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www.usmcmuseum.com

Graphic style guide version 1 revised June 2011

Introduction 3

Museum Production Methods 5

Museum Color Palettes 7

Museum Logo Standards 9

Typography Standards 10

Gallery Graphics Hierachy 12

Miscellaneous Sign Standards 49

Index 51

Glossary 54

NMMC STYLE GUIDE INTRODUCTION 3

INTRODUCTION

“...before we start, here are the rules...

the 10 Basic Rules we follow in order to achieve great Exhibit Design*:

1. Motivate Visitors Target an audience — the general public and/or specific communities.

2. Focus Content Filter content so visitors are not bombarded with information overload.

3. Immersion Engage visitors within a “story”.

4. Modularity Present smaller themes instead of one larger complex topic.

5. Skimmability Information should be easy to take in because visitors are often standing and/or have different levels of education.

6. Patterns Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing framework patterns (architectural elements).

7. Capture Curiosity Use storytelling techniques to engage visitors.

8. Interaction Give visitors a “fun” experience by tapping into their emotion

9. Integrate Technology Technology should enhance visitor’s experience, not detract from it.

10. Layer Content Present information in a hierarchical manner.

*Maria Lorena Lehman, 10 Great Tips for Exhibit Design...

SENSING ARCHITECTURE

http://sensingarchitecture.com

NMMC STYLE GUIDE INTRODUCTION 4

...The National Museum of the

Marine Corps brand message and attributes are carried through all mediums of communications through the use of color, typography, graphics, and images.

Proper brand usage is important to ensure the quality of the experience of every visitor who walks through our doors.

The brand elements include:

The National Museum of the Marine Corps logo, the colors and type used in those logos, graphics, images, and art.

What is a Style Guide, and Why Use One?

This “style guide “ is a reference document that establishes rules for DESIGN style.

Style guides often specify which option to use when several options exist, and this style guide include items that are specific to the museum for which a “standard” or example does not exist through a commercial style guide.

NMMC STYLE GUIDE INTRODUCTION 5

This style guide serves several purposes:

1. To establish NMMC DESIGN policy guidelines and to ensure that our graphics, images and artifact labels conform to those guidelines.

2. To define which style issues are negotiable and which are not.

3. To improve consistency within and among design elements, especially when more than one department is involved (i.e.

Exhibits, Education, Public Affairs, etc.)

4. To remove the necessity to reinvent the wheel for every new project.

5. To remind the writer or designer of style decisions for each project, when one writer or designer works on several projects that have different style requirements.

6. To serve as part of the specifications for deliverables, when submitting designs to commercial printers.

NMMC STYLE GUIDE PRODUCTION METHODS 6

PRODUCTION METHODS

Type B Digital photo quality prints w/wrapped edges

Digital continuous tone prints (Lambda or approved equal) print-ed directly onto photographic material, then laminated with 3 mil UV resistant lustre laminate with wrapped edges . Print and Laminate to be adhered to .040 aluminum sign blank.

Type C Digital photo quality prints adhered to acrylic.

Digital continuous tone prints (Lambda or approved equal) printed directly onto photographic material. Print is adhered to 2nd surface of 1/8th inch acrylic.

...although graphic production methods are constantly being improved and revised, the current production methods used to fabricate National Museum of the

Marine Corps graphics are...

Type A Digital murals

Digital prints (VUTEk, Durst Rho or approved equal) printed direct-ly onto high quality wall covering, (Rexam or equivalent) then clear coated for wear resistance.

Substrate

AcrylicImage

Type C Production Method

NMMC STYLE GUIDE PRODUCTION METHODS 7

PRODUCTION METHODS

Type H Dimensional Lettering

Dimensional lettering is custom cut from acrylic on either a laser engraver, plasma cutter, CNC router or other approved method.

Type I Other

Specialized production method as specified by graphic designer.

Type D Backlit murals

Frosted film (3M or equal) and/ or semi transparent film (Dura- Trans or equal), adhered to non-glare acrylic for backlit applica-tions.

Type E dHPL prints for flip books.

Digital High Pressure Laminate (dHPL)prints (Folia, iZone or equivalent)are printed images pressed into a laminate surface.

Type F Screen Print

Silk-screened images, text and/ or graphics on glass, MDF, or wall covering.

Type G Vinyl lettering

Die-cut vinyl lettering cut from a vinyl cutter, plotter, or trimmer.

NMMC STYLE GUIDE COLOR PALETTES 8

COLOR PALETTES

RGB

87,100,35

CMYK

25,0,81,67

RGB

196,18,48

CMYK

0,100,79,20

RGB

94,110,102

CMYK

20,0,20,65

RGB

11,18,0

CMYK

0,90,100,66

RGB

30,65,100

CMYK

100,83,46,13

RGB

30,65,100

CMYK

100,83,46,13

RGB

74,74,48

CMYK

80,73,100,20

RGB

129,129,84

CMYK

40,30,70,25

RGB

196,18,48

CMYK

0,100,79,20

RGB

196,18,48

CMYK

0,100,79,20

PMS 187C

SIX

NINE

THIRTEEN FOURTEEN

TEN ELEVEN

EIGHTSEVEN

PMS 187C

PMS 533C

RGB

75,114,29

CMYK

48,0,100,53

TWELVE

PMS 575C

FIVE

PMS 533C

FOUR

PMS 187C PMS 7497C

PMS 439C PMS 5753C

PMS 445C PMS 1817C

ATTENTION!! DO NOT alter the color, angle or layout of the color palette ( when possible, please use PANTONE© color standards to keep consistency).

...each Gallery uses a color palette as an identifier. The use of this color is most prominently seen in the title block of the

Gallery Summary Panel and the background color of the Area Overhead

Sign..

NMMC STYLE GUIDE COLOR PALETTES 9

COLOR PALETTES

PMS 533C PMS 187C PMS 124C PMS BLACK 3C PMS 1817C

PMS 445C PMS 729C PMS 422C PMS 7539C PMS 7500C

PMS 7500C

Colors to match for TYPE B PRINT

Colors to match for creating TYPE D LETTERING

Colors to match for creating TYPE A PRINT

Colors to match for TYPE E VINYL

PMS 124C

PMS 124C

PMS BLK 3C

PMS 650 C

NMMC STYLE GUIDE LOGO STANDARDS 10

LOGO STANDARDS

“NATIONAL MUSEUM..

MARINE CORPS”

Font: Adobe Jenson Pro Semi-bold

Size: Initial Caps: 23pt, all else 19.5pt

Tracking: 111

Leading: 33 pt

“OF THE”

Font: Adobe Jenson Pro Bold

Size: 9 pt

Tracking: 234

Note: Kerned letter-spacing between the initial caps and the following character.

APPROVED

LOGO COLOR PALETTE

Reflex Blue PMS 1797C PMS 429C

Full Color Reproduction

Black and White

ATTENTION!! Absolutely no design or color deviations accepted!

Only use black and white logo when you cannot reproduce logo in it’s original colors.

NMMC STYLE GUIDE TYPOGRAPHY STANDARDS 11

TYPOGRAPHY STANDARDS

...each Gallery has a font unique to it. The use of this font is most prominently seen in the title of the

Gallery Summary Panel and the title of the Area Overhead Sign..

