Brandbook Barnes & Noble

2012 Company Brand Brand Guidelines G uidelines

© BARNES & NOBLE TM 2012. ALL RIGHTS RESERVED. Barnes & Noble Headquarters 122 Fifth Avenue New York, Ny 10011 Dee di ca te d to th os e wh o e nj oy th e fe el in g of ho l di n g a bo ok , of s m el li n g it a n d f l ip p in g D through its pages. To those who find it more important to exper ience a book and the pr oc es s of f in di n g th e pe r fe ct bo ok th ro u gh a se a of sh el ve s . To th e re a de rs wh o d el ve into the world of the book so completely that the real world stops to exist. And f inally, to those who know that no good book is ever complete w ithout a warm and deliciou s cup of coffee or tea and a perfect snack.

2012 COMPANY COMPANY BRAND GUI DELINES The Next Chapter

1.0

THE PREFACE 1.1 1.2 1.3 1.4

2.0

TURN ING THE PAGE 2.1 2.2 2.3

2.4 2.5 2.5 2.7

3.0

Th e Core Brand History Unique Sellin g Posi ti on Competitors

Primar y Logo Secondary Logos Primar y Logo Integrity Second ary Logos Integrities Sub Brands Sub Brands Integrities Unaccepta ble Use

PAINTING A PICTURE 3.1 3.2 3.3

Primar y Colors Secondary Colors Primar y Logo Color Genres

3.4 3.5 3.6 3.7

4.0

INK AND PAPER 4.1 4.2 4.3 4.4 4.5 4.6

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Secondary Logo Color Genres Logo and Backgrounds Sub Brand s Colors Sub Brands Color Genres

Th e Tagline Tagline Clearspa ce Typography Photog raphy The Icons Supporting Elements

MORE THAN JUST BOOKS 5.1 5.2 5.3 5.4 5.5 5.6 5.7

Business System Corporate Environment Website Advertisement Store Environment Industry Products

B a r n e s a n d N o b l e B r a n d G u i d e

A WORD FROM OUR CEO LEONARDO RIGGIO I rem em ber the f irst ti me I realized I wa s in l ove w ith books . I wa s in my father’s store, a much smaller Barn es & Noble than the ones we see today. I had a p late of cookie crumbs and an almost finished mug of hot chocolate to my right, but it had been a while sin ce I paid the lef tovers any attention. I was on the last sentence. When it was over, I remember turning back to page one and starting again.

Books are a powerful tool. They are different worlds, new ideas, laughter, and alltogether an experience. In today’s society, we are losing the sense of experiencing the tangible and real. At Barnes & Noble, we aim to ignite that par t of humanity that will always thirst for this. Our brand embodies this i dea. We appreciate your respect and collaboration to maintain our identity in a consistent and precise manner to truly captures Barnes & Noble.

Leonardo Riggio CEO, Barnes & Noble

1.0 Company Overview

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THE PREFACE Company Overview

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1.0 The Company

AT BARNE S & NOBLE We are so much more tha n books. We Are cozy cha irs. We are friends, family, company. We are cookies. We are discovery and adventure. We are warm coffee. We are a home away from home.

THE CORE OF BARNES & NOBLE

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COMPANY HISTORY Barnes & Noble originated in 1 873 when Mr. Charles Barnes opened a book-printing business in Wheaton, Illinois. The first true bo okstore was established by Charles’ son William Barnes and his partner G. Clifford Noble the year of 1917 in New York City; hence the name. In the early 196 0s, Leonard Riggio was a student at NYU. He worked as the clerk in the university bookstore. Convinced he could do better on his own, he op ened a competing store called the Student B ook Exchange. After only a few years in the busines s, it bec ame known as one of New York’s finest bookstores, greatly due to its wide selection. This asp ect of the bookstore would carry on into present day Barnes & Noble stores. In the 1970s, Riggio acquired the then declining Barnes and Noble trade name and bo okstore. Quickly, he transformed it into the world’s largest bookstore. This was the b eginning of the modern Barnes and Noble.

EVEN THOUGH E-BOOKS ARE BECOMING SUCH AN IMPORTANT PART OF OUR BUSI NES S, AT BARNE S & NOB LE WE WI LL ALWAYS FOCUS ON TH E ID EA OF OFFERING AN EXPERIENCE WITH BOOKS ASWELL AS A PLACE WHERE THOS E BOOKS CAN BE SHARE D, ENJOYED, AND LOVED.

