Attachment-H_Graphic_Communication.pdf

Jefferson National Expansion Memorial

Museum of Westward Expansion St. Louis, Missouri

Museum Interpretive Exhibit Fabrication Contract

Graphic Communication

JEFF 199869B Museum Exhibits

Graphic Communication

Table of Contents

3-24

25-

Basic Principles

Area 1: Heading West

Area 2: The Hubs

Area 3: Colonial St. Louis

Area 4: Jefferson’s Vision

Area 5: Manifest Destiny

Area 6: Riverfront Era

Area 7: New Frontiers

Area 8: Building the Arch

Area 9: Tram Lobby

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Graphic Layout List 1 -1

BASIC

PRINCIPLES

9489 MWE Graphic Communication Page 3 of 152

Basic Principles | Messaging Levels

Museum of Westward Expansion 9489 MWE Graphic Communication

Messaging Levels

There are four basic levels of messaging in the MWE:

Level 0 = Area titling Level 1 = Theme titles/statements Level 2 = Theme body copy Level 3 = Sub themes/ captioning

An example is shown below (not to scale).

Level 0: Level 1: Level 2: Level 3:

Jefferson Believed America Must Span the Continent to be Great

At the time of Jefferson’s Presidency, the United States had much to fear from three other powers in North America: Great Britain, France and Spain.

The Mississippi River was not only a natural highway but also a barrier to westward expansion.

Feeling that his European rivals meant to close off that barrier, Jefferson negotiated for and purchased the Louisiana Territory.

Jefferson saw the West as a renewed land of opportunity for Americans, where native people lived in a less corrupted state and where the new ideals of the young United States could truly be put into practice. He envisioned that the western lands could be settled slowly, moving from east to west, displacing but later embracing native people as the tide of settlement moved westward.

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What were they

LOOKING for?

Level 0 Typeface: Variable depending on Area Size: Aesthetically scaled to suit Word count: 4 max

Level 1 Typeface: Variable depending on Area Size: Aesthetically scaled to suit Word count: 20 max

Level 2 Typeface: Felbridge Reg (ExtraBold for headline) Size: 55pt/67pt Word count: 150 max

Level 3 Typeface: Felbridge Reg (bold for titles) Size: 25pt/30pt (26pt/30pt for titles) Word count: 50 max for caption 100 max for sub theme

Basic Principles | Messaging Level 0 and Level 1

Messaging Level 0 and Level 1

Level 0 and Level 1 messaging is more flexible in terms of specific type sizing depending on their location and application.

Each main exhibit Area has its own specific Level 0 and Level 1 typeface(s) which are listed later on in this document.

Level 0 Typeface: Variable depending on Area Size: Aesthetically scaled to suit Word count: 4 max

Level 1 Typeface: Variable depending on Area Size: Aesthetically scaled to suit Word count: 20 max

Basic Principles | Messaging Level 2

Messaging Level 2

The headline of any Level 2 is set in a heavier weight of the typeface Felbridge to appear bolder.

The headline acts the same as a newspaper headline and encapsulates the essence of the story and can be scanned by visitors to entice them to want to read more.

Level 2 (Title) Typeface: Felbridge ExtraBold Size: 55pt/67pt

Level 2 Typeface: Felbridge Reg Size: 55pt/67pt Word count: 150 max

Jefferson Believed America Must Span the Continent to be Great

At the time of Jefferson’s Presidency, the United States had much to fear from three other powers in North America: Great Britain, France and Spain.

The Mississippi River was not only a natural highway but also a barrier to westward expansion. Feeling that his European rivals meant to close off that barrier, Jefferson negotiated for and purchased the Louisiana Territory.

Jefferson saw the West as a renewed land of opportunity for Americans, where native people lived in a less corrupted state and where the new ideals of the young United States could truly be put into practice. He envisioned that the western lands could be settled slowly, moving from east to west, displacing but later embracing native people as the tide of settlement moved westward.

Basic Principles | Messaging Level 3

Messaging Level 3

Level 3 messaging can be configured to suit different messages and fit various sizes of plinths, lecterns and display cases.

The examples shown opposite are black and white but in each main exhibit Area the Level 3’s will be colored to suit their surroundings.