DID YOU KNOW??? The font of ALL BODY TEXT of graphics created at The National Museum of the Marine Corps is

BERTHOLD BASKERVILLE REGULAR.

NMMC STYLE GUIDE GALLERY TYPICALS 12

GALLERY GRAPHICS HIERARCHY

..information within galleries, scenes and exhibits are presented in a hierarchical manner and uses storytelling techniques to engage the visitor.

The galleries of the National Museum of the Marine Corps covers the history of the United States Marine Corps from its inception in 1775 to the present. .

Gallery entrances are marked by a GALLERY TITLE PANEL above the entrance and a GALLERY SUMMARY PANEL directly below it.

Galleries are divided into scenes and exhibits. A scene is made up of one or more exhibits, and are indicated by an AREA OVERHEAD SIGN and an AREA PANEL.

Each scene is further divided into EXHIBITS. Information within galleries, scenes and consequently, exhibits, are presented in a hierarchical manner and uses storytelling techniques to engage the visitor.

The start of an exhibit is usually indicated by a brief summary on what is called a PRIMARY PANEL.

Subsequent panels expand on the information summarized on the primary panel. The SECONDARY PANELS and PHOTO PANELS add historical and visual credibility.

ARTIFACT CASE LABELS identify the contents of artifact cases.

DID YOU KNOW??? You can see a virtual view of the galleries of The National Museum of the Marine Corps? View them at:

www.virtualusmcmuseum.com/

NMMC STYLE GUIDE GALLERY TYPICALS 13

Gallery Title Panel Gallery Summary Panel Area Panel Area Overhead Panel

Primary Panel Secondary Panel Photo Panel Artifact Case Label

The Marines will never let down their Country, ever.

-Col WaterhouseRR RR

RR

7 8

Artifact Case

Some of the most common components of a gallery at the National Museum of the Marine Corps.

NMMC STYLE GUIDE GALLERY TYPICALS 14

..a typical gallery at the Museum of the Marine Corps contains some or all of the following design elements..

1. GALLERY TITLE PANEL: MARKS

THE LOCATION OF A GALLERY.

serves as a visual cue to identify the entrance to a gallery and displays the gallery name and time period the gallery covers. Located directly above the Gallery Summary Panel.

2. GALLERY SUMMARY PANEL:

MARKS THE ENTRANCE TO A

GALLERY. Panel at the entrance to galleries which summarizes the overall theme of the gallery.

3. AREA PANEL: MARKS THE

ENTRANCE TO AN SCENE. The area panel functions as the key informative panel in a scene.

4. AREA OVERHEAD SIGN:

MARKS THE ENTRANCE TO

A SCENE. In a scene, the area overhead sign indicates a change in chronological order, based on historical events, campaigns, battles or social event.

5. PRIMARY PANEL: INDICATES

THE START OF A NEW EXHIBIT.

Serves as a summary panel for an exhibit. A primary panel can be either 1. Embedded (printed) as a wall mural, or 2. Wall mounted as a stand-off panel.

6. SECONDARY PANEL:

SUPPLEMENTS PRIMARY PANEL

IN AN EXHIBIT. Serves as a supplement for an primary panel in an exhibit. A primary panel can be either 1. Embedded (printed) as a wall mural, or 2. Wall mounted as a Type B graphic (see production methods on page 5).

7. PHOTO PANELS:

SUPPLEMENTS PRIMARY AND

SECONDARY PANEL. Photo Panels add visual significance to an exhibit through the use of photos, illustrations or paintings.

NMMC STYLE GUIDE GALLERY TYPICALS 15

8. ARTIFACT CASE LABELS:

MARKS THE LOCATION OF AN

ARTIFACT. An artifact case label provides a brief description and accession information on an artifact. Artifacts are usually mounted in temperature controlled cases. Case labels are either 1.

Mounted to the first surface of a cases’ glazing, or 2. Mounted to case furniture.

9. MARINE LIFE PANEL:

HIGHLIGHTS MARINE LIVING

CONDITIONS IN A PARTICULAR

PERIOD OF HISTORY Life Panels are used to draw attention to living conditions endured by Marines in combat during that particular periods of history and how they have changed and /or adapted over time.

10. MACRO ARTIFACT PANEL:

MARKS THE LOCATION OF

OVERHEAD AIRCRAFT IN THE

MUSEUM Macro artifact panels give intricate details on the aircraft located high above the museum’s exhibits. These details often include a table of the dimensions of the aircraft, engine capacity, etc. in addition to technical illustrations.

11. STORY RAIL PANEL: DETAILS

THE EXPLOITS OF A MARINE OR

DETAILS OF AN ARTIFACT. Story rail panels are used to either tell the story of a famous Marine, with photos, text and/or illustrations.

It is also used to describe an artifact in detail, similar to a macro artifact panel. Exact dimensions and capabilities are included in a table format, along with actual photographs, if available, and technical illustrations.

12. STAND-OFF PANELS:

GRAPHIC MOUNTED ON

SUBSTRATE FOR ADDED

EMPHASIS Stand offs are graphics, photos, or illustrations used in an exhibit. Photo Panels are usually mounted in this manner. Stand-offs are mounted on substrate then attached to another smaller piece of substrate to emphasize image.

13. INDIVIDUAL MARINE PANEL:

HIGHLIGHTS THE EFFORTS OF

INDIVIDUAL(S) MARINES IN A

PARTICULAR BATTLE OR PERIOD

OF HISTORY Highlights the individual efforts of a Marine or Marines during a particular conflict or battle that have contributed

NMMC STYLE GUIDE GALLERY TYPICALS 16

significantly to the success or completion of that battle or conflict.

14. WALL QUOTE: HIGHLIGHTS

THE REMARKS OF AN

INDIVIDUAL, A KNOWN

FACT OR A PUBLICATION.

Highlights a particular quote of an individual important to US or Marine Corps history as it relates to a gallery, scene or exhibit it is in. A wall quote can also state a known fact, or quote a publication. Most wall quotes include a credit line as well.

15. WE THE MARINES PANEL:

HIGHLIGHTS THE CHANGES

IN MARINE CORPS STRATEGY

AND TECHNIQUES. Offers in detail troop strength, significant statistics and events of the Marine Corps for the given time period.

NMMC STYLE GUIDE GALLERY TYPICALS 17

NMMC STYLE GUIDE GALLERY TYPICALS 18

Eagle, Globe and Anchor (EGA) Design

ATTENTION!! The Eagle, Globe and Anchor is trademarked. Do not alter design. Only use authorized versions approved by HQMC.

* See Index for Definition

Type H graphic:

Used on: Gallery Summary Panel pylons.

Justification: Centered on pylon blood stripe.* Dimensions: 4” w x 4.25” h Color: PMS 126 C.

Notes: See Design development drawings or page 7 for Type H graphic specifications.

Type A or Type B graphic:

Used in: Area Panels; Primary Panels; Secondary Panels; We, the Marines panels.

Justification: Centered above title text or centered along bottom edge of blood stripe.