The old logo wa s an update f ro m the f irs t log o, the simpl e wordmark that the founder himself t yped up in 1978. It was simple, not fussy, and embodied the idea of having a casual, book-first space.


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BARNES & NOBLE IS AMERICA’S LARGEST VARIETY OF BOOKS, NEWSPAPERS, AND MAGAZINES IN A COZY AND INVITING SPACE. This is what makes us special.

UNIQUE SELLING POSITION

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DIRECT AND I NDIRECT COMPETITORS Even in the age of technology where people are much more likely to tap away at their phones than enjoy the scener y right in front of them, bookstores remain loved and important part of the communit y. With a strong base of readers that are here to stay, providing books remains a strong busines s.

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Amazon Books-a-million Hastin gs Home Entertainment Google Nexus

What separates us from our competitors is the basis of our new identity: at Barnes & Noble, you’re not just getting a book. You’re walking into a space, experiencing it with every one of your senses, and discovering things you probably hadn’t even expected. So While the other guys sell books with a monitor in bet ween them and you, we invite you in to share the book and your time with us.

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2 .0 The New Barnes & Noble

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TURNING THE PAGE The New Bar nes & Noble

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PRIMARY LOGO Say hello to the new Barnes & Noble! Fun, friendly, and full of possibilities, the new logo speaks to the fact that while we may be keeping up with the times, we’re not risking our values and standards. With a light , airiness to it’s letters and color, the logo invites our readers to spend their time and experiences with us. It’s our welcoming doormat. The shining star of the logo is the ampe rsand. It completely embodies the core value of the identity, the idea that we are more than just books: books and... The notion of possibilities not only captures the unique selling position but also two of the key features of the store: the large sele ction of books and the large environment.

THE NEW BARN ES & NOBLE LOGO ISN ’T REALLY NEW. WE PREFER TO THINK OF IT AS THE IDE NTITY THAT HAS BEEN HI DING WITH THE RE ALL ALONG, A REALIZATION OF EVERYTHING BARNES & NOBLE HAS ALWAYS EMBODIED.

This is the primar y version of the logo. It shou ld be used in all cases possible, unless shape or length create an issue.


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SECONDARY LOGOS Just as the logo itself suggests the idea of possibilities, our brand offers possibilities. While the primary logo should be used whenever possible, we understand that senarios will arise that can compromise the legibility of the logo or that are just not compatible with it. We offer these two versions of the logo as secondary mar ks. They are to be strivtly used only when the p rimary logo is ill-fitted to the situation. Th e vertical composition (1) is constructed to fit in narrower branding materials. The ampers an (2) is made to be used in small spaces, unles s it is being used as a graphic element (covered in Section 3).

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Vertical Composition This version of the mark should be used sparin gly and only when something longer/shorter is needed. Indepen dant Ampersand This version of the logo should only be used when one of the other marks are present on the branded pi ec e. I t c an al so be use d as a graphic element.

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PRIMARY LOGO INTEGRITY A logo is the embodiment of the brand . It is the brand simply summed up in one tiny, neat little package. Therefore, the logo must at all times be perfectly legible and without obstructions. For this reason , we ask that designers maintain a minumum area of breathing room around the logo that allows it to breathe and shine. The Barnes & Nob le logo, and all of it’s variations, must at all times have the clear space that is specified on this and th e following two pages. These pages also outline the specific han gline, both vertical and horizontal, on which all three logo variations sit. This rule must be maintained as it b est suits the design of these logos. Also, be sure to notice the minimum sizes outlined in this section. We ask that these sizes be strictly adhered to and only used when absolutely necessar y.

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Vertical Hangline Horizontal Hangline Minimun Size


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.5x x 2

.5x .5x

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SECONDARY LOGO INTEGRITIES 1 2 3

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BARNES & NOBLE SUB BRANDS Barnes & Noble has three su b brands. The first is th e Nook brand, our ever-expanding e- reader. The second brand is B&Ncollege, a series of University-only stores that tie back to the origins of the store. The final and newest brand is pubit!, a self-publishing experience for readers.

ALL OF THE BARNES & NOB LE SUB BRAN DS RELATE TO THE LARGER B RAND, YET THE Y ALSO HAVE THEIR OWN UNIQUE LOOKS AND PERSONALITIES.