Level 3’s can also be stacked vertically where horizontal space is restrictive.

What was it like to live in a tipi?

Tipis were adaptable to all kinds of weather.

In the summer, the edges of the tipi could be lifted and tied to the poles to allow free circulation of air. Tipis stayed at a comfortable 50oF, even during the coldest winter days. This was every bit as warm as a frontier log cabin or sod house. Life and entertaining took place centred around the fire, with storytelling, music, and lively conversation during the evening.

[Caption] Ipsum dolor sit amet consecte tuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut.

[Caption] Ipsum dolor sit amet consecte tuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut.

[Caption] Ipsum dolor sit amet, cons ectetuer adicing elit sed diam non ummy nibh euismod tincidunt ut.

[Caption] Ipsum dolor sit amet, cons ectetuer adicing elit sed diam non ummy nibh euismod tincidunt ut.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

Common creole items

What was common to early residents of St. Louis, may seem strange to us today.

Women who were mistresses of households wore chatelaines, fancy light chains that held the keys to the house, scissors, and other necessary items. These chains were like a badge of rank, signifying that a woman had power and property in the community.

Men enjoyed betting on horse races and playing carom billiards (there were three billiard parlors in early St. Louis). Music was an important aspect of community life for all. St. Louisans also valued their large personal libraries.

Creole House Model by Fred B. Zimmerman, 1939-1940

Many St. Louisans lived in two-room houses like this one. This model shows a middling-sized house and is based on one of the best-preserved Creole houses, the Bequet-Ribault House in Ste. Genevieve, Missouri.

You can learn more about building creole houses inside the replica house behind you.

7" x 7" (Type 1)

Image/tactile

Image/tactile

18" x 12" (Type 2) 18" x 12" (Type 3)

27" x 12" (Type 4) Case dependant narrative x 12" (Type 5)

36" x 12" (Type 6)

Case dependant captions x 12" (Type 7)

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

Case dependant narrative x 12" (Type 8)

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

26 pt title goes here26 pt title goes here

100 words at 25pt dosit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea com modo consequat duis autem vel eum iriure dolor in hendrerit in vulp utate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio.

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.Epsum factorial non deposit quid pro quo hic escorol. Olypian quarrels et gorilla congolium sic ad nauseum.

1 4

Object caption title here

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Courtesy of A.N. Name

Object caption title here

Lorem etem dolor sit amet consect etuer ad ipiscing elit, sed diam non ummy nibh euis mod tincidunt ut laoreet dolore magna aliquam erat.

Courtesy of A.N. Name

Object caption title here

Object caption title here

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Ut wisi enim ad minim veniam quis nostrud exerci tation ullamc orper suspit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit.

Courtesy of A.N. Name

Object caption title here

Lorem etem dolor sit amet consect etuer ad ipiscing elit, sed diam non ummy nibh euis mod tincidunt ut laoreet dolore magna aliquam erat.

Courtesy of A.N. Name

Object caption title here

On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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Beaudoin archeology site

The last French colonial house in St. Louis was torn down in 1875. Since that time, historians believed that all physical evidence of that period had been erased. In 2014, archaeologists with the Missouri Department of Transportation discovered the remains of three French colonial houses, long buried underground just south of the Arch.

The fragments of imported faience plates, a British musket flint, and a lead bale seal displayed here once belonged to small-time fur trader Louis Beaudoin. His house was 15 x 18 feet, about the same size as the replica house behind you.

Creole House Model by Fred B. Zimmerman, 1939-1940

Many St. Louisans lived in two-room houses like this one. This model shows a middling-sized house and is based on one of the best-preserved Creole houses, the Bequet-Ribault House in Ste. Genevieve, Missouri.

You can learn more about building creole houses inside the replica house behind you.

Level 3 Title Typeface: Felbridge bold Dates = Felbridge Reg Size: 26pt/30pt Word count: 10 Max

Level 3 Body text Typeface: Felbridge Reg Size: 25pt/30pt Word count: 50 max for caption 100 max for sub theme

7" x 7"

Messaging Level 3 (Enlarged)

Creole House Model by Fred B. Zimmerman, 1939-1940

Many St. Louisans lived in two-room houses like this one. This model shows a middling-sized house and is based on one of the best-preserved Creole houses, the Bequet-Ribault House in Ste. Genevieve, Missouri.