Dimensions: 4” w x 4” h Color 1 (TOP ): PMS 124C Color 2 (MIDDLE ): PMS 123C Color 3 (SHADOW ): PMS Black C

Notes:Type 2 EGA can be either a silkscreen or digital print.

4.25

NMMC STYLE GUIDE GALLERY TYPICALS 19

Gallery Title Panel Construction

Gallery 6 DEFENDING THE NEW REPUBLIC 1775-1865

Gallery 7 A GLOBAL EXPEDITIONARY FORCE 1866-1916 Gallery 8 MARINES IN WORLD WAR I 1917-1918 Gallery 9 MARINES HAVE LANDED 1919-1939 Gallery 10 UNCOMMON VALOR 1940-1945 Gallery 11 send in the marines 1946-1953 Gallery 12 IN THE AIR, ON LAND AND SEA 1954-1975 Gallery 13 GLOBAL READINESS 1976-2000 Gallery 14 SEMPER FIDELIS 2000-PRESENT

Title Font (by Gallery) Font and font size varies by gallery

133”

17 5.5” 2.5”

Length varies w/ date change

2.25”

Production Method

Type B graphic, see page 6 for production method details and page 19 for design details.

Notes:

The date s on both sides are process white screenprints printed at 75% opacity.

See construction drawings for hardware specifications for hanging.

NMMC STYLE GUIDE GALLERY TYPICALS 20

Gallery Title Panel Design

Gallery Title FONT: All capitals; varies by gallery SIZE: Various

COLOR: PMS 124 C

MAXIMUM: 28

characters

Background

COLOR: PMS 2758 C

Date FONT: Impact Reg 800pt

TRACKING: 25

COLOR: 12pt white outline no ll screened to 75% opacity

MAXIMUM: 9

characters

NMMC STYLE GUIDE GALLERY TYPICALS 21

Gallery Summary Panel Construction

Vertical screenprint (date) FONT: Impact Regular 600 pt MAXIMUM: 9 characters

TRACKING: 50

JUSTIFICATION: Left COLOR: Outline White 12pt FILL: No �ll

168pt 225pt 168pt 171pt 171pt 177pt 177pt

171pt

Gallery 6 Caslon Antique Bold 164pt Gallery 7 Copperplate 30bc 200pt Gallery 8 Goudy Extra Bold 164pt Gallery 9 Passport Regular 192pt Gallery 10 Gill Sans Bold 171pt Gallery 11 Stencil 177pt Gallery 12 Lubalin Graph BC 177pt Gallery 13 Russell Square 216pt Gallery 14 Univers 67 Cond. Bold 171pt

Title Font and Drop Cap Size Font and Drop cap size by gallery TF DC

87 “

57.5”

4”

14”

EGA

4.25”H x 4” W See page 17 for specs

11”

33”

6”

6”

6”

25”

4.5”

2.5”

2”

Production Methods

Summary Panel: Type B graphic Vertical Date: Type F screen print EGA: Type H graphic, see page 5 for production method details.

Pylon: See construction drawings for fabrication details.

See page 21 for design details.

Notes:

The pylon can be constrcted to be viewed either left handed or right handed. The summary panel can be mounted on the left or the right of the pylon and the dates can be screenprinted on the left or the right. EGA is center mounted on blood stripe

NMMC STYLE GUIDE GALLERY TYPICALS 22

Gallery Summary Panel Design

Date FONT: Impact 95 pt

COLOR: White

JUSTIFICATION:

Centered

MAXIMUM:

9 characters

Drop Cap FONT: Varies by gallery, see pages 8 and 11 for details

COLOR:

Varies by gallery

DROP SHADOW

COLOR:

PMS Black C

Body Text FONT: Berthold Baskerville Reg 60 pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM: 140 words

LEADING: 79

TRACKING: 25

Subhead FONT: Berthold Baskerville Med 60 pt.

First 24 characters (4-6 words) are in small capitals.

JUSTIFICATION: Left MAXIMUM: 20 words or 125 characters

LEADING: 79

Title FONT: Varies by gallery

COLOR: PMS 124C

DROP SHADOW

COLOR: PMS Black 3C LEADING: Auto

MAXIMUM:

2 Lines

Attribution FONT: Berthold Baskerville Reg Italic 42 pt COLOR: PMS Black 3C JUSTIFICATION: Left MAXIMUM: 15 words or 100 characters

NMMC STYLE GUIDE GALLERY TYPICALS 23

Area Panel Construction

168pt 225pt 168pt 171pt 171pt 177pt 177pt 168pt 171pt

Gallery 6 Caslon Antique Bold 180pt Gallery 7 Copperplate 30bc 200pt Gallery 8 Goudy Extra Bold 164pt Gallery 9 Passport Regular 192pt Gallery 10 Gill Sans Bold 171pt Gallery 11 Stencil 177pt Gallery 12 Lubalin Graph BC 177pt Gallery 13 Russell Square 216pt Gallery 14 Univers 67 Cond. Bold 171pt

Title Font and Drop Cap Size Font and Drop cap size by gallery TF DC

Production Methods

Summary Panel: Type B graphic, see page 5 for details.

EGA: Type H graphic, see page 5 for production method details.

Pylon: See construction drawings for fabrication details.

See page 22 for design details.

Notes:

Area panels can be mounted on the pylon to be viewed from the left or right side. The drop cap on the area panel is always PMS 187.

RR

30”

87”

57 1/2”

DEFENDING

THE NEW REPUBLIC

DEFENDING

THE NEW REPUBLIC

NMMC STYLE GUIDE GALLERY TYPICALS 24

Area Panel Design

RR

DEFENDING

THE NEW REPUBLIC

DEFENDING

THE NEW REPUBLIC

Body Text FONT: Berthold Baskerville Reg 60 pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM: 140words

LEADING: 79

TRACKING: 25

Subhead FONT: Berthold Baskerville Med 60 pt. First 24 characters (4-6 words) are in small capitals.

JUSTIFICATION: Left MAXIMUM: 20words

LEADING: 79

Title FONT: Varies by gallery

COLOR: PMS 124C

DROP SHADOW

COLOR: PMS Black C LEADING: Auto

Attribution FONT: Berthold Baskerville Reg Italic 42 pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM: 20words

Drop Cap FONT: Varies by gallery, see pages 8 and 11 for details

COLOR:

PMS 187

DROP SHADOW

COLOR:

PMS Black C

EGA

COLOR:

see pages 17 for details

JUSTIFICATION:

Centered

NMMC STYLE GUIDE GALLERY TYPICALS 25

Area Overhead Panel Construction

Gallery 8 Goudy Extra Bold 164pt Gallery 9 Passport Regular 192pt Gallery 10 Gill Sans Bold 171pt Gallery 11 Stencil 177pt Gallery 12 Lubalin Graph BC 177pt Gallery 13 Russell Square 216pt Gallery 14 Univers 67 Cond. Bold 171pt

72”

5”

18”

Production Methods Summary Panel: Type B graphic, see page 5 for production method details.

Notes:

Refer to construction drawings for specific instructions for hanging signs.