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NOOK Clean, simple, frie ndly B&Ncollege knowledge, frien dly PUBIT! Approachable, reliable


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SUB BRAND INTEGRITIES In the same way the primary Barnes & Noble brand needs to shine with plenty of breathing room, it’s sub brands must also have at least the specified clear space at all times. These brands have specific vertical and horizontal hanglines as well. Again, notice that all three of our sub brands have a minimum size. They should never live at any size smaller than that stated otherwise they lose th eir legibility and imapct, and ultimately the brand is lost.

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Vertical Hangline Horizontal Hangline Minimum Size

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3mm

SUB BRAND INTEGRITIES 1 2 3



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UNACCPETABLE US E Our logo is very impor tant to us, and we have spant much time and effort into carefully crafting it to be a per fect embodiment of our brand. We ask that designers and users respect the thought and craf tmanship that has gone into the logo by keeping it in it’s pure form and within the rules specified in this guide book. Be weary when using the logo not to alter, tweak, mutilate, or take any personal creative freedom that breaks the specific rules set out in this bo ok. The following are merely a few examples of practices that would violate the logo and ultimately the Barnes & Noble brand. 1

Do not at any time angle the logo. It alw ays sits on a 0 degree angle.

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Do not add any eff ects to the logo, including drop shadow, gradients, etc.

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Do not in any way alter the proportions of the letters or the ampersand.

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Do not alter the colors of the logo except when in accordance to color rules.

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Do not change the typeface or font style of any pa r t of the log o.

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Do not in any way distor t the logo, either by stretching, squishing, etc.

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Do not use the logo in any forma t that may be “nick named” or abbreviated.


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3.0 The Brand Colors

3.0

PAINTING A PICTURE The Brand Colors

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COLORS DEFINE A MOOD AND GIVE A SENSE OF CHARACTER TO A BRAND. Our colors are inviting and fun!


PRIMARY COLORS The world is a highly visual place, and most individuals read through sight first and foremost. One aspec t of any brand that is not only most highly visible, but also has a hef ty deal of psychological meaning to individuals is color. The Barnes & Noble colors are as important to us as the logo itself. We have created two primar y colors, B rilliant Blue (PMS 632) and Cozy Navy (PMS 7463). Blue is a gentle color that invites our readers. The lightness of the B rilliant Blue is airy, creating a feeling of open space and relaxation. Our Cozy Navy compliments this by bringing in the notion of water, of coolness. This p ushes the sense of feeling relaxed and calm. While the Cozy Navy has a m ore serious tone, the Brilliant Blue keeps things fresh and fun! Below are the breakdowns for these primary brand colors .

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PMS CMYK RGB HEX

7463 60 c 33 m13 y 85 k 20 r 39 g 56 b 0f1a21

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PMS CMYK RGB HEX

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632 100c 0 m 32 y 0 k 0 r 171 g 18 5 b 00ffad

3.1


SECONDARY COLORS Our secondar y colors play up the fun factor. They are each paired with a ‘shadowed’ sh ade. We have our Fiery Red (PMS 179) and it’s shadow (PMS 1817), colors th at spark creativity and emotion. Our Crisp Green (PMS 390) and shadow (PMS 7490) are at once sof t and energetic. We also have our Vibrant Yellow (PMS 103) and sh adow (PMS 5565), which are our sun and fun colors. We offer two neautrals to the brand, also a pair of light and shadow colors. This is our Air y Grey (PMS 5455) and it’s shadow (PMS 5565). All of our colors speak to the integrity of the brand ’s fun yet inviting nature. 1

PMS CMYK RGB HEX

1817 34 c100 m 95 y 42 k 114 r 18 g 24 b 620007

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PMS CMYK RGB HEX

179 0 c 80 m 99 y 0 k 271 r 90 g 35 b ff 3303

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PMS CMYK RGB HEX

7490 64 c 31 m100 y15 k 99 r 128 g 56 b 4e9600

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PMS CMYK RGB HEX

390 31 c 9 m 92 y 0 k r 201 g 6 6 b 187 b0e814

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PMS CMYK RGB HEX

464 26 c 52 m100 y26 k 151 r 104 g 33 b 8c5b00

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PMS CMYK RGB HEX

103 13 c18 m10 0 y 0 k 227 r 197 g 33 b ded100

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PMS CMYK RGB HEX

5565 51 c 22 m 48 y1 k 133 r 16 6 g 143 b 7cc583

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PMS CMYK RGB HEX

5455 4 c 0 m 0 y 6 k 226 r 23 5 g 23 9 b e6fofo


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PRIMARY LOGO COLOR GENRES We want to make sure that our Barnes & Noble logo can find a home on any surface. For this reason, we offer different color genres to designers and users that include single color, grey scale, and one color. These genres should only be utilized when using the f ull color impairs the logo’s legibility.