You can learn more about building creole houses inside the replica house behind you.

Actual Size

The example shown is black and white but in each main exhibit Area the Level 3’s will be colored to suit their surroundings.

Messaging Level 3 (Enlarged)

What was it like to live in a tipi?

Tipis were adaptable to all kinds of weather.

In the summer, the edges of the tipi could be lifted and tied to the poles to allow free circulation of air. Tipis stayed at a comfortable 50oF, even during the coldest winter days. This was every bit as warm as a frontier log cabin or sod house. Life and entertaining took place around the fire, with storytelling, music, and lively conversation during the evening.

[Caption] Ipsum dolor sit amet consecte tuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut.

The example shown is black and white but in each main exhibit Area the Level 3’s will be colored to suit their surroundings.

Not to scale

Messaging Level 3 (Enlarged) [Caption] Ipsum dolor sit amet, cons ectetuer adicing elit sed diam non ummy nibh euismod tincidunt ut.

Common creole items

What was common to early residents of St. Louis, may seem strange to us today.

Women who were mistresses of households wore chatelaines, fancy light chains that held the keys to the house, scissors, and other necessary items. These chains were like a badge of rank, signifying that a woman had power and property in the community.

Men enjoyed betting on horse races and playing carom billiards (there were three billiard parlors in early St. Louis). Music was an important aspect of community life for all. St. Louisans also valued their large personal libraries.

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

Object caption title here

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Beaudoin archeology site

The last French colonial house in St. Louis was torn down in 1875. Since that time, historians believed that all physical evidence of that period had been erased. In 2014, archaeologists with the Missouri Department of Transportation discovered the remains of three French colonial houses, long buried underground just south of the Arch.

The fragments of imported faience plates, a British musket flint, and a lead bale seal displayed here once belonged to small-time fur trader Louis Beaudoin. His house was 15 x 18 feet, about the same size as the replica house behind you.

Common creole items

What was common to early residents of St. Louis, may seem strange to us today.

Women who were mistresses of households wore chatelaines, fancy light chains that held the keys to the house, scissors, and other necessary items. These chains were like a badge of rank, signifying that a woman had power and property in the community.

Men enjoyed betting on horse races and playing carom billiards (there were three billiard parlors in early St. Louis). Music was an important aspect of community life for all. St. Louisans also valued their large personal libraries.

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

Object caption title here

On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

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On loan from Fred Fausz

[Caption] Ipsum dolor sit amet, cons ectetuer adicing elit sed diam non ummy nibh euismod tincidunt ut.

Object caption title here

Object caption title here

Object caption title here

Object caption title here

Object caption title here

Beaudoin archeology site

The last French colonial house in St. Louis was torn down in 1875. Since that time, historians believed that all physical evidence of that period had been erased. In 2014, archaeologists with the Missouri Department of Transportation discovered the remains of three French colonial houses, long buried underground just south of the Arch.

The fragments of imported faience plates, a British musket flint, and a lead bale seal displayed here once belonged to small-time fur trader Louis Beaudoin. His house was 15 x 18 feet, about the same size as the replica house behind you.

The examples shown are black and white but in each main exhibit Area the Level 3’s will be colored to suit their surroundings.

Not to scale

Basic Principles | Graphics Datums

Graphics Datums

This diagram illustrates the main datum lines that run through each of the main Areas. Some Areas will have plinths and others will have bulkheads (or both), following the rules shown below any of these combinations can be accommodated. Level 0 and Level 1 messaging should be positioned no higher than the red line and no lower than the blue line. Level 1a messaging (which only appears on separate graphic panels, not the walls) should be placed no lower than the green line. Lastly, Level 2 messaging should always appear within the pink colored reading band.

Recommended font sizes are based on positioning.

Larger, higher titles attract visitors from afar. Smaller body copy is more comfortable to read at a closer distance.