Some overhead signs are double sided. Title font size varies by gallery due to varying attributes of fonts. Center the title font horizontally and vertically between bottom edge of sign and baseline of date.

Date Text Justi�cation: Centered

Text Justi�cation: Centered

Layout: Center title horizontally and vertically between bottom edge of sign and baseline of date.

NMMC STYLE GUIDE GALLERY TYPICALS 26

Area Overhead Panel Design

Date FONT: Impact 205pt COLOR: Process White JUSTIFICATION: Centered

Sign Color COLOR: Varies by gallery. (See gallery color chart below)

Title FONT: All caps; size and font vary by gallery (See page 11 for list of gallery fonts).

COLOR: PMS 124C

DROP SHADOW COLOR:

PMS Black C

NMMS Gallery color chart

NMMC STYLE GUIDE GALLERY TYPICALS 27

Wall Quote with Credit Line Design

Wall Quote:

Font: Berthold Baskerville Regular 300pt Font Color: PMS 124C Justification: Left

Credit Line:

Font: Berthold Baskerville Regular 200pt

Production Method(s):

Type A: See page 5 for production method details.

or Type H: See page 7 for production method details.

Notes:

Type H graphic (lettering cut from acrylic) would not have a drop shadow.

NMMC STYLE GUIDE GALLERY TYPICALS 28

Primary Panel Construction

225pt 168pt 171pt 171pt 177pt 177pt

171pt

Gallery 8 Goudy Extra Bold 164pt Gallery 9 Passport Regular 192pt Gallery 10 Gill Sans Bold 171pt Gallery 11 Stencil 177pt Gallery 12 Lubalin Graph BC 177pt Gallery 13 Russell Square 216pt Gallery 14 Univers 67 Cond. Bold 171pt

Title Font and Drop Cap Size Font and Drop cap size by gallery TF DC

114”

32”

6”

Production Methods

Primary Panel:

Type A primary panel, see page 5 for production method details.

Type B primary panel, see page 5 for production method details.

Notes:

A Primary panel can be either a digital print adhered to sign blank or printed as part a part of a wall mural with secondary panels.

The drop cap color for primary panels are always red (PMS 187C), regardless of gallery primary color.

See page 14 for complete definition of primary and secondary panels.

NMMC STYLE GUIDE GALLERY TYPICALS 29

Primary Panel Design

EGA

SIZE: 4.25H x 4 W COLOR: See page 17 on EGA style and color

Drop Cap FONT: Varies by gallery

SIZE: 168pt

COLOR: PMS 187C

DROP SHADOW

COLOR: PMS Black C

Body Text FONT: Berthold

Baskerville Reg 60 pt COLOR: PMS Black C

JUSTIFICATION: Left MAXIMUM: 140 words

LEADING: 79

TRACKING: 25

Title FONT: Varies by gallery

COLOR: PMS 124C

DROP SHADOW

COLOR: PMS Black 3C LEADING: Auto

Subtitle FONT: Berthold Baskerville Med 60pt COLOR: PMS Black C

Attribution FONT: Berthold Baskerville Med Italic 40pt COLOR: PMS Black C

NMMC STYLE GUIDE GALLERY TYPICALS 30

Secondary Panel Design

"The times that try men's souls" "The times that try men's souls"

Gallery 6 DEFENDING THE NEW REPUBLIC

Gallery 7 A GLOBAL EXPEDITIONARY FORCE Gallery 8 MARINES IN WORLD WAR I Gallery 9 MARINES HAVE LANDED Gallery 10 UNCOMMON VALOR Gallery 11 send in the marines Gallery 12 IN THE AIR, ON LAND AND SEA Gallery 13 GLOBAL READINESS Gallery 14 SEMPER FIDELIS

Title Font (by Gallery) Font and font size varies by gallery

Body Text FONT: Berthold Baskerville Regular 50 pt MAXIMUM: 239 characters

Title FONT: Gill Sans Extra Bold 120 pt FONT COLOR: Changes with gallery

SHADOW COLOR: PMS BLACK C

MAXIMUM: 2 Lines

Drop Cap FONT: Gill Sans Extra Bold 133 pt COLOR: PMS Black C

Production Methods

For Type A or Type B secondary panel, see page 5 for production method details.

Notes:

Secondary panels can be either printed as part of a wall mural (Type A Print) or adhered to sign blank and mounted to substrate (Type B graphic).

R

Subhead or Quote FONT: Berthold Baskerville Medium 50 pt (1st line after drop cap is all caps).

FONT COLOR: PMS BLACK C

MAXIMUM: 239 characters

6”

6”

NMMC STYLE GUIDE GALLERY TYPICALS 31

Photo Panel Construction

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PORTRAIT

24”

24”

18”

18”

18”

18”

14”

14”

14”

14”

10”

10”

Caption Band No less than 3” in height

Caption Band No less than 2.5” in height

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PORTRAIT

LANDSCAPE

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PORTRAIT

LANDSCAPE

LANDSCAPE

Production Methods

Photo Panel Layout Speci�cations

Type B primary panel, see page 5 for production method details.

Notes:

Refer to Design Development Package drawings for specific design details.

Caption Band No less than 2.0” in height

The captions, whether they are portrait or landscape, are left justi ed and the text size (34 pt Berthold Baskerville Regular) remains the same.

The reason for this is some photo panels overlap, and this leaves room for text.

NMMC STYLE GUIDE GALLERY TYPICALS 32

Photo Panel Design

Caption Text FONT: Berthold Baskerville Reg 34 pt (regardless of size of black band call out) COLOR: Process White JUSTIFICATION: Left MAXIMUM: 40 words

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Production Methods

Photo Panels

Type B primary panel, see page 5 for production method details.

Notes:

Photo panels are stand off panels and can be in portrait or landscape format. Black caption border must be proportionate to photo panel. See page 14 for definition of photo panels.

11/2”

1/2” Caption Band proportionate to size of photo panel ( See page 31).

NMMC STYLE GUIDE GALLERY TYPICALS 33

Individual Marine Panel Construction

120”

39”

69” 53” from baseline of subhead

24” 30” 36”

6” Production Methods Individual Marine Panel:

Type B graphic panel, see page 5 for production method details.

Type A graphic panel, see page 5 for production method details.

Notes:

Refer to Design Development Package drawings for specific fabrication details. Individual Marine Panels can include quotes or additional images. They can also be printed as a digital print and adhered to sign blank or on wallpaper.

NOTE: Match existing Gallery Colors

BGen Herman H. Hanneken

REUM IPSUM AT IN onsumes sltrata dolar treh asumpe colore ipsum nostre conatgu tres sutra elpotrata stratas nuestro.

Lorum ipsums atres inconsume strata trets asump mpe coftea lore ipsum nosp tret ctrones sutrae trata dolar nuestro it conatgu sotr dolar ipsum amet asumpte. Loreum to ipsums atre inco nsume stratas tre asumpe coftea lorems ctrons atgu sotre ipsum ametgu asumpte.

Loreum ipsums atrem inconsume strata tre mor asumpe coflore ipsum nosp tre con sutrae trata dolar nuestro itse conatgu strotrie dolared ipsum amet asumpte. Loreum treote ipsums atinconsu sume stratay asump ipsum dolar.