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Full Color Sin gle Color PMS 632 Grey Scale 100% Black 55% Black One Color Black

COLOR MAY BE CRUCIAL , BUT WITHOUT PRO PER LEGIBILITY, IT’S NOTHING. PLEASE MAKE SU RE THAT OUR PRECIOU S LOGO IS A LWAYS SHIN ING!

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SECONDARY LOGO COLOR GENR ES 1 2

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Full Color Single Color Black and White

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LOGO AND BACKGROUN DS Sometimes, the color in th e marks may not cooperate with a given background, be it image or color. In this case , a few opetions are available. The first is to use the simple and always neautral single color version of the logo set in PMS 632. Of course, th is may not always be ideal.

Al l thre e log os adhe re to the same sin gle color and black and white rules. As seen in this example, they also share the same ‘reversed out’ rule.

Another option in such a problem as this is to use the simple black and white version of the logo. This solution m ay be put to use when th e given background is light in color. Of course, such an option sould only be a last resort. When the background is not a light color but infact dar k or even black itself, the logo should be set in the brand’s white color, PMS 5455. Not only will this allow the logo to have full visibility, but it will also keep the contrast from being too stong, therefore reinforcing Barnes & Noble’s new brand ’s lighter and more friendly feeling. Again, this is a final resor t.

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SUB BRAND COLORS The three sub brands of Barn es & Noble are NOOK, our e-book reader; B&Ncollege, the exclusive university stores; and, our latest addition, pubit!, an online self-publication application. Each of these brands, though unique and standalone, must maintain a sense of unity am ongst themselves and with the primar y brand. Therefore, they utilize the same colors present in the main logo. The sub brands mix and match the colors within their mar ks, yet they do utilize a primar y color. The brand orange PMS 179 M is the m ain color for NOOK. B&Ncollege’s main brand color is the brand navy PMS 75 47. The brand lime green PMS 390 is pubit! ’s primary color. Just as with the primary mark, the color specifications must at all times be respec ted to maintain brand integrity within each of the separate brands and the system as a whole. 1

PMS CMYK RGB HEX

179 0 c 80 m 99 y 0 k 271 r 90 g 35 b ff 3303

2

PMS CMYK RGB HEX

390 31 c 9 m 92 y 0 k 187 r 201 g 6 6 b b0e814

3

PMS CMYK RGB HEX

7547 60 c 33 m 13 y 85 k 20 r 39 g 56 b 0f1a21

4

PMS CMYK RGB HEX

103 13 c18 m 10 0 y 0 k 227 r 197 g 33 b ded100

5

PMS CMYK RGB HEX

5565 51 c 22 m 48 y1 k 133 r 16 6 g 143 b 7cc583

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PMS CMYK RGB HEX

632 100 c 0 m 32 y 0 k 0 r 171 g 18 5 b 00ffad


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SUB BRANDS AND BACKGROUNDS


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4.0 The Supporting Elements

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INK AND PAPER The Supporting Elements

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THE TAGLIN E A tagline is import ant to a brand in that it embodies the core principles of the brand within but a few words. The Barn es & Noble tagline is ‘More Than Just B ooks,’ speaking towards the comapny’s and store’s home away from home idea.

The tagline also marr ies with the ampersand, speaking to the brand idea of possibilities.

WHILE OU R COMPETITORS MAY OFFER SOME OF THE SAME PRODUC TS AND SAVINGS AS WE DO, ONE THI NG THAT IS UNIQ UE TO BARNES & NOBLE IS THE ENVIRONMENT, WHICH ENCOURAGES CUSTOMERS TO STAY AND EXPLORE ANYTHI NG FROM OUR CAFE TO OUR EVENTS.

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.5x x .75x .5x

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The tagline rests right below the ampersand The ampersand has the same line space as the words Barnes and Noble


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TYPOGRAPHY The Barnes & Noble b rand utilizes three typefaces. The first is Barnes & Noble Heading , a bolder typeface that is use d for headings in print work, on posters , billboards, and also on web applications. This typ eface is always used in all caps.

