Purvis’s ErgoExpo presentation, and we hopeher thoughts brought you new insight. We encourage you to participate in a briefpost-presentation survey to broaden our understanding of the ways you use touchtechnology.

View online | Add to safe sender list

e-vite subject line:

Take a survey and help us learn more about touch technology

Ergo Expo 2012

z

Survey

Thanks for AttendingPlease participate in a brief survey.

Thanks for Joining UsWe appreciate your time, and the opportunity to surprise and delight you with products and solutions designed to support the ways you work.

2

Thanks for visiting us at ErgoExpo 2012 and seeing solutions that help you feelbetter and work better.



Thank you for joining us at ErgoExpo 2012

If you’d like the chance to talk further, about our views on ergonomics or any of our products and services, please don’t hesitate to contact us.

z

2

Ye-vite

We’re glad you attended Cynthia Roe Purvis’s ErgoExpo presentation, and we hopeher thoughts brought you new insight. We encourage you to participate in a briefpost-presentation survey to broaden our understanding of the ways you use touchtechnology.



Take a survey and help us learn more about touch technology

Ergo Expo 2012

z

Survey

Thanks for AttendingPlease participate in a brief survey.

Thanks for Joining UsWe appreciate your time, and the opportunity to surprise and delight you with products and solutions designed to support the ways you work.

2

Thanks for visiting us at ErgoExpo 2012 and seeing solutions that help you feelbetter and work better.



Thank you for joining us at ErgoExpo 2012

If you’d like the chance to talk further, about our views on ergonomics or any of our products and services, please don’t hesitate to contact us.

z

2

570 px

X px

15 px

46 px

20 px

Layout




Digital

E-vite

You may also work with the e-Marketing team to create an evite using a template. Brand Design must approve all final designs.

Logo size should be consistent on all e-vites.

570 px

15 px

46 px

Layout




Voice

Our voice is the written expression of who we are. Through singularity of voice, we become familiar to our readers and work to achieve their trust. With clarity, brevity, and simplicity, we express complex, compelling ideas to a global audience.

MetaphorDefinition Examples Resources Nomenclature NamingStyle Trademark and Copyright



Definition

Our brand voice is: Spirited Written to inspire, with originality and playfulness

Sophisticated Written with clear purpose, straightforward delivery, and elevated language

Human Written by a person, not a committee, with honesty and authenticity

Voice




MetaphorVoice

A Trio with Several SoundsHerman Miller has one voice; it is always spirited, sophisticated, and human. But the prominence each of these parts takes in any communication varies depending on audience and purpose.

Think of a jazz trio. Pianist, drummer, and bass player all bring different virtuosity to their instruments, unique expressions. They combine in different ways. They riff off one another from song to song, night to night, but they have a recognizable sound. Just as the trio might play one type of set knowing there’s a record executive in the audience, the Herman Miller voice will “sound” slightly different in a healthcare piece versus a retail ad, for example.

To stay with musical metaphors, think of the sound waves the trio generates. The three sounds might combine to look like this:

The sound waves for piano, bass, and drums (read “spirited, sophisticated, human”), vary in amplitude and frequency, intensity and speed. They’re all present. (We’re assuming no solos). They combine to create “the Herman Miller sound.”




Examples

SpiritedEngineers, designers, and research technicians are agents of change. After all, this is what they’re hired for. I have never met a designer who was retained to keep things the same as they were.

—George Nelson,

Why does this factory concentrate on Modern furniture? It is honest in design. Everything looks like what it is. No camouflage as in period design. Woods are used where wood is best and metal where there is structural advantage. The result of this approach is simple functional furniture.

—D.J. De Pree,

Any creative design is apt to have two aspects: the big concept, or attitude, and the detailed characteristics that mark its final form. —Charles Eames,

Alexander Girard, who served as Herman Miller’s Director of Textiles for over two decades, believed that design should offer “a richness that goes beyond the useful object.” In his world, form followed function, but beauty was function enough. For over a century Herman Miller has worked with talented designers like Girard to create exemplary products that we believe to be both useful and beautiful. It is with this spirit, and attention to quality, craftsmanship, and detail, that we present Herman Miller Objects. These archival and new designs are both tools and totems. They can be purposeful, or decorative, or as Girard would have it, somewhere in between.

