Tate launched a new corporate identity in Spring 2000 to coincide with the launch of Tate Britain and Tate Modern. The new identity was designed by Wolff Olins and is used for all Tate material and consists of a range of Tate logos, a colour palette and a typeface.

Tate logos
There are a number of variations of the Tate logo, or mark. They range from a standard logo to a blurred version, a faded version and a halftone version (dots rather than smooth fading). The marks have no fixed size or position and they are not connected with one particular Tate site. The Tate mark helps to build a brand that is fresh and fluid, but has some consistency – one Tate, with constantly changing expressions. Each individual gallery name – Britain, Modern, Liverpool and St Ives – is then combined with the Tate marks.

Tate colour palette
There are 18 colours in the palette, to reflect different moods and styles. Colours are not specific to gallery locations, and all have been chosen for their legibility. The palette is split into a series of strong colours (Orange, Sky Blue, Lime Green, Scarlet, Violet, Aqua, Pink, Mustard and Black) and a series of more subtle colours (Chocolate, Burgundy, Purple, Slate, Olive, Stone, Aubergine, Steel and Moss). Non-Tate colours are occasionally used, for example to fit in with the poster design for an exhibition.

Tate typeface
The special Tate typeface is clear, modern and distinctive. It comes in three different weights for use in body copy and headings. The original Tate typeface has now been replaced with a more angular, contemporary version.

The identity is carefully managed by the Tate Communications Department, working in collaboration with other Tate staff and with outside agencies. Its benefits are:

• character: giving people who may not have visited the galleries an idea of the Tate personality
• clarity: it is simple, clear and bold, for impact and accessibility
• connections: the identity links all the diverse activities that come under the Tate umbrella, so that successive items build a cumulative sense of Tate's diverse collection and programme. All materials help promote the organisation as well as communicating individual messages
• recognition: each item can quickly be identified as Tate's
• quality: an agreed high standard applies in many different contexts and materials, from advertising to the website, from merchandise to gallery uniforms
• practicality: the identity enables Tate to commission design efficiently and maintain a high level of output
• priorities: consistency and simplicity in design focuses attention on Tate's real focus of interest – works of art

In 2003 Tate won Cool Brand Leader for the second year running. This was awarded by the Brand Council. For more information about Tate's corporate identity visit the Wolff Olins website.

Tate does not allow use of the Tate logo on personal or commercial websites without prior consent.

Tate visitor attendance figures 1980 - 2007 for Tate Britain, Tate Liverpool, Tate Modern, Tate St Ives and The Barbara Hepworth Museum and Sculpture Garden

1980		1981		1982		1983
Tate Gallery	1,330,937	Tate Gallery	885,168	Tate Gallery	1,219,102	Tate Gallery	1,270,925
BHM*	0	BHM	10,211	BHM	10,436	BHM	11,212
Total	1,330,937	Total	895, 379	Total	1,229,538	Total	1,282,137

1984		1985		1986		1987
Tate Gallery	1,265,605	Tate Gallery	980,105	Tate Gallery	1,137,070	Tate Gallery	1,725,084
BHM	12,034	BHM	16,460	BHM	16,285	BHM	17,072
Total	1,277,639	Total	996,565	Total	1,153,355	Total	1,742,156

1988		1989		1990		1991
Tate Gallery	1,581,467	Tate Gallery	1,234,281	Tate Gallery	1,562,431	Tate Gallery	1,816,421
Tate Liverpool*	490,942	Tate Liverpool	687,356	Tate Liverpool	626,279	Tate Liverpool	597,258
BHM	18,848	BHM	18,637	BHM	21,544	BHM	22,691
Total	2,091,267	Total	1,940,004	Total	2,210,254	Total	2,436,370

1992		1993		1994		1995
Tate Gallery	1,575, 637	Tate Gallery	1,760,091	Tate Gallery	2,226,399	Tate Gallery	1,769,662
Tate Liverpool	550,735	Tate Liverpool	624,111	Tate Liverpool	539,678	Tate Liverpool	499,584
N/A	N/A	St Ives*	132,302	St Ives	181,044	St Ives	164,931
BHM	24,340	BHM	11,042	BHM	17,817	BHM	20,148
Total	2,150,711	Total	2,527,546	Total	2,964,938	Total	2,454,325

1996		1997		1998		1999
Tate Gallery	2,203,001	Tate Gallery	1,757,735	Tate Gallery	2,180,665	Tate Gallery	1,822,427
Tate Liverpool	457,580	Tate Liverpool	131,662	Tate Liverpool	525,462	Tate Liverpool	681,670
St Ives	167,147	St Ives	174,809	St Ives	161,289	St Ives	122,693
BHM	21,939	BHM	22,066	BHM	29,342	BHM	27,750
Total	2,849,667	Total	2,086,272	Total	2,363,296	Total	2,654,540

2000		2001		2002		2003
Britain	1,204,127	Britain	987,746	Britain	1,056,241	Britain	1,106,911
Modern	0	Modern	3,560,296	Modern	3,055,546	Modern	3,649,666
Liverpool	665,640	Liverpool	626,035	Liverpool	440,849	Liverpool	549,441
St Ives	132,302	St Ives	155,638	St Ives	166,377	St Ives	204,177
BHM	11,042	BHM	40,632	BHM	102,841	BHM	38,107
Total	2,527,526	Total	5,370,347	Total	4,821,854	Total	5,548,302

2004		2005		2006		2007 (Jan - March)
Britain	1,088,005	Britain	1,729,692	Britain	1,597,359	Britain	468,922
Modern	4,441,225	Modern	3,902,017	Modern	4,895,073	Modern	1,285,466
Liverpool	586,917	Liverpool	666,258	Liverpool	556,976	Liverpool	121,936
St Ives	184,192	St Ives	180,771	St Ives	193,700	St Ives	30,375
BHM	45,372	BHM	43,502	BHM	46,220	BHM	4,851
Total	6,345,711	Total	6,522,240	Total	7,289,328	Total	1,884,550

Figures are based on attendance during public opening hours and public events from 1 January – 31 December.

Facts & Figures

• The Barbara Hepworth Museum (BHM) has been administered by Tate since 1980.
• Tate Liverpool opened in 1988.
• Tate St Ives opened In June 1993. A joint ticket for the Barbara Hepworth Museum and Tate St Ives became available from then.
• The Tate Gallery at Millbank was re-launched as Tate Britain on 24 March 2000.
• Tate Modern opened 12 May 2000; attendance figures for this year run from 12 May to 31 December.