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The second Barnes & Noble typeface is Barnes & Noble Regular,, a thinner version of the header. This typ eface is Regular used for larger bodies of type, su ch as in this paragraph. It can be used in larger sc ale and all caps, as well as small and in upper and lower case.

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The final Barnes & Noble t ypeface is the Barnes & Noble Serif, an italic romantic typeface that softens the brand an d creates a sense of class. This typeface is use d for captions, like the one on this page. It is also used for smaller bodies of type that are usually inferior in heirarchy. None of these typefaces are par t of the logo, which in fact uses a custom made typeface that does not appear anywhere else in the b rand. This maintain’s the logo’s integrity. All of these typefaces combine to enhance the Barnes & Noble brand image of friendliness, fun, and a sense of home. They should be combined carefully to maintain this concept.

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9 point size 230 points trackin g 12 point leadin g 9 point size 230 point trackin g 12 point leadin g 9 point size 230 point leadin g 12 point trackin g


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BARNES & NOBLE HEADING ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890!$#%&*?@(){}[]|\/<>~;:

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BARNES AND NOBLE REGULAR ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!$#%&*?@(){}[]|\/<>~;:

3

BA B A R N E S A N D NO B L E S E R I F A B C D E F G H I J K L M N O P Q R S T U V W X Y Z abcdefghijklmnopqrstuvwxyz 1234567890!$#%&*?@(){}[]|\/<>~;:

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PHOTOGRAPHY The photographic style of Barnes & Noble mirrors the sense of airiness and welcoming that the brand embodies. A brighter atmosphere should be used, with minimal contrast. The photography should range from reading, music, food , and all other activities offered in the store.

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Angles and shots in the brand p hotography should engage viewers and make them feel as if they were inside of the photograph. Be sure to be careful and not make the photos too dynamic so that they lose the sense of calm.

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Cropped shot that makes the viewer feel like he oe she is in the picture. Bright photo with higher exposure but with lower contrast to create a sense of airiness and space. Showcase food, coffee, and other aspects of the brand. Products and backdrops should feel natural: wood, stuccos.

VIEWERS SHOULD ENGAGE WITH BARNES & NOBLE THROUGH TH E PHOTOGRAPHY, ESSENTIALLY AS IF THEY WERE IN THE PHOTOGRAPH THEMSELVES.

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THE ICONS The Barnes & Noble b rand utilizes a series of airy and fun icons to add character. The icons are utilized on posters, web pages, packaging, and products. The icons can be used in full color or tone on tone. A single icon or small group of icons can be used , or they can create a pattern. Whenever there are multiple icons being used, be ab solutely sure to include a variety. This means that there should be a balance between the types of icons us ed. There are book related icons, food, shopping, music, kids, and digital icons. The icons include ‘whimsies,’ the swirly icons that speak to the magic of books and reading.

THE WHIMSY ICONS, OR CURLY ONES, REMIND OUR CUSTOMERS THAT READI NG IS A MAGICAL THING. THAT SAME MAGIC RAD IATES AT BARNES & NO BLE .

L ik e e ve r yt hin g else Bar n es & No bl e , our ico n s re inf orc e th e notion that there are more than j u st bo ok s at our store s.


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BE SURE TO USE THESE PIECES WISELY SO THAT THEY DO NOT APPEAR BULKY. 2

These rules should not overpower the design.

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SUPPORTING ELEMENTS To fully create the Barnes & No ble identity, the brand uses these simple graphics that support the principles already established by th e logo, color, typography, and photography. The first two elements can be us ed together, although the rule can live on it ’s own accompanied with typography. The third element should never be used with th e other two. If designing multiple pages or spreads, th ese and the following graphics should be balanced throughout.

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These wraparounds are like open books with bold statements. They are made of the light color and it’s respective ‘shadow’. Rules are used to recall a more traditional senes of books and reading. Our whimsy lines recall the airiness factor of the brand with a punch of color and fun!

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5.0 The Applications

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MORE THAN JUST BOOKS The Applications

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BUSINES S SYSTEM 1

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Letterhead


BUSINES S SYSTEM 1 2

Business Cards Envelope


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CORPORATE ENVIRONMENT 1

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Corporate Headquarters Exterior

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CORPORATE ENVIRONMENT 1

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Headquarters Reception

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CORPORATE ENVIRONMENT 1 2

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Central Off ices President’s Off ice Reception

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WEBSITE The website embodies the idea of experiencing Barnes & No bl e by m a k i n g t h e u se r f e e l like he or she is in the store.