Kicker 6’’

Wall 15’

Plinth 31’’ Plinth 31’’

Bulkhead 6’ Bulkhead 7 1/2’

Graphic Panel 4’ 8” x 9’

Level 2 on graphic panel:

27”

Level 2 on graphic panel:

[Above] Lorem ipsum dolor sit amet, consect etuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad.

[Left] Lorem ipsum dolor sit amet, consect etuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad.

[Above] Lorem ipsum dolor sit amet, consect etuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad.

[Left] Lorem ipsum dolor sit amet, consect etuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad.

Level 2 ipsum dolor sit amet

Consectetuer adip iscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullam corper suscipit lobo rtis nisl ut aliquip ex ea commodo cons equat.

Duis autem vel eum iriure dolor in hendrerit in.

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Level 2 ipsum dolor sit amet

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Level 2 direct to wall:

Image

Image

Image Image

Image

Image

Level 2 direct to wall:

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Lorem ipsum Dolor amet adispcing

THOMAS JEFFERSON

I prefer dangerous over F R E E D O M slavery ” P E A C E F U L

Level 1:

Level 1:

New

F R O N T I E R S Level 0:

Level 0:

3´

1´

2´

4´

5´

7´

8´

FL

6´

9´

12´

15´

Level 1A:

Level 2 Band

LEVEL 1 As no lower than this line

WALL LEVEL 1s no lower than this line

LEVEL 0 + 1

no higher than this line

Basic Principles | AV Datums

AV Datums

This diagram illustrates the positioning of the large 16:10 AV screens in the museum. Space for on-screen open captioning should be the same throughout all Areas.

The typeface Felbridge should also be used for any captioning for consistency.

Kicker 6’’

Wall 15’

3´

1´

2´

4´

5´

7´

8´

FL

6´

9´

12´

15´

16:10 aspect ratio

Space for on-screen open captioning

42”

14”

39”

60” Level 2 Band

No higher than 12’

Basic Principles | Typography

Typography

To give each main exhibit Area its own unique identity and feel a different typeface has been selected for Level 0 and Level 1 interpretation.

Level 1’s are more flexible in terms of specific type sizing depending on their location and application.

Each Area’s specific typefaces are listed later on in this document.

Basic Principles | Typography

Typography

A standardized typeface is used for all Level 2 and Level 3 interpretive text throughout the museum to provide a level of consistency and familiarity.

The typeface that has been used for this purpose is ‘Felbridge Std’, a modern san-serif typeface with easily distinguishable characters and forms.

Futura is being used for wayfinding throughout the visitor center.

Spaces outside of the main exhibit Areas such as the Hubs, Donor Panels and the Dream Wall can use the typeface Futura for any Level 0/1 messaging.

For level 2 messaging, use the typeface Felbridge as listed above.

Felbridge Std

Roman Italic Bold Bold Italic Extra Bold abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

01234567890!?@$%&*()<>

FUTURA

Book Medium abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

01234567890!?@$%&*()<>

Basic Principles | Shared Colors

Shared Colors

428 C P

447 C P

C ool G ray 1 C P

C ool G ray 3 C P

C ool G ray 5 C P

C ool G ray 6 C P

165 C P

W hiteShared colors appear throughout the museum in the places outside of the main Areas such as the Mezzanine Map, the Hubs, Donor Panels and the Dream Wall.

Colors from this palette can be used in the main exhibit Areas but only as accents, not the predominant color.

All of the colors shown are specified using the Pantone® ColorBridge® CMYK matching system.

Basic Principles | Exhibit Area Colors

Exhibit Area Colors

There are 6 main Exhibit Areas in the museum, each of which are listed here.

All of the colors shown are specified using the Pantone® ColorBridge® CMYK matching system.

179 C P

181 C P

7685 C P

7534 C P

356 C P

136 C P

540 C P

Basic Principles | Map Styling

Map Styling

Any map throughout the museum will use the design from the main Mezzanine floor map as a basis.

Maps can adopt the same color palette as the Area in which they appear.

The typeface Felbridge is used for all map labeling to create a consistent map language across all areas of the museum.

The introduction of any other typeface for basic map labelling is to be avoided.

