UCLA Graphic Standards. Graphic Standards Manual

Transcription

1 Manual

2 To the Community I am pleased to introduce to you s new logo and graphic identity system. It is the result of a comprehensive exploration of the ways in which we might increase the consistency of visual impressions associated with and build up on the institution s reputation for quality. We are fortunate that is one of the most recognized names in higher education, and even more fortunate that we are recognized worldwide for the highest standards of academic excellence. But the institution s graphic identity has been fragmented, due to the proliferation of many different logos, symbols, colors, and typefaces. By using a standard logo and color, we can enhance the association of with world-class quality through visual repetition, and thus help demonstrate the quality and breadth of the academic enterprise. We can also reduce costs associated with the duplication of effort that can occur in the absence of easy-toadopt materials. I look forward to seeing the new logo and graphic identity system in use across the campus and appreciate your participation. Sincerely, Albert Carnesale, Chancellor

3 The Importance of This Identity Program identity is the sum of all the visual impressions associated with the name. With dozens of incompatible logos in use, s graphic identity has been a jumble. The impact of any logo depends on consistent use resulting in a large number of impressions over a long period of time. Familiar logos are not read as words, but processed by the brain visually, evoking a complex set of associations much more powerful than words. By using a shared graphic identity system, we can help build upon s reputation for excellence. We can increase the quality, efficiency and cost-effectiveness of our communications efforts. We can better reflect the diversity of our academic offerings it will be clear that the many benefits of, from health care to education to the arts, come from a single institution. And in the long run, we will help foster a stronger sense of affiliation with and its various academic and administrative units. The new visual identity should be phased in. Existing inventories of print materials may be used up; new materials should incorporate the new graphics. Please do not weaken or diffuse s identity. Use the materials and follow the standards described in this manual and available at The key elements of s visual identity are: a. The logotype b. The colors c. The signature fonts and style

4 Contents preface logotype color signature supplementary elements The Importance of This Identity Program The Logotype 5 Minimum size requirements 6 Minimum free space 7 Within a panel 8 Color specifications 9 Full-color applications 10 One- or two-color applications 11 Applied-tone backgrounds 12 Decorative applications 13 Outdated designs Incorrect applications 15 Overview 16 Signature, academic use 17 Signature, administrative use 18 Signature, consumer use 19 Academic and administrative specifications: indented 20 Academic and administrative specifications: aligned 21 Specifications, consumer 22 Complementary letter styles 23 Complementary color palette 24

5 5 The Logotype The special style for the letters is referred to as a logotype or logo. The logo is the core element in s visual identity system. Its relative size, positioning and color treatment are governed by the rules in this guide. This logo replaces all older institutional designs. It is the only graphic device to be used to signify. When the acronym occurs within a headline or body text, do not use this or any logo. Instead, set the letters in all caps in the same typeface and size as the rest of the line. Please note: The logo is a unique design and cannot be accurately reproduced with any typeface. It must not be hand drawn, scanned or modified in any way. It should be reproduced only from electronic files. Digital files of various versions of the logo are available online at the Identity Web site in the download graphics section:

6 A. The logotype 6 The Logo minimum size requirements Do not use below 0.5 wide in print B. Special logotype modified for small usage This logo is bolder and more letter-spaced for better legibility at small sizes Do not use below 50-pixel width (logo) in Web use In print, use below 0.5 down to 0.25 wide The primary logo (A) is designed for the great majority of uses. In print uses, the primary logo should be at least 0.5" wide. In on-screen uses (Web & video), the primary logo should be at least 50 pixels wide. The minimum-size logo (B) is slightly wider and weightier, with extra letter spacing, so that it will be legible even at small sizes. In print, the minimum-size logo should be used below 0.5" down to 0.25" wide. In on-screen uses, the minimum-size logo should be used below 50 pixels down to 36 pixels wide. Do not use the logo below these size ranges. Digital files of these versions of the logo are available online at the Identity Web site in the download graphics section: On Web, use below 50-pixel (logo) width down to a minimum of 36-pixel (logo) width