Loreum ipsum at inconsme strata te asumpe cof lore nosp tre con sutra trata strata nues trabe olarsoti.

Lorm ipsum at inconsumes.

Loreum ipsum at inconsme strata te asumpe cof lore nosp tre con sutra trata strata nues trabe olarsoti.

Lorm ipsum at inconsumes.

T

BGen Herman H. Hanneken BGen Herman H. Hanneken

REUM IPSUM AT IN onsumes sltrata dolar treh asumpe colore ipsum nostre conatgu tres sutra elpotrata stratas nuestro.

Lorum ipsums atres inconsume strata trets asump mpe coftea lore ipsum nosp tret ctrones sutrae trata dolar nuestro it conatgu sotr dolar ipsum amet asumpte. Loreum to ipsums atre inco nsume stratas tre asumpe coftea lorems ctrons atgu sotre ipsum ametgu asumpte.

Loreum ipsums atrem inconsume strata tre mor asumpe coflore ipsum nosp tre con sutrae trata dolar nuestro itse conatgu strotrie dolared ipsum amet asumpte. Loreum treote ipsums atinconsu sume stratay asump ipsum dolar.

T REUM IPSUM AT IN onsumes sltrata dolar treh asumpe colore ipsum nostre conatgu tres sutra elpotrata stratas nuestro.

Lorum ipsums atres inconsume strata trets asump mpe coftea lore ipsum nosp tret ctrones sutrae trata dolar nuestro it conatgu sotr dolar ipsum amet asumpte. Loreum to ipsums atre inco nsume stratas tre asumpe coftea lorems ctrons atgu sotre ipsum ametgu asumpte.

Loreum ipsums atrem inconsume strata tre mor asumpe coflore ipsum nosp tre con sutrae trata dolar nuestro itse conatgu strotrie dolared ipsum amet asumpte. Loreum treote ipsums atinconsu sume stratay asump ipsum dolar.

T

BGen Herman H. Hanneken

REUM IPSUM AT IN onsumes sltrata dolar treh asumpe colore ipsum nostre conatgu tres sutra elpotrata stratas nuestro.

Lorum ipsums atres inconsume strata trets asump mpe coftea lore ipsum nosp tret ctrones sutrae trata dolar nuestro it conatgu sotr dolar ipsum amet asumpte. Loreum to ipsums atre inco nsume stratas tre asumpe coftea lorems ctrons atgu sotre ipsum ametgu asumpte.

Loreum ipsums atrem inconsume strata tre mor asumpe coflore ipsum nosp tre con sutrae trata dolar nuestro itse conatgu strotrie dolared ipsum amet asumpte. Loreum treote ipsums atinconsu sume stratay asump ipsum dolar.

T dolar nuestro itse conatgu strotrie amet asumpte. Loreum treote sume stratay asump ipsum

OPTIONAL LAYOUTS

2.5”

2.5”

Background color changes with gallery (see Gallery Color Chart on page 8)

6 “ baseboard (usually �at black or painted to match wallpaper color).

NMMC STYLE GUIDE GALLERY TYPICALS 34

Individual Marine Panel Design

REUM IPSUM AT IN onsumes sltrata dolar treh asumpe colore ipsum nostre conatgu tres sutra elpotrata stratas nuestro.

Lorum ipsums atres inconsume strata trets asump mpe coftea lore ipsum nosp tret ctrones sutrae trata dolar nuestro it conatgu sotr dolar ipsum amet asumpte. Loreum to ipsums atre inco nsume stratas tre asumpe coftea lorems ctrons atgu sotre ipsum ametgu asumpte.

Loreum ipsums atrem inconsume strata tre mor asumpe coflore ipsum nosp tre con sutrae trata dolar nuestro itse conatgu strotrie dolared ipsum amet asumpte. Loreum treote ipsums atinconsu sume stratay asump ipsum dolar.

Loreum ipsum at inconsme strata te asumpe cof lore nosp tre con sutra trata strata nues trabe olarsoti.

Lorm ipsum at inconsumes.

T

BGen Herman H. Hanneken

REUM IPSUM AT IN onsumes sltrata dolar treh asumpe colore ipsum nostre conatgu tres sutra elpotrata stratas nuestro.

Lorum ipsums atres inconsume strata trets asump mpe coftea lore ipsum nosp tret ctrones sutrae trata dolar nuestro it conatgu sotr dolar ipsum amet asumpte. Loreum to ipsums atre inco nsume stratas tre asumpe coftea lorems ctrons atgu sotre ipsum ametgu asumpte.

Loreum ipsums atrem inconsume strata tre mor asumpe coflore ipsum nosp tre con sutrae trata dolar nuestro itse conatgu strotrie dolared ipsum amet asumpte. Loreum treote ipsums atinconsu sume stratay asump ipsum dolar.

Loreum ipsum at inconsme strata te asumpe cof lore nosp tre con sutra trata strata nues trabe olarsoti.

Lorm ipsum at inconsumes.

Loreum ipsum at inconsme strata te asumpe cof lore nosp tre con sutra trata strata nues trabe olarsoti.

Lorm ipsum at inconsumes.

T

BGen Herman H. Hanneken

REUM IPSUM AT IN onsumes sltrata dolar treh asumpe colore ipsum nostre conatgu tres sutra elpotrata stratas nuestro.

Lorum ipsums atres inconsume strata trets asump mpe coftea lore ipsum nosp tret ctrones sutrae trata dolar nuestro it conatgu sotr dolar ipsum amet asumpte. Loreum to ipsums atre inco nsume stratas tre asumpe coftea lorems ctrons atgu sotre ipsum ametgu asumpte.

Loreum ipsums atrem inconsume strata tre mor asumpe coflore ipsum nosp tre con sutrae trata dolar nuestro itse conatgu strotrie dolared ipsum amet asumpte. Loreum treote ipsums atinconsu sume stratay asump ipsum dolar.

T

Title FONT: Berthold Baskerville Med 66 pt

COLOR: PMS 124C

JUSTIFICATION: Left MAXIMUM: 30 characters

LEADING: 14.4

TRACKING: 0

Image DIMENSIONS: Size image to �t 12” w X 15” h

Title Background

COLOR: PMS 187C

Drop Cap FONT: Gill Sans Extra Bold 112 pt COLOR: Process White JUSTIFICATION: Left

Subhead FONT: Berthold Baskerville Med 40 pt COLOR: Process White JUSTIFICATION: Left MAXIMUM: 115 characters (18 words)

LEADING: 31.2

TRACKING: 0

Body Text FONT: Berthold Baskerville Reg 40 pt COLOR: Process White JUSTIFICATION: Left MAXIMUM: 480 character (75 words)

LEADING: 31.2

TRACKING: 0

NMMC STYLE GUIDE GALLERY TYPICALS 35

Artifact Case Label Design (Vertical)

Production Methods

Artifact Case Label (Horizontal)

Type B primary panel, see page 5 for production method details.

Notes:

Refer to Design Development Package drawings for specific design details.

Apply doublespace between end of body text and start of accession line.