—Herman Miller Objects Hang Tag, 2012

Voice




Examples

SophisticatedThe enduring designs of the Herman Miller Collection strike a balance between seemingly contradictory ideas: aspiration and accessibility, sculpture and engineering, elegance and informality, beauty and comfort. Not the least of these is its delicate balance of craft and industrial processes.

—Herman Miller Collection Website, 2012

Designing is a basic activity. It comes to grips with the very essence of a problem and proceeds to develop a solution organically, from the inside out, as opposed to styling which concerns itself largely with the distinctive mode of presentation or with the externals of a given solution.

—Design Course for Herman Miller Employees, circa 1960

Herman Miller’s first foray into retail, the midtown Manhattan Textiles & Objects shop was born out of Girard’s commercial interests and personal passions. With a hand-selected stock of international folk art, bolts of fabric, custom occasional furniture, and small items he commissioned and designed, the T&O offered the public a chance to step into Girard’s rarified world. Despite the designer’s savvy and impeccable taste, the T&O closed a mere two years later. It’s clear today that Girard’s highly considered and curated approach to retail was simply decades before its time.

—The Herman Miller Collection Pop Up Shop, 2012

The attitudes that govern Herman Miller’s behavior, as far as I can make out, are compounded of the following set of principles: What you make is important. Design is an integral part of the business. The product must be honest. You decide what you will make. There is a market for good design.

—The Herman Miller Collection Catalog, 1948

With a partnership that mingled life and work to an incalculable degree, parsing the individual contributions of Charles and Ray Eames is futile. To understand their designs is to understand how their personal talents, tastes, and views intertwined to give new shape to the 20th century.

—Collection Pop Up Shop, 2012

Voice




Examples

HumanFrom the viewpoint of the designer, which is the only viewpoint I can assume with any degree of propriety, the Herman Miller Furniture Company is a rather remarkable institution. Seen solely as a business enterprise, it is probably indistinguishable from thousands of others scattered through the U.S. It is a small company, it is located in a small town, its production facilities are adequate but not unusual, and it is run the people who own it. What is remarkable about this enterprise is its philosophy—an attitude so deeply felt that to the best of my knowledge it has never been formulated.

—George Nelson, Herman Miller Collection Catalog, 1952

In 1957, when Alexander Girard noted a dearth of viable outdoor furnishings for his J. Irwin Miller house project in Columbus, Indiana, he turned to his friends Charles and Ray Eames, who responded with the Aluminum Group Chair. Having mastered bent plywood and fiberglass, the Eameses once again turned to a common material to produce uncommon results.

—Herman Miller Collection Website, 2013

As the lines blur between how and where we work and live today, people are redefining their perceptions of what a space can be. This reality, remarkably envisioned in 1952 by George Nelson as “a daytime living room where work can be done under less tension with fewer distractions,” is deftly addressed with Living and Lounge offerings from the Herman Miller Collection. Together, sofa and lounge seating, benches and stools, and accompanying occasional tables and accessories welcome rest as well as work, the quiet as warmly as the collaborative, and support and comfort as naturally as style.

—The Herman Miller Collection Catalog, 2013

What Nelson may have then lacked in experience he made up for in vision. He brought on designers like Isamu Noguchi and Charles and Ray Eames and established a program and philosophy for the Herman Miller Collection that endures today. As an architect he saw furniture within a broader context. Or as he wrote in 1948, “The design process is always related on the one hand to the houses or other structures in which the furniture is used, and on the other to the people who will use it.”

—The Herman Miller Collection Pop Up Shop, 2012

Voice




Style

The better the writing, the more engaged the reader will be. As to how to write well, keep several things in mind as you write:

Inspire and inform in equal measure.

Simple sentences make an impact.

Careful and appropriate diction leaves no room for confusion.

When using relative clauses, make subordination clear.

Correct grammar builds credibility.

Nouns are better than adjectives; verbs are best of all.

Voice




Resources

The Chicago Manual of StyleOur definitive resource for information on grammar and usage, punctuation, and the correct treatment of names, numbers, titles, and terms in copy and in headlines.

Kate Turabian’s Manual for WritersA cogent guide for creating purposeful, well-reasoned writing based on the manual.

Strunk and White’s Elements of StyleA classic discussion of style, with helpful guidelines for writing well.

William Zinsser’s On Writing Well Sound advice given with clarity from a noted writer and teacher.

We recommend these resources for guidance on style matters and writing well.

Voice




Nomenclature

People know our brand and the designers we partner with. Acknowledge both the Herman Miller brand and the designer name. Place Herman Miller in the first position as in the examples shown.

Eames® Aluminum Group Designed by Charles and Ray Eames, 1958 (Headline)

The Eames® Aluminum Group designed by Charles and Ray Eames… (Body Copy)

Nelson™ Platform Bench Designed by George Nelson, 1946 (Headline)

Introduced in 1946, the Nelson™ Platform Bench remains a landmark of modern design… (Body Copy)

Paso Doble Low Chair Outdoor Designed by Stefano Giovannoni for Magis®, 2009 (Headline)

The Paso Doble Low Chair Outdoor… (Body Copy)

Please note: After the first mention the appropriate trademark and the designer name in body copy, subsequent uses are not required. So, for example, the first mention of the “Eames® Aluminum Group designed by Charles and Ray Eames” can be followed simply by the Eames Aluminum Group.

Voice




Naming

1. The brand always comes first. The product name should be memorable without detracting from our brand, and should work in concert with the brand, as in “the Herman Miller Ethospace system.” As shown in this example, the name is always an adjective (Ethospace) that precedes a noun (system).

2. The name conveys a benefit. In a significant product, one that “advances the art or science,” the name should imply a story. Think Aeron or Envelop.

3. The design tenets apply. Our design tenets are an appropriate guide for naming, because, to an extent, choosing a product name is a problem-solving exercise.

4. The name works in any language. The name must translate well into languages other than English. But think also of how the name will play in the “language” of the digital world, for example, as part of a drop-down menu.

Writers are often called upon to name products or services. Here are several things to keep in mind when developing names.

Voice




Trademark and Copyright

Trademarks play an important role in protecting our brand’s intellectual investments and marketplace leadership. The following examples demonstrate the requirements for protecting our products, services, and ideas. Please note that when the logomark is used alone, it is not necessary to add a trademark symbol to it.

Constructed at Herman Miller in nearly the same way for almost 60 years, the many steps required to produce the iconic Eames® Lounge Chair and Ottoman merge machine manufacturing with handcraftsmanship. They’re also pieces that exemplify some of the Collection’s material offerings.

Use the product or service name as an adjective modifying a noun the first time it appears, as in “Setu® chairs.” This should be done whenever possible, but certainly at the first prominent use of a product or service name. In copy for digital applications, such as our website, trademarks are not needed.

Visitors to the site can view a link to all of our trademarked products on the legal section of hermanmiller.com.


Magis® is a registered trademark of SpA.

Printed in [name of country]. Please recycle.

© 2013 Herman Miller, Inc., Zeeland, Michigan [Sales Source number] All rights reserved.

We always include a copyright line in all

printed material. This line protects all

Herman Miller trademarks used.

Trademarks that belong to subsidiaries

or partners should be listed in the

copyright information.

Where possible, this line is expanded to

include additional information and, in

the case of printed materials, the Sales

Source order number.

Voice




Resources

If you need help, please contact Brand Design.

Email: [email protected]

Tools to use as you advocate for the Herman Miller brand:

Global Brand Standards

Brand assets (logomarks in a variety of formats)

Product image resource

The Herman Miller trademark list

Herman Miller social media guidelines

Herman Miller presentation guidelines

mailto:brand_help%40hermanmiller.com?subject=Brand%20Standards%20Help

https://mainstreet.hermanmiller.com/corporate/our-design-legacy/Pages/Global-Brand-Standards.aspx

http://www.hermanmiller.com/support-pages/brand-standards.html

http://www.hermanmiller.com/design-resources/images.html

http://www.hermanmiller.com/about-us/who-is-herman-miller/policies-and-legal-stuff/trademarks.html

http://www.hermanmiller.com/MarketFacingTech/hmc/brand_guidelines/Herman_Miller_Social_Media_Guidelines.pdf

http://www.hermanmiller.com/support-pages/brand-standards.html

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