7 Measurement system 7 The Logo minimum free space h Visually centered in minimum space.375h.375h h.375h The logo must have a buffer space around it to maintain legibility and visual impact. No other graphic elements, such as typography, rules, pictures, etc., should infringe upon this space. The minimum free space needed is given relative to the height of the logo: Where logo height is (h), the required buffer space is.375h. Examples: If the logo is 1.0" high, the required buffer space is 0.375". If the logo is 0.5" high, the required buffer space is ". Note that the logo should be centered visually, not mechanically. When the logo is visually centered, the letter A penetrates the free space..375h

8 Visually centered in a panel 8 The Logo within a panel Sometimes the logo will need to be isolated within a panel shape. For instance, a panel may be used behind the logo when it would otherwise overprint a pattern, a non-neutral color, or a complex photograph. 31 points 153 points 26 points Certain minimum extra-space requirements around the logo must be observed. The logo should be visually (not mechanically) centered in the panel shape as shown in the diagrams at left. Notice that there is extra space beneath the logo. 97 points 25 points 46 points 26 points When this configuration needs to be either larger or smaller, the relative scale of elements should be observed. Digital files of this version of the logo are available online at the Identity Web site in the download graphics section: points

9 9 Note: color adjustments made The Logo color specifications Primary school color Pantone Blue cmyk rgb Web vinyl lettering3m Scotchcal Series 220, Matte Blue Secondary school accent color PantonePMS 1235 coated, PMS 122 uncoated cmyk rgb Web FFB300 vinyl lettering 3M Scotchcal Series 220, Sunflower Do not reproduce the logo in the secondary color, PMS 1235 Do not reproduce the logo in any of the athletic colors or any color other than those specified here s traditional colors have always been blue and gold. However, numerous variations of these colors have been used. The blue has been especially inconsistent, diminishing recognition of the color as signifying. Using a single, distinctive shade of blue will, over time, make s visual identity more memorable. At left are primary and secondary hues which should be used on multicolor printed materials and for on-screen uses. Use only the blue for the logo; gold is intended as an accent color. For the purposes of uniforms and sportswear (primarily textiles), Athletics has adopted different color specifications. Do not reproduce the logo in athletic colors. For accurate color matching, use a Pantone Matching System (PMS) swatch. graphics professionals may request a color kit; see the Resources section on the identity Web site, Please note: Always insist upon accurate color matching. Poorly matched colors may weaken impact, lessen the effectiveness of the logo, and slow public awareness of the logo.

10 Correct Incorrect 10 The Logo full-color applications logo in 100% blue on white Do not use color logo against black logo in 100% blue; background tint is neutral, equivalent to 30% black or lighter logo reversed to white; background tint is neutral, equivalent to 50% black or darker Do not use color logo against background tint of 30% or darker Do not reverse logo against gold background or any other color background These full-color guidelines apply to process color printing and to on-screen use for the Web, presentations and video. There should be a high degree of contrast between the logo and its background. In blue, the logo can be used against white or neutral tints lighter than 30% black. Reversed to white, the logo can be used against darker neutral backgrounds (equivalent to 50% black or darker) or against 100% blue. Do not use the color positive logo against any color other than light neutral tones, and never reverse the logo on a color other than blue or a dark neutral tone. logo reversed to white; background is100% blue Do not use blue logo against gold background or any other color

11 Correct Incorrect 11 The Signature one- or two-color applications One-color applications Screened-back logo or non- color When printing in one or two colors, care must be taken that the logo is strong and dark enough to be highly visible. Do not print the logo in colors other than blue. Instead, print the logo in black or reverse it to white. There should be a high degree of contrast between the logo and its background. Two-color applications, including blue Screened-back logo reduces contrast Two-color applications, other than color Logo in other than color

12 Correct Incorrect 12 The Signature applied-tone backgrounds Black against white is preferred Do not tint logo less than 60% black against white Reversed to white against black Solid black against approximately 30% or lighter value of black Do not tint logo less than 40% against black Do not use solid black logo against darker backgrounds In newspaper ads, low-budget printing, and originals for photocopying, designers may be restricted to the use of black and white or grayscale. In these conditions, the preferred treatment of the logo is black against white, because that provides for maximum contrast. It s also acceptable to reverse the logo to white against black. However, please remember that newsprint and photocopying do not provide a true black, so some contrast will be lost. Against grayscale backgrounds of values 30% black or lighter, use the logo in solid black. Reverse the logo to white for backgrounds 50% black or darker. Take great care in applying tints to the logo itself. Remember, reproduction on newsprint is somewhat unpredictable. There will be variances day to day and sometimes within a print run. When in doubt, choose the design solution that provides maximum contrast. Reversed to white against a 50% or darker tone of black Do not reverse logo to white against a light background