On the night of 8 March, 1945, Japanese forces under the command of Captain Samaji Inouye launched a banzai charge against the line held by the 23d and 24th Marines. This kai-gunto was captured by 1stLt Joseph LoPrete, E Company, 2d Battalion, 23d Marines, during the battle.

Donated by the Estate of Col. Joseph LoPrete 2007.30.1a-b

Kai-gunto

The steel combat helmet was adopted by the Japanese armed forces relatively late (in the early 1930s) in modern warfare.

This Imperial Army helmet was captured on the northern portion of Iwo Jima by Sgt Carl E. Crouch, HQ Company, 1st Battalion, 26th Marines.

Donated by Mr. Carl E. Crouch 2007.23.1a-b

Japanese Army Helmet

Firing a 7.7mm projectile from a 30-round box magazine, the Japanese Type 99 was based on the Type 96 light machine gun, but featured a monopod at the stock and a flash suppressor at the muzzle. Members of the 27th Marines captured this weapon while clearing Mount Suribachi’s caves.

Donated by Mr. Kenneth Stevenson 2005.8.1

Japanese Type 99 Light Machine Gun

Iwo Jima overflowed with hundreds of underground enemy positions. This Japanese pipe, disposable shaving razor, and pair of army-issue eyeglasses were recovered from Japanese bunkers by William “Wild Bill” Odom, who served with HQ Company, 1st Battalion, 21st Marines.

Donated by Mr. William F. Odom 2006.91.17, 2006.91.12a-c, 2006.91.5a

Japanese Personal Items

At the northern end of the island, the Japanese had begun to build a third airfield. This tool kit was captured in a makeshift bunker constructed from a wrecked truck chassis.

Japanese Tool Kit

1/2”

1/2” Radius

6”

Title Font Font: Berthold Baskerville Medium 21 pt Color: PMS 124C Justi�cation: Left

Body Text Font: Berthold Baskerville Regular 19 pt Body text Color: Process White Leading: 21.5

Accession Number Font: Berthold Baskerville Italic 11 pt Justi�cation: Full

Artifact Number Font: Impact 24 pt Title Font Color: PMS Blk C Background: Process White Justi�cation: Centered va ri ou s he ig ht s

Do not number single item artifacts!

NMMC STYLE GUIDE GALLERY TYPICALS 36

Artifact Case Label Design (Vertical) cont.

Typical vertical label layout examples:

Iwo Jima overflowed with hundreds of underground enemy positions. This Japanese pipe, disposable shaving razor, and pair of army-issue eyeglasses were recovered from Japanese bunkers by William “Wild Bill” Odom, who served with HQ Company, 1st Battalion, 21st Marines.

On the night of 8 March, 1945, Japanese forces under the command of Captain Samaji Inouye launched a banzai charge against the line held by the 23d and 24th Marines. This kai-gunto was captured by 1stLt Joseph LoPrete, E Company, 2d Battalion, 23d Marines, during the battle.

the Japanese armed forces relatively late (in the early 1930s) in modern warfare.

This Imperial Army helmet was captured on the northern portion of Iwo Jima by Sgt Carl E. Crouch, HQ Company, 1st Battalion, 26th Marines.

box magazine, the Japanese Type 99 was based on the Type 96 light machine gun, but featured a monopod at the stock and a flash suppressor at the muzzle. Members of the 27th Marines captured this weapon

Iwo Jima overflowed with hundreds of underground enemy positions. This Japanese pipe, disposable shaving razor, and pair of army-issue eyeglasses were recovered from Japanese bunkers by William “Wild Bill” Odom, who served with HQ Company, 1st Battalion, 21st Marines.

At the northern end of the island, the Japanese had begun to build a third airfield. This tool kit was captured in a makeshift bunker constructed from a wrecked truck chassis.

Japanese Tool Kit

NOTE:

Vertical artifact labels should not exceed 64”

fromoor and no lower
than 32” from theoor.

32” - 64” from oor

NMMC STYLE GUIDE GALLERY TYPICALS 37

Artifact Case Label Design (Horizontal)

On the night of 8 March, 1945, Japanese forces under the command of Captain Samaji Inouye launched a banzai charge against the line held by the 23d and 24th Marines. This kai-gunto was captured by 1stLt Joseph LoPrete, E Company, 2d Battalion, 23d Marines, during the battle.

the Japanese armed forces relatively late (in the early 1930s) in modern warfare.

This Imperial Army helmet was captured on the northern portion of Iwo Jima by Sgt Carl E. Crouch, HQ Company, 1st Battalion, 26th Marines.

box magazine, the Japanese Type 99 was based on the Type 96 light machine gun, but featured a monopod at the stock and a flash suppressor at the muzzle. Members of the 27th Marines captured this weapon

1/2”

6” various widths

Production Methods

Artifact Case Label (Horizontal)

Type B primary panel, see page 5 for production method details.

Notes:

Refer to Design Development Package drawings for specific design details.

Apply doublespace between end of body text and start of accession line.

Title Font Font: Berthold Baskerville Medium 21 pt Color: PMS 124C Justi cation: Left

Body Text Font: Berthold Baskerville Regular 19 pt Body text Color: Process White Leading: 21.5

Accession Number Font: Berthold Baskerville Italic 11 pt Justi cation: Full

Do not number single item artifacts!

1/2” Radius 1

Artifact Number Font: Impact 24 pt Title Font Color: PMS Blk C Background: Process White Justi cation: Centered

NMMC STYLE GUIDE GALLERY TYPICALS 38

Artifact Case Label Design (Horizontal) cont.

ATTENTION!! DO NOT number single item artifacts! Horizontal layout single item artifact labels are always left justified.

Typical horizontal label layout examples:

NOTE:

If only 1 (one) label is required for artifact case labeling, do not number artifact case label!

The steel combat helmet was adopted by the Japanese armed forces relatively late (in the early 1930s) in modern warfare.

This Imperial Army helmet was captured on the northern portion of Iwo Jima by Sgt Carl E. Crouch, HQ Company, 1st Battalion, 26th Marines.

the Japanese armed forces relatively late (in the early 1930s) in modern warfare.

This Imperial Army helmet was captured on the northern portion of Iwo Jima by Sgt Carl E. Crouch, HQ Company, 1st Battalion, 26th Marines.

the Japanese armed forces relatively late (in the early 1930s) in modern warfare.

This Imperial Army helmet was captured on the northern portion of Iwo Jima by Sgt Carl E. Crouch, HQ Company, 1st Battalion, 26th Marines.

the Japanese armed forces relatively late (in the early 1930s) in modern warfare.

This Imperial Army helmet was captured on the northern portion of Iwo Jima by Sgt Carl E. Crouch, HQ Company, 1st Battalion, 26th Marines.

NMMC STYLE GUIDE GALLERY TYPICALS 39

Artifact Number Construction

Production Methods

ID Button: Other , either router cut by a CNC router or equivalent.

Lettering: Type G vinyl lettering

Notes:

The Artifact ID buttons, or “pucks,” are cut from 1/4 inch acrylic sheets and vinyl letters are adhered to them..

3/4” diam.

5/16” 3/8” diam.