Mezzanine floor map:

Basic Principles | Tactile Maps

Tactile Maps

Tactile maps will appear throughout the Museum to complement all map-based AV presentations and IT interactives.

In most cases a series of tactile maps will appear side-by-side demonstrating changes over a period of time.

The base map is based on the Mezzanine floor map for consistency.

Refer to the Custom Elements package for more details.

Tactile symbols and Braille can be used by visitors with sight impairment

Magenta and Yellow areas denote tactile/ Braille elements and will not be printed in these colors

Body copy is set at Level 3 specifications

Example of a tactile map

Basic Principles | Dimensional Graphics

Dimensional Graphics

Throughout the museum there will be dimensional graphics aimed at people who are blind or have low vision to allow them to feel the relief of certain objects on display.

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Ipsum lorem et

Et lorem dolor

Adipicing quitant lorem

Dolor amet sum

Lorem ipsum lewis and clark trail mormon trail oregon trail california trail usa modern day borders

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PLEASE TOUCH

Refer to Custom Elements and Graphic Layouts list for sizes and locations

GL446

GL516

Basic Principles | Donor Recognition

Donor Recognition

Donor recognition wall:Donor tiers:

For Reference Only Wayfinding and signage across the museum will be supplied as a separate document.

The final location of the Donor Panels have yet to be decided, however, the system designed can be applied to any shaped wall using the flexible triangular grid.

Basic Principles | Iconography

Iconography

For Reference Only Wayfinding and signage across the museum will be supplied as a separate document.

Icons for the Museum, the Old Courthouse and other local places of interest have been developed for use on things such as wayfinding & signage.

Icons will be used (with or without key numbers) for a variety of applications to be developed in the future, such as an app, or sign language tour, or with an area map with other related sites visitors can travel to and extend their stay in St.

Louis. They allow for future flexibility to add to the visitor experience to encourage repeat visitors without having to commit to the types of activities on offer at this time.

MUSEUM

OF WEST WARD

EXPANSION

THE

OLD

COURTHOUSE

JEFFERSON

BARR ACKS

MUSEUM

OF WEST WARD

EXPANSION

THE

OLD

COURTHOUSE

JEFFERSON

BARR ACKS

MUSEUM

OF WEST WARD

EXPANSION

THE

OLD

COURTHOUSE

JEFFERSON

BARR ACKS

MUSEUM

OF WEST WARD

EXPANSION

THE

OLD

COURTHOUSE

JEFFERSON

BARR ACKS

Curiosity or Strategy

What do you think?

#jeffersonsvision

Lorem or Ipsum

What do you think?

#colonialstlouis

Lorem or Ipsum

What do you think?

#riverfrontera

Lorem or Ipsum

What do you think?

#newfrontiers

Lorem or Ipsum

What do you think?

#buildingthearch

Lorem or Ipsum

What do you think?

#manifestdestiny

New

F R O N T I E R S B U I L D I N G

T H E A R C H

Basic Principles | Main Exhibit Areas

Museum of Westward Expansion 9489 MWE Graphic Communication

Main Exhibit Areas & Date Markers

Following all the basic principles, the 6 Main Exhibit Areas combine color, typography and imagery to create their own unique feel while remaining part of the same family. Each Main Exhibit Area is covered in more detail later in this document.

Area 3 Colonial St.Louis

Area 4 Jefferson’s Vision

Area 5 Manifest Destiny

Area 6 Riverfront Era

Area 7 New Frontiers

Area 8 Building the Arch

Please note: The graphics shown above are purely representative of each area and do not appear within the museum as actual graphic panels (with the exception of Jefferson’s Vision).

Date Markers Throughout the Museum there are dimensional date markers mounted to the structural column, these will allow visitors to see which time period they are in.

On plan:

GL339A+B

GL445A+B

GL560A+B

GL673A+B

GL749A+B

GL833A+B

Basic Principles | Soundscape Description Panels

Soundscape Description Panels

Located on columns throughout the museum, these panels will describe the soundscapes for people with impaired hearing.

On plan:

3´

1´

2´

4´

5´

7´

8´

FL

6´

9´

12´

15´

Soundscape Description Panel

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Ut wisi enim ad minim veniam quis nostrud exerci tation ullamc orper suspit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit.