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WEBSITE On the homepage, users can browse a virtual bookshelf that mirrors the experience of being in a real store.

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WEBSITE The website aims to not only sell books, but encourage readers to come into the store.

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A FIRE WITH THAT BOOK? More than just books.

ADVERTISEMENT 1

Billboard


b&n.com

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ADVERTISEMENT B u s S helt er Po st e rs


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ADVERTISEMENT B u s S helt er Po st e rs

5.4


STORE ENVIRONMENT The store is air y, inviting, and a place that feels like home.


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INDUSTRY 1 2

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Reusable Shopping Bag In Store Basket

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INDUSTRY 1 2

Employee Nametag Employee Uniform


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INDUSTRY In S tore S ig nage

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INDUSTRY In S tor e S ig n age


DALLAS OLIVER. En te rt ai ni ng Gl ob al ly .

Book reading and signing.

January 25. 2-3.

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5.6


$ 10 0

$ 25

c o m e a n d e x p l o r e o u t o : r w o r l d

c o m e a n d e x p l o r e o u r w o r l d t o :

$50

come and explore our world

to:

INDUSTRY Gift Cards


More th an ju st book s.

b&n.com

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August 2013

ISSUE 5

INDUSTRY Bar n es & No bl e Ne w Deals and Products Catalog


2

1

3

1

VASE YEL LOW CHR ISTIN A

3

W o ven fro m alpaca wool, thi s cozy des ign

ers or e ven H an d cr af ted va se per fect fo r fl ow as a d es kt op pen cil ho ld er .

WOODEN TRANSFOR

MERS

rs J er em y’s , F r o m ecolo g i ca ll y min de d make lect or s. th ese ar e per f ec t fo r k id s and col

$28

4

wi ll keep yo ur Nook clean and safe.

$1 4

$12 2

FELT NOOK S LIPCOVER

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BARNES & NOBLE BAG Wal k around in s tyle with this exclu sive Bar nes & Noble ha ndbag .

$4 5

ISSUE 5

8

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PR O DU C TS

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INDUSTRY Cafe Mugs


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ENJOY.


INDUSTRY To Go Cup

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INDUSTRY Cafe Plates


Yum.

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INDUSTRY 1 2

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Barn es & Collection Barn es & Collection

Noble Spine Noble Front

5.6


INDUSTRY 1

Online Shipment Pack age


Ship to:

ANA MARIA ZAMARO DE PISTONE 3298 BEVERLY DRIVE HILLY, CO 25610 Tracking #

000321185637889-3399002

Ba r ne s & No bl e Bo ok se ll er s 122 Fifth Av enue Ne w Yo rk , NY 10 011

THANK YOU!

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PRODUCTS 1 2

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Persona l Handbag Handbag Interior

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PRODUCTS 1

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Custom Barnes & Noble Reading Glasses

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1.0 The Company

PRODUCTS Back pa ck

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1.0 The Company

PRODUCTS P ro mot ion al T-s hir t

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. E P A C S E

PRODUCTS Book mark

1.0 The Company

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PRODUCTS 1 2

Nook Tablet Slipcover Notebook

1.0 The Company

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1.0 The Company

PRODUCTS No ok Tab l et F ro nt and Back With Homescreen

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1.0 The Company

+

PRODUCTS Bar n es & No bl e L ibr ar y App

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GENRE MY BOOKS

ART, ARCHITECTURE & PHOTOGRAPHY

BOOKS

BIBLE & BIBLE STUDIES

NOOK BOOKS NOOK

BIOGRAPHIES BUSINESS & MONEY CHILDREN’S BOOKS

TEXTBOOKS

COMPUTING & INTERNET

NEWS STAND

COOKBOOKS, FOOD & WINE

TEEN KIDS

CRAFTS & HOBBIES DIET & HEALTH EDUCATION &

TOYS & GAMES

TEACHING FICTION &

HOME & GIFTS

LITERATURE GRAPHIC NOVELS

DVDS MUSIC

HISTORY HOME & GARDEN HUMOR

SHOPPING BAG +

LIBROS EN ESPANOL

MY SETTINGS LOGOUT

PRODUCTS Bar n es & No bl e L ibr ar y App

1.0 The Company

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“Good frie nds, good books, and a sleepy conscience: this is the ideal life.” – Ma rk Twa in

THANK YOU!

From Ba rn es & Nobl e.

Brandbook Barnes & Noble

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