Front view of a historic building with white columns and a brick facade, displaying a banner for the American Antiquarian Society.

CASE STUDY | Visual Identity

A black-and-white photo of a large, historic brick building with classical columns and a domed roof, set against bare trees and a clear sky. American Antiquarian Society, Worcester, Massachusetts
Detailed architectural drawing of a historic building, showing a cross-sectional view with multiple floors, staircases, windows, and structural details. The image is labeled "Longitudinal Section" and includes text indicating the main building was co
Black and white photo of students walking in front of a the American Antiquarian Society, Worcester, Massachusetts.
Exterior view of the American Antiques Society building with a green facade and large windows, adjacent to a red brick building with decorative white trim and multiple windows, surrounded by trees and a grassy lawn.
Building with red brick and white accents, displaying banners for the American Antiquarian Society, with a green modern extension on one side, surrounded by green trees and a grassy area, with cars on the street in front.

American Antiquarian Society

Founded in 1812, the American Antiquarian Society is a national treasure. Its unmatched collection of material printed in North America through 1876 is used by scholars from around the world and award-winning writers and filmmakers like Ken Burns, Jill Lepore, David McCullough, Nathaniel Philbrick, Laurel Ulrich and Alan Taylor.

Yet the society realized its public profile was as opaque as the solid brick walls of its library. So, in the midst of a major expansion and renovation of its Worcester complex, the society asked us to develop a visual brand to engage the public. Working through a diligent process with the curatorial staff and leadership, we crafted a new image that evokes relevance and celebrates the historic mission of the society.

Interior view of a grand, historic building with a domed ceiling, large circular skylight, marble columns, and portraits on the walls. American Antiquarian Society, Worcester, Massachusetts

The dome above the reading room inside the American Antiquarian Society.

Every visual branding project begins with a careful analysis of the institution’s existing visual assets. For an organization with a rich history such as AAS, it was essential that the new identity respect and reflect its legacy. Historic materials found throughout the Society’s archives became an invaluable source of inspiration and reference during the design process.

Analysis + Research

Shown here are historic logos, book stamps, and archival marks uncovered during the research phase. These visual elements provided valuable insight into the Society’s evolving identity and served as important references throughout the development of the new brand system.

A white background with a red circular emblem containing white cursive text.
Logo with the words 'AAS' in white letters on individual maroon blocks beneath a maroon dome.
Close-up of a circular stamp with the letters and numbers 'AAS' in the center, on a surface with some discoloration.
An ornate coin featuring a seated figure with wings, holding a staff and pointing, with a building and statue in the background.
Close-up of a handwritten word 'AAS' in red ink on white paper.
Pamphlet or brochure for the American Antiquarian Society on a wooden surface, with part of a dark blue folder visible at the bottom.
Pamphlet or brochure for the American Antiquarian Society on a wooden surface, with part of a dark blue folder visible at the bottom.

Shown here are examples of the existing letterhead, envelopes, and pocket folders, each incorporating archival images.

  1. Children’s Literature

  2. Newspapers & Periodicals

  3. Books and Pamphlets

  4. Graphic Arts

  5. Manuscripts.

Discovery/Who We Are

The Society’s collections are organized into five primary categories:

Visual representations of each category were explored and developed as part of the identity system, helping communicate the breadth and depth of the collection.

An illustration of anthropomorphic animals participating in a parade, including a bear, a giraffe, a crocodile, and a dog, all dressed in vintage clothing and riding in a carriage or walking. People are watching and waving hats in the background.
Historical newspaper page from 1774 titled 'The Massachusetts Spy, or, Thomas Bolton Journal,' featuring decorative illustrations, a snake, a lion, and detailed text about the publication.
Vintage botanical illustration titled 'Gem of the Season,' featuring detailed sketches of birds, plants, and scenic landscapes, with intricate floral patterns and a central eagle emblem.
Historical map illustration showing part of Boston with numerous sailing ships in the harbor, colonial-style buildings, and church steeples. A banner at the top reads, 'A view of part of the town of Boston in New England and British ships of war landing their troops 1768.'
A handwritten journal page titled 'The Savior's Sacrament' with cursive ink writing on aged paper.

The Society expressed a strong interest in using the typeface Trajan, particularly because of the distinctive character of its “Q.” The original single-line treatment had been used consistently across recent materials, but readability and flexibility became challenges across varying formats and applications.

A revised typographic approach was developed to improve legibility and create a more balanced presentation of the name. Increased spacing and refined composition allowed the typography to breathe, while the added negative space further emphasized the distinctive “Q” that had become such a valued element of the identity.

Typography

Logo of the American Antiquarian Society in black text on a white background.
Logo of the American Antiquarian Society in black text on a white background.
Logo of the American Antiquarian Society with the organization’s name in gray text on a white background.

After exploring a wide range of visual directions, the final logo and wordmark system emerged from the earliest stages of research and discovery. The chosen solution successfully referenced the institution’s historic roots while introducing a cleaner, more contemporary identity.

The relationship between the mark and typography created a cohesive visual system that felt both timeless and refined. Throughout development, special attention was given to how the logo performed in black and white, ensuring strong shape, balance, and clarity independent of color.

The design solution

Logo/Mark for the American Antiquarian Society
Logo/Mark for the American Antiquarian Society
Logo of the American Antiquarian Society with stylized letters AAS and the organization's name.

The color palette drew inspiration from historic reds and blues found throughout archival materials. Because most applications would appear in full color, subtle tonal treatments were introduced to create a sense of depth and age.

Darkened edges and softened color transitions helped evoke a historic quality, while the typography was intentionally rendered in a tinted black rather than a full-strength black to create a more classic and understated appearance.

Color Palette

Logo of the American Antiquarian Society with the initials AAS inside a red circle and the full name in text below.
Logo of the American Association of Suicidology with a blue circle containing white 'AAS' letters, and black, gray, and red text.
A pie chart illustrating categories of historical documents, with segments labeled for Children's Literature, Newspapers & Periodicals, Books & Pamphlets, Graphic Arts, and Manuscripts, each segment featuring related vintage illustrations and handwriting backgrounds.
A pie chart illustrating categories of historical documents, with segments labeled for Children's Literature, Newspapers & Periodicals, Books & Pamphlets, Graphic Arts, and Manuscripts, each segment featuring related vintage illustrations and handwriting backgrounds.

A successful identity system must function across a wide variety of applications and scales. To support larger-format uses such as banners, signage, and pocket folders, an expanded version of the mark was developed.

This variation incorporated visual references to the Society’s five collection categories, creating a more expressive and commemorative application of the brand while maintaining consistency with the core identity system.

Extended applications

A collage of vintage illustrations and handwritten text arranged inside a circular format with the letters 'AAS' prominently cut out in the center. American Antiquarian Society, Worcester, Massachusetts
Pocket folder, envelopes and business cards

Pocket folder, envelopes and business cards

Large format banner

Large format banner

What the client had to say

Jim Casey is an exceptionally talented graphic designer. But that alone is not what makes him such a phenomenal communicator. He has that rare ability to listen, look and get the true culture of an organization and then turn that into powerful, evocative, and beautiful visuals that tell the essential story of what an institution is all about.

James David Moran
Former Vice President for Programs and Outreach 
American Antiquarian Society