THE SOUNDS OF

COLONIAL ST.LOUIS

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GL343

GL453

GL565

GL674

GL754

GL835

Basic Principles | Cameo Panels

Cameo Panels

In each of the Main Exhibit Areas there will be four Cameo Panels placed at various locations. These small free-standing panels will highlight a specific person who represents a group traditionally neglected from history books. Quotes of first person accounts will be used wherever possible. Cameo Panels are styled to suit their surroundings by using color and typography taken from the Main Exhibit Area in which they are located. Plant on image panel

28/34pt text in Felbridge typeface

45/55pt text in Felbridge typeface

Colonial St.Louis

Jefferson’s Vision

Manifest Destiny

Riverfront Era

New Frontiers

Building the Arch

An Osage woman traveled to Europe, and was put on display

In 1830 in Washington, D.C., the painter's eyes studied the Osage woman Mohongo as he worked. He had painted portraits of other American Indians in this studio, trying to capture these vanishing cultures.

Her journey here had been long and strange.

Mohongo and five other Osages sailed to Europe in 1827 with Frenchman David Delaunay, unaware of his plans to display them as a "Wild West Show."

He took them to the opera, where curious Europeans paid and pressed to see them. In France, they danced for the king.

When European crowds lost interest in the Osages, Delaunay left them. The Osages were on their own for months until a newspaper story moved some wealthy Frenchmen to pay for their journey home.

On the way, Mohongo's husband died of smallpox.

Mohongo

Age: 21

“We looked back and saw our old watch dog howling on the distant shore.”

– Harriet Scott Palmer on the Oregon Trail in 1852

“On and on we journeyed -- averaging 15 miles a day over cactus, sagebrush, hot sand. Everybody's shoes gave out and we bartered with Indians for moccasins, but that didn't help much about the prickly pears.”

Harriet’s sickly mother and two babies rode in the wagon, along with bare necessities for the journey. They had sold or left behind most of their belongings: china plates, books—even the family dog.

Harriet’s mother and younger brother both fell ill and died on the trail. At the end of the journey, the party was exhausted, and could not hold back their emotions.

“When we came to Fort Walla Walla, we saw a crowing rooster on a rail fence. Oh how we cried. There we stood, a travel-worn, weary, heart and homesick group, crying over a rooster crowing.”

“The long line of covered wagons [had been] so clean and white, but oh so battered, torn and dirty afterward.”

Harriet Scott

Palmer

Age: 11

In St. Louis, a black minister helped enslaved people buy their freedom

Starting in the 1830s, John Berry Meachum, a free black man in St. Louis, used his own money to buy slaves.

He asked each one to work for wages to repay him and buy their freedom. A skilled woodworker, John taught and hired many of them to make barrels in his barrel factory.

John had bought his freedom doing paid work in a Kentucky mine, and he followed his enslaved wife and children to Missouri to buy theirs. John and his wife Mary were a notable free black couple in St. Louis— John owned his own business and had founded the First African Baptist Church.

In that church basement, John set up a school for enslaved people where they could learn to read and write. When Missouri passed a law in 1847 forbidding schooling for all black people, enslaved or free, the school was shut down.

John Berry &

Mary Meachum

A Missouri writer told classic stories of pioneer life

In the fall of 1937, Laura Ingalls Wilder and her husband, Almanzo, drove from Mansfield, Missouri, to Detroit in their Chrysler sedan. Laura was to speak at a book fair, and her readers wanted to hear her.

She had written her speech on lined paper tablets, the way she had drafted four children's books inspired by her life as a pioneer girl. Rose, her daughter, had helped Laura edit the stories to sell.

"Children today could not have a childhood like mine," Laura told her listeners. "I had seen the whole frontier, the woods, the Indian country of the great plains, the frontier towns, the building of railroads in wild, unsettled country," as homesteaders took over what had been Indian lands.

Readers’ letters kept asking: What happens next?

Laura planned four more Little House books to tell her story about the West. Her memories were shaping how the next generation would think of it, too.

Laura Ingalls

Wilder

Age: 70

“We want to work, and… work’s available…in high iron.”

For foreman Don White, the morning commute was straight up. He and the Gateway Arch’s derrick crew started each day climbing hundreds of feet up ladders on the South Leg. Each time they finished fitting another section, their commute got that much longer.

White didn’t mind the work, but the distance between St. Louis and his wife and 11-year-old son in Buffalo wore on him. White, a Seneca and a Navy vet, was the sole member of New York’s Six Nations tribes working steel on the Arch. About 2,000 others were building skyscrapers and bridges back East.

Some people said Senecas were drawn to jobs on steel beams in the sky out of some natural sense of balance.

White saw it differently. “I think it’s because we want to work, and the work’s available to us in high iron.

There’s an adventure in it and every job’s a challenge.

Most of us like that, too,” he said.

Don White

Age: 46

Mother and son traveled east to St. Louis – more than 40 years apart

Had she ever expected to see him again? Maria Rosa Villalpando’s son, José Juliano Jaquez, had found her—his birth mother. Some said he made the uncommon, difficult journey east to St. Louis for an inheritance. Villalpando lived in a comfortable home on what are now the Gateway Arch grounds. News of her wealth was known far beyond the city limits.

Back in 1760, Comanches had captured Villalpando in an attack on her family’s Taos cattle ranch.

They murdered her husband, but baby José Juliano was rescued. For 10 years, Villalpando lived as a captive—first of the Comanches, then the Pawnees—until wealthy trader Jean Lajoie came to her rescue. They married in the St. Louis Chapel, and had four children. But Lajoie, a city founder, abandoned them and moved back to France.

As was her custom, Villalpando managed well, despite the hardships. In 1802, her eldest son traveled across the plains from New Mexico to see her.

Maria Rosa

Villalpando

Age: 64

GL335

GL336

GL337

GL338

GL440

GL441

GL442

GL443

GL532

GL533

GL534

GL535

GL628

GL629

GL630

GL631

GL738

GL739

GL740

GL741

GL826

GL827

GL828

GL829

A

B

A

B

A

B

A

B

A

B

A

B

3´

1´

2´

4´

5´

FL

6´

Area 1

HEADING

WEST

9489 MWE Graphic Communication Page 25 of 152

Area 1 | Heading West

On plan:

Introductory Graphic panel

To the Arch

You

Colonial St. Louis

What was here?

St. Louis began as a wealthy trading village rooted in French culture and governed by the Spanish, until the Louisiana Purchase transferred the territory to America.

Jefferson’s Vision

What was out there?

President Thomas Jefferson sought to expand America westward, and sent expeditions to look for potential allies, advantages and resources for the young nation.

Manifest Destiny

How did the West change?

As thousands of pioneers in covered wagons started to new lives in the West, the lives of American Indians and Mexicans already living there were forever changed.

Riverfront Era

Who came here, and why?

St. Louis became one of America's busiest ports and trade centers in the mid-1800s, creating opportunies for entrepreneurs, emigrants, and immigrants.

Building the Arch

Why is the Arch here?

St. Louisans spent years dreaming, planning, and working together to build a great American monument commemorating our nation’s push west.

New Frontiers

Where is ‘the West’?

The idea of the West has always had an alluring draw, from Lewis and Clark, to Davey Crockett, Clint Eastwood, and beyond.

Dimensional lettering Graphic wallpaper Orientation map and information

Donor recognition & photo credit panel

ALL IMAGES FPO

(For Position Only)

Orientation map and information (with tactile elements)

Area 1 | Heading West

Introductory Graphic panel (Enlarged)

To the Arch

You

Colonial St. Louis

What was here?

St. Louis began as a wealthy trading village rooted in French culture and governed by the Spanish, until the Louisiana Purchase transferred the territory to America.

Jefferson’s Vision

What was out there?

President Thomas Jefferson sought to expand America westward, and sent expeditions to look for potential allies, advantages and resources for the young nation.

Manifest Destiny

How did the West change?

As thousands of pioneers in covered wagons started to new lives in the West, the lives of American Indians and Mexicans already living there were forever changed.

Riverfront Era

Who came here, and why?

St. Louis became one of America's busiest ports and trade centers in the mid-1800s, creating opportunies for entrepreneurs, emigrants, and immigrants.

Building the Arch

Why is the Arch here?

St. Louisans spent years dreaming, planning, and working together to build a great American monument commemorating our nation’s push west.

New Frontiers

Where is ‘the West’?

The idea of the West has always had an alluring draw, from Lewis and Clark, to Davey Crockett, Clint Eastwood, and beyond.

Walk in the footsteps of the people who shaped St. Louis – and our nation

As the United States grew, pushing across the continent in the 1800s, waves of people migrated west. Thousands came through this very spot:

the St. Louis riverfront.

To honor this momentous history, President Franklin D. Roosevelt named it America’s first National Historic Site. In 1965, the shining Arch rose to mark St. Louis as “Gateway to the West.”

This museum tells the story of St. Louis’ role in the nation’s growth—and how the Arch came to be.

Area 2

THE

HUBS

9489 MWE Graphic Communication Page 28 of 152

Area 2 | The Hubs

On plan:

Sculpture Hubs

(A) Printed outline of USA

(A) Printed body text

(A) Lines radiating out from St.Louis are routed into the substrate

A hole at the center is where sculpture is fixed into place

(C) Dimensional lettering (intro line)

(B) Dimensional lettering (Date)

(D) Dimensional lettering (Title)

Area 3

9489 MWE Graphic Communication Page 30 of 152

Area 3 | Colonial St.Louis

Overview of Graphic Styling

Bodini MT Std Felbridge Std

Reg Italic BoldBook Italic Bold

Level 0 & 1 Typeface(s)

Main color Supporting colors

Level 2 & 3 Typeface(s)

ABCDEFGHIJKLMN

OPQRSTUVWXYZ

abcdefghijklmn opqrstuvwxyz

01234567890!?

ABCDEFGHIJKLMN

OPQRSTUVWXYZ

abcdefghijklmn opqrstuvwxyz

01234567890!?

5507 C P

296 C P

70%

143 C P

288 C P

469 C P

70%

7534 C P

180 C P

N T I CA T L A N

A NO C E

Here is an overview of all of the basic components for Colonial St.Louis including colors and typefaces.

9489 MWE Graphic Communication Page 31 of 152

On plan:

On plan:

Colonial St.Louis

William Clark adm “all the fine girl at a ball give Chouteaus in 1795 before th

Colonial St.Louis

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Mississippian people built a ‘mound city’ here

The landscape around St. Louis looked distinctive for hundreds of years before the French arrived.

The Mississippian people who lived here from 1050-1200 CE built huge mounds. Some mounds were platforms for homes and ceremonial buildings.

Others were places to bury the dead.

On a limestone bluff north of where the Arch stands today, 26 mounds overlooked the river.

They surrounded a complex of plazas—a kind of city center for social gatherings.

Now, most early features are gone

When the French came to build St. Louis in 1764, they cut trees and quarried stone from the bluff.

Over time, St. Louisans destroyed the mounds as the city expanded. In 1869, local workers used dirt from the last remaining mound for the railroad.

Fortunately, the nearby Cahokia Mounds were preserved.

Laclede “found a situation [that] might become hereafter, one of the finest cities in America”

Auguste Chouteau

Dimensional lettering

Graphic wallpaperDisplay case Display case Display case

Graphic wallpaper

Large AV screen

Graphic panel

Suspended canvas prints and ornate frames

See Custom Elements package for more details

AV Screen

Colonial St.Louis (Enlarged)

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Outnumbered defenders win the day

The attack came on May 26. At the first sounds of battle, the local militia—outnumbered two to one—sprinted to the fort and into trenches dug around the town. They laid down musket fire and fired cannons, causing the attackers to flee.

It was the westernmost battle of the American Revolution. The resistance of St. Louisans kept the British from gaining control of the Louisiana Territory.

A hilltop fort helps St. Louis stand strong

During the American Revolution, the British were eager to drive the Spanish from the Mississippi River.

In March 1780, the Spanish governor here learned they planned to attack St. Louis.

To prepare, he convinced townspeople to build a stone tower—Fort San Carlos. They finished just in time.

When the British attacked two months later, cannons fired from the fort helped defenders hold their ground.