1/8”

Vinyl Lettering FONT: Impact 36pt MAXIMUM: 2 characters VINYL COLOR: PMS Black C

Button Stand MATERIAL: 1/8” Brass

NMMC STYLE GUIDE GALLERY TYPICALS 40

Macro Artifact Panel Construction

78”

6”

17”

18”

16”

60”

15”

1”

6”

CURTISS A-2

Ta t e asumpe c of l ore ipsum nosp tre con sutra etra a ta s trata nues trabe olar. Inconsume strata t e asumpe s utra e t rata s trata.

Loreum i psum at inconsume strata te asumpe of l ore ipsum nosp tre con sutra e trata strata nue sit trabe olar soti tro. Loreum i psum dolar i psum ilit dolar to rety ipsum atinc. L oreum i psum at inconsumoreum i psum at inconsume strata te asumpe cof l ore ipsum tre dol con sutra e trata strata nues trabe olarsoti tro.

Loreum i psum at itrinca onsume strata te asumpe of l ore ipsum nosp tre con sutra e trata strata nue sit for trabe olarsoti tro. Lore um i ps um dolar i psum pilitatinc. L oreum i psum at dol con sutr. L oreum i psum at itrinca onsume strata te asumpet of lore i opsu.

CURTISS A-2

Production Methods

Macro Artifact Panel

Type B primary panel, see page 5 for production method details.

Notes:

2 sided pylon.

Refer to Construction Package drawings for specific pylon construction details.

Macro Artifact graphic panel consists of a title, body text, and a table and drawings containing details of the artifact.

COLOR: PMS 123C

NMMC STYLE GUIDE GALLERY TYPICALS 41

Macro Artifact Panel Design

Strata teasumpe of lore nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum.

inconsume strata teasumpe of lore nosp ipsum

CURTISS A-2

CURTISS A-2

Title FONT: Impact 93 pt.

COLOR: PMS Black C MAXIMUM: 30 characters

Body Text

FONT:

Berthold Baskerville Reg 40 pt

COLOR:

PMS Black C

MAXIMUM:

90 words (500 characters).

Table Title

FONT:

Impact 34pt

COLOR:

PMS 124C

MAXIMUM:

5 words ( 28 characters).

BACKGROUND

COLOR: PMS

Black C

Table

FONT:

Impact 30pt

COLOR:

PMS Black C

MAXIMUM:

40 words (180 characters).

BACKGROUND-

COLOR: PMS

7537C

Subtitle

FONT:

Berthold Baskerville Med 40 pt

COLOR:

PMS Black C

MAXIMUM:

20 words or 90 characters

Panel

COLOR: PMS 7539C

Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum Loreum ipsum at inconsume.

Strata teasumpe of lore nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum. Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum

Illustrations can vary per artifact.

Strata teasumpe of lore nosp ipsum

Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum.

inconsume strata teasumpe of lore nosp ipsum nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum.

nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum.

Strata teasumpe of lore nosp ipsum

Strata teasumpe of lore nosp ipsum 100kg

Loreum ipsum at inconsume strata teasumpe of lore 10 ft x 200ft nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum.

inconsume strata teasumpe of lore nosp ipsum nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum.

nosp ipsum Loreum ipsum at inconsume strata teasumpe of lore nosp ipsum.

Displacement: 10000 ft/lbs

NMMC STYLE GUIDE GALLERY TYPICALS 42

Story Rail Panel Construction Notes:

Refer to Design Development Package drawings for specific fabrication details.

See page 15 for complete definition of Macro Artifact Rail panel.

Story Rail Panels come in various lengths based on number of artifacts depicted and number of photos and/or illustrations.

The common height is 14 inches.

The basic design commonly contains a combination of title and body text, actual photos and/or painting or sketch reproductions, detailed illustration of artifact represented, and a table detailing artifact statistics.

Production Method

Story Rail Panel:

Type E graphic panel, see page 7 for production method details.

14”

5”

1/2” top & bottom borders

13.5” 1”

2” 14” 20”

Overall Length varies

NMMC STYLE GUIDE GALLERY TYPICALS 43

Story Rail Panel Design

Title FONT: Gill Sans Extra Bold 64 pt

FONT COLOR: PMS 124C

SHADOW FONT: Gill Sans Extra Bold 64 pt SHADOW FONT COLOR: PMS Black C MAXIMUM: 30 characters

Caption FONT: Berthold Baskerville Reg 24 pt FONT COLOR: PMS Black C MAXIMUM: 224 characters (35 words)

Background Color

COLOR: PMS 7539 C

Body FONT: Berthold Baskerville Reg 36 pt FONT COLOR: PMS Black C JUSTIFICATION: Left LEADING: Auto KERNING: Auto MAXIMUM: 480 characters (75 words)

Table TITLE FONT: Impact 34 pt (All Caps) TITLE FONT JUSTIFICATION: Centered

TITLE FONT COLOR: PMS 124C

TITLE BLOCK BACKGROUND COLOR: PMS BLK C

BODY FONT: Helvetica Med Cond 20 pt BODY FONT COLOR: PMS Black C BODY FONT JUSTIFICATION: Left

BODY FONT BACKGROUND COLOR: PMS 7537 C

3 PANEL RAIL

2 PANEL RAIL

IMAGE SIZE:

4.5” h X 7” w

NMMC STYLE GUIDE GALLERY TYPICALS 44

Marine Life Logo Design

Production Methods

Marine Life Logo

Type F graphic panel, see page 7 for production method details.

Notes:

Refer to Design Development Package drawings for specific design details. Marine life logo along with text, can be either a screen print or Type B printed on MDF or wall covering.

Logo

COLOR: PMS 187C

21”

NMMC STYLE GUIDE GALLERY TYPICALS 45

Marine Life Panel Construction/ Design

Body Text FONT: Berthold Baskerville Reg 48pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM TEXT: 134 words LEADING: Auto

Subhead FONT: Berthold Baskerville Med 48 pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM TEXT: 34 words LEADING: Auto

Title FONT: Gill Sans Extra Bold 125pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM TEXT: 14 words LEADING: Auto

Marine Life Screen Print SIZE: 21” w

COLOR: PMS 187C

JUSTIFICATION: Centered above title

Subhead Quote FONT: Berthold Baskerville Italic 33pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM TEXT: 14 words LEADING: Auto

Production Methods

Marine Life Panel

Notes:

Refer to Design Development Package drawings for specific design details. Marine life Panel can be either a screen print or a Type B graphic, printed on MDF or wall covering.

“I WAS AN OGRE ON THE DRILL FIELD and in the huts of Montford. . . but I was fair.”

“Hashmark” Johnson became the first black drill instructor for the Montford Point Marines. Like drill instructors at Parris Island or San Diego, his fierce demeanor scared his recruits, but he also gave them the motivation needed to become combat Marines.

Drill instructors everywhere conducted “Junk on the Bunk” inspections to instill greater discipline into their recruits. In a stressful procedure familiar to all Marines, the recruits struggled to display their clothing and equipment_cleaned, labeled, serviceable_in exact compliance with

JUNK ON

THE BUNK

24” 11/2”

32”

Drop Cap FONT: Gill Sans Bold 100pt COLOR: PMS Black C JUSTIFICATION: Left MAXIMUM TEXT: 1 character

LEADING: 60

NMMC STYLE GUIDE GALLERY TYPICALS 46

Production Methods

Macro Artifact Flag Panel

Type B primary panel, see page 5 for production method details.

Notes:

Refer to Design Development Package drawings for specific design details.

Wake Island Flag This U.S. flag flew during the last days of the defense of Wake Island. With the surrender of American forces, it was captured by Lieutenant Commander Taro Fukatso of the Imperial Japanese Navy. Upon his return to Japan in the spring of 1943, he gave the flag to his mother.

Fukatso was killed on 25 October 1944, during the battle of Leyte Gulf. The flag was returned to the Marine Corps in 1956.

1” 3/4”1”

12”

8”

1 1/2”

Title FONT: Berthold Baskerville Bold 34pt

COLOR: PMS 124C

JUSTIFICATION: Left

Body Text FONT: Berthold Baskerville Med 28pt COLOR: Process White JUSTIFICATION: Left MAXIMUM TEXT: 90 words LEADING: Auto

Arrow FONT: Berthold Baskerville Med 28pt

COLOR: PMS 124C

DIMENSIONS: 1” w x 8” h

Background Color

COLOR: PMS 2758C

Macro Artifact Flag Panel Design

NMMC STYLE GUIDE GALLERY TYPICALS 47

“We, the Marines” Panel Construction

Production Methods

We, the Marines Panel:

Type B graphic panel, see page 5 for production method details.

Type 2 EGA design, see page 17 for design style.

Notes:

Refer to Design Development Pack-age drawings for specific fabrication details.

See page 15 for complete definition of We, the Marines graphic panel.TOTAL STRENGTH

Loreum ipsums at inconsume strata te asumpe cofta lore ipsum nosp tre con sutrae trata dolar nuestro it conatgu so dolar ipsum amet asumpte. Loreum to ipsums at inconsume strata tre asumpe coftea lorems ipsum nosp tre con sutrae trata dolar nuestro ittog conatgu so dolar ipsum amet asumpte.

Loreum ipsums at inconsume strata te asumpe cofta lore ipsum nosp tre con sutrae trata dolar nuestro it conatgu so dolar ipsum amet asumpte. Loreum to ipsums at inconsume strata tre asumpe coftea lorems ipsum nosp tre con sutrae trata dolar nuestro ittog conatgu so dolar ipsum amet asumpte.

GLOBAL DEPLOYMENTS

WE, THE MARINES

1866–1914

54”

96”

231/2” 301/2”

18”

41/2”

29”

121/2”

51/2”

31”

151/4”

NMMC STYLE GUIDE GALLERY TYPICALS 48

“We, the Marines” Panel Design

TOTAL STRENGTH

Loreum ipsums at inconsume strata te asumpe cofta lore ipsum nosp tre con sutrae trata dolar nuestro it conatgu so dolar ipsum amet asumpte. Loreum to ipsums at inconsume strata tre asumpe coftea lorems ipsum nosp tre con sutrae trata dolar nuestro ittog conatgu so dolar ipsum amet asumpte.

Loreum ipsums at inconsume strata te asumpe cofta lore ipsum nosp tre con sutrae trata dolar nuestro it conatgu so dolar ipsum amet asumpte. Loreum to ipsums at inconsume strata tre asumpe coftea lorems ipsum nosp tre con sutrae trata dolar nuestro ittog conatgu so dolar ipsum amet asumpte.

GLOBAL DEPLOYMENTS

WE, THE MARINES

1866–1914

Subtitle FONT: Gill Sans Bold 50pt (All Caps)

COLOR: PMS 124

JUSTIFICATION: Left MAXIMUM: 30 characters

Body Text (per paragraph) FONT: Berthold Baskerville Reg 50 pt COLOR: Process White JUSTIFICATION: Left MAXIMUM: 50 words, or 320 characters

Blue background

COLOR: PMS 2758C

Title FONT: Impact 220pt

COLOR: PMS 124C

JUSTIFICATION: Centered MAXIMUM: 15 characters LEADING: Auto

TRACKING: 0

Dates FONT: Impact 132pt COLOR: Process White JUSTIFICATION: Centered MAXIMUM: 8 characters

EGA

SIZE: 4” h x 4” h see page 17 for speci�cations

Blood Stripe

COLOR: PMS 187C

NMMC STYLE GUIDE MISCELLANEOUS SIGNS 49

MISCELLANEOUS SIGNS

NMMC STYLE GUIDE MISCELLANEOUS SIGNS 50

MISCELLANEOUS SIGNS

NMMC STYLE GUIDE INDEX 51

INDEX

A

A Graphic, see Type A graphic, page 6

Area Panel Description 14 Construction 23 Design 24

Area Overhead Sign Description 14 Construction 25 Design 26

Artifact Case Labels

Vertical Label Layout Description 15 Design 35-36

Horizontal Label Layout Description 15 Design 37-38

Artifact Number Construction 39

B

B Graphic see Type B graphic, page 6

C

C Graphic see Type C graphic, page 6

D

D Graphic see Type D graphic, page 7

E

E Graphic see Type E graphic, page 7

EGA See Eagle, Globe and Anchor

Eagle, Globe and Anchor:

The official emblem and symbol of the United States Marine Corps.

F F Graphic see Type F graphic, page 7

G

G Graphic see Type G graphic, page 7

NMMC STYLE GUIDE INDEX 52

Gallery Title Panel Description 14 Construction 19 Design 20

Gallery Summary Panel Description 14 Construction 21 Design 22

H H Graphic see Type H graphic, page 7

I I Graphic see Type I graphic, page 7

Individual Marine Panel Description 15 Construction 33 Design 34

J

K

L

M Macro Artifact Panel Description 15 Construction 40 Design 41

Marine Life Logo Design 44

Marine Life Panel Description 15 Construction 45 Design 45

Macro Artifact Flag Panel Description 15 Construction 46 Design 46

N

O

P

Photo Panel Description 14 Construction 31 Design 32

Primary Panel Description 14 Construction 28 Design 29

NMMC STYLE GUIDE INDEX 53

S Secondary Panel Description 15 Design 30

Story Rail Panel Description 15 Construction 42 Design 43

T Type A Graphic Description 6

Type B Graphic Description 6

Type C Graphic Description 6

Type D Graphic Description 7

Type E Graphic Description 7

Type F Graphic Description 7

Type G Graphic Description 7

Type H Graphic Description 7

Type I Graphic Description 7

V

W

Wall Quote Description 15 Design 27

“We, the Marines” Panel Description 16 Construction 47 Design 48

X

Y

Z

NMMC STYLE GUIDE GLOSSARY 54

GLOSSARY

A B

Blood Stripe:

Refers to a scarlet stripe worn down the outside leg seams of trousers on the dress uniform of the United States Marine Corps.

C

CNC:

A CNCwood router is a numerical control tool that creates objects from wood. Parts of a project can be designed in the computer with a CAD/CAM pro-gram, and then cut automatically using a router to produce a finished part.

The CNC router works like a printer. Work is com-posed on a computer and…

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