13 13 The Signature decorative applications Logo should be exclusively 100% blue or black on white backgrounds Reverse line to white on 100% blue or other dark backgrounds In special circumstances, the logo may be used in outline form. On white backgrounds, the outline should be 100% blue or black. On dark or bright backgrounds, reverse the line to white. The weight of the outline should never be less than 0.25 points. It may be slightly heavier at large sizes, but it should remain subtle. Typically the outline will be used in a tiled pattern or as a large repeated graphic. Some appropriate uses are shown: divider pages and folders. Other appropriate uses might be as a security pattern for checks, tickets or identification cards. Do not use a single outline logo use of the outline should be limited to decorative patterns and repeats. Please note: The outlined logo is only a minor graphic element and not a substitute for the identity.

14 The multi-font logo has been withdrawn from circulation The Signature The script, with or without a tail, is reserved for use by athletics, recreation, spirit groups, support groups and student groups. It should never be used for administrative or academic units outdated designs The outline logo has been withdrawn from circulation The Royce Hall logo has been withdrawn from circulation.while photos of Royce Hall are often appropriate, Royce Hall "icons" should not be used The visual identity system introduced in Summer 2004 is now the official identity system for the campus. Older designs that were created by or commissioned by have been withdrawn from circulation. You may continue to use stockpiles of existing materials, but please do not reprint materials with these designs or use the designs to create new materials. On Web sites, replacement of outdated logos should be part of any planned update or redesign. The split-color logo has been withdrawn from circulation

15 Below: additional graphic elements; drop shadow, outline, glow or dimensionalized, etc. The Signature 15 Above: correct logotype Below: altered letter weight Above: contrasted or complex photographic background incorrect applications Below: logo elements redrawn or reproportioned Software has made it very easy to alter graphics by applying filters and special effects, or simply by changing shapes and colors. Please resist the temptation. The impact of any logo depends on consistent use resulting in a large number of impressions over a long period of time. The best logos are not read as words, but act as visual stimuli, automatically triggering a complex series of associations. Any changes to the shape and color of a logo reduce its impact and can, over time, defeat the entire purpose of a logo program. This page illustrates some of the more obvious ways a logo can be destroyed by incorrect use. Please avoid these and all other changes to the logo. Do not use the logotype against backgrounds which conflict with logo colors, prevent good contrast or clear legibility. Generally these will include harsh or brightly colored, multicolored, textured, or vari-hued photographic backgrounds. Above: incorrectly colored or identity color screened back Above: incorrect color or background colors Below: incorrect free space or logo position in panel Below: logo slanted, stretched, compressed or otherwise distorted

16 Academic units use the three-tier signature system: SCHOOL OF THEATER, FILM AND TELEVISION Department of Film, Television and Digital Media Laboratory for New Media Administrative units use the three-tier signature system: BUSINESS AND ADMINISTRATIVE SERVICES Housing and Hospitality Services Catering Consumer units use a modified signature system: Healthcare Healthcare The Signature overview The identity program has the challenge of integrating hundreds of academic, administrative and consumer entities and their hierarchies with the institutional logo. To accomplish this, a multi-tiered signature system was created. Diagrammed on this page are three categories of entities that require slightly different approaches. The Academic area requires three tiers: first College and professional schools second Divisions, departments, centers and institutes third Programs and offices within a second-tier entity The Administrative area also requires three tiers: first Major division second Department or major sub-division third Office or service within the department or sub-division The Consumer area requires one or two tiers: first The public face of the school or major division second The location name, as in a healthcare facility or the branch name of a library, etc. 16

17 s three-tier signature system: Logo half offset left above tier SCHOOL OF THEATER, FILM AND TELEVISION Department of Film, Television and Digital Media Laboratory for New Media Logo aligned left of baseline of tier SCHOOL OF THEATER, FILM AND TELEVISION Department of Film, Television and Digital Media Laboratory for New Media SCHOOL OF THEATER, FILM AND TELEVISION In certain contexts, with tiers two and three only: Department of Film, Television and Digital Media Laboratory for New Media The Signature academic use Diagrammed is the three-tier signature system with two possible positions of the logo. This variation allows for better design solutions when applying the signature in various applications. The signature system allows for up to three levels of hierarchy. In certain contexts, the deans may decide to allow their departments to use the logo and department name without the school name, as shown. ally speaking, the tier hierarchy is symbolized by the typographic style, not the stack order. When displayed together, the higher tier must always be placed above the lower in the stacking order. Tier one is always set in all capital roman letters, tier two is always initial capital and lowercase roman letters, and tier three is always initial capital and lowercase italic letters. A list of tier 1 academic entities is available online at the Identity Web site, under : See pages 20 and 21 for detailed specifications and where to obtain signature copies. 17

18 s three-tier signature system: Logo half offset left above tier BUSINESS AND ADMINISTRATIVE SERVICES Housing and Hospitality Services Catering Logo aligned left of baseline of tier BUSINESS AND ADMINISTRATIVE SERVICES Housing and Hospitality Services Catering BUSINESS AND ADMINISTRATIVE SERVICES In certain contexts, tier three logo aligned left of baseline of tier Catering Centered in panel with rule Catering The Signature administrative use Diagrammed is the three-tier signature system with two possible positions of the logo. This variation allows for better design solutions when applying the signature in various applications. The signature system allows for up to three levels of hierarchy. At the discretion of the respective vice chancellors, units may combine tier-two lettering with the logo, without referencing the division name. ally speaking, the tier hierarchy is symbolized by the typographic style, not the stack order. When displayed together, the higher tier must always be placed above the lower in the stacking order. Tier one is always set in all capital roman letters, tier two is always initial capital and lowercase roman letters, and tier three is always initial capital and lowercase italic letters. A list of tier 1 administrative entities is available at the Identity Web site, under : See pages 20 and 21 for detailed specifications and where to obtain signature copies. 18

19 Style A: Logo is always aligned on baseline Library First and second tier Library Engineering and Mathematical Sciences The Signature consumer use 19 Fowler Museum of Cultural History Alternate for long entity name Style B: Fowler Museum of Cultural History Library With second-tier name Fowler Museum of Cultural History Library Engineering and Mathematical Sciences A few units play particularly important roles as the public face of. Their marketing needs dictate that they use shorter, more informal names. Generally they have only a tier-one title or a title plus a second-tier name. For that reason, we have provided a separate consumer use signature specification that is less dependent on hierarchy. Diagrammed are two solutions that differ in their treatment of the logo. Both styles have a slightly closer size ratio (logo to entity name) than the standard signatures (see pages 17 and 18). Choose the style that looks best for your application needs. All consumer signatures are set in initial capital and lowercase roman letters, with tier two 75% of tier-one size. See page 22 for detailed specifications and where to obtain signature copies. Alternate for long entity name Fowler Museum of Cultural History

20 Logo with first-, second- and third-tier entities 20 Align "L" visually with first tier type First tier Second tier Third tier Align "L" visually with first tier type Second tier Third tier HENRY SAMUELI SCHOOL OF ENGINEERING AND APPLIED SCIENCE Department of Electrical Engineering Industrial Affiliates Program Center For American Politics and Public Policy Quarter in Washington Program Rule length varies Logo with second- and third-tier entities Numbers are in points Rule length varies Numbers are in points These are Adobe Illustrator specifications. Logo size:.5 points on the height of the L in First-tier entities: 12/ Big Caslon, all capitals, 50/1000 em letter space, 100% word space Rules: 0.25 point weight, flush left and extending points past longest type line on right Second-tier entities: 12/13 Big Caslon, capitals and lowercase,20/1000 em letter space, 80% word space Third-tier entities: 13/13 Caslon 540 italic, initial capitals and lowercase, 25/1000 em letter space, 80% word space Note: Always close up excessive letter-space gaps between initial capitals and lowercase letters. These are Adobe Illustrator specifications. Logo size:.5 points on the height of the L in Second-tier entities: 12/13 Big Caslon, capitals and lowercase, 20/1000 em letter space, 80% word space Rules: 0.25 point weight, flush left and continue past last letter 13 points Third-tier entities: 13/13 Caslon 540 italic, initial capitals and lowercase, 25/1000 em letter space, 80% word space The Signature academic and administrative specifications: indented Diagrammed here are two examples showing element alignments, spacing and relative sizes. The point-size specifications demonstrate both line spacing, leading and title-size relationships. On one-line arrangements, align the logo 5 points of space to the left of and on the baseline of the first line of the tier-one name. (see next page) When signatures need to be either larger or smaller, the relative scale of elements, leading, etc., should be observed. Templates of these signature layouts are available in Adobe Illustrator file format. The Big Caslon and Caslon 540 fonts are required; a limited number of font licenses are available. See Resources and Downloads sections of the Identity Web site: Note: Always close up excessive letter-space gaps between initial capitals and lowercase letters.

21 Logo aligned left on baseline of tier 5 Rule length varies Numbers are in points The Signature academic and administrative specifications: aligned 21 SCHOOL OF THEATER, FILM AND TELEVISION Department of Film, Television and Digital Media Laboratory for New Media SCHOOL OF THEATER, FILM AND TELEVISION Department of Film, Television and Digital Media Laboratory for New Media.5.5 Second tier 8 Third tier First tier Second tier Third tier First tier These are Adobe Illustrator specifications. Logo size:.5 points on the height of the L in First-tier entities: 12/ Big Caslon, all capitals, 50/1000 em letter space, 100% word space Rules: 0.25 point weight, flush left and extending points past longest type line on right Second-tier entities: 12/13 Big Caslon, capitals and lowercase, 20/1000 em letter space, 80% word space Third-tier entities: 13/13 Caslon 540 italic, initial capitals and lowercase, 25/1000 em letter space, 80% word space Note: Always close up excessive letter-space gaps between initial capitals and lowercase letters. Diagrammed here are examples showing element alignments, spacing and relative sizes. The pointsize specifications demonstrate both line spacing, leading and title-size relationships. On one-line arrangements, align the logo 5 points of space to the left of and on the baseline of the first line of the tier-one name. When signatures need to be either larger or smaller, the relative scale of elements, leading, etc., should be observed. Templates of these signature layouts are available in Adobe Illustrator file format along with licenced fonts Big Caslon and Caslon 540 online at the Identity Website:

22 Style A: Logo with first- and second-tier entities 22 5 Numbers are in points Rule length varies Extension American Language Center 5 Logo in a panel (see page 8) 5 Fowler Museum of Cultural History Style B: Logo reversed inside of box with second- and third-tier entities Numbers are in points Rule length varies Extension American Language Center 5 Fowler Museum of Cultural History.5 First tier 8 Second tier First tier 8 Second tier First tier 11.5 First tier 18 These are Adobe Illustrator specifications. Logo size:.5 points on the height of the L in First-tier entities: 15.5/18 Big Caslon, capitals and lowercase, 20/1000 em letter space, 80% word space Rules: 0.25 point weight, flush left and extending points past longest type line on right Second-tier entities: 12/ Big Caslon, capitals and lowercase, 20/1000 em letter space, 80% word space Note: Always close up excessive letter-space gaps between initial capitals and lowercase letters. These are Adobe Illustrator specifications. Logo size: 11.5 points on the height of the L in First-tier entities: 15.5/18 Big Caslon, capitals and lowercase, 20/1000 em letter space, 80% word space Rules: 0.25 point weight, flush left and extending points past longest type line on right Second-tier entities: 12/ Big Caslon, capitals and lowercase, 20/1000 em letter space, 80% word space Note: Always close up excessive letter-space gaps between initial capitals and lowercase letters. The Signature consumer specifications Diagrammed here are Style A and B showing element alignments, spacing and relative sizes. The point-size specifications demonstrate both line spacing, leading and title-size relationships. On one-line arrangements, align the logo 5 points of space to the left of and on the baseline of the first line of the tier-one name. Specifications for the logo within the panel are on page 8. When signatures need to be either larger or smaller, the relative scale of elements, leading, etc., should be observed. Templates of these signature layouts are available in Adobe Illustrator file format along with licenced fonts Big Caslon and Caslon 540 online at the Identity Website:

23 Primary letter style exclusively for the signature and titling Big Caslon Primary letter style for the signature Caslon 540 italic Supplementary Elements 23 complementary letter styles Primary serif letter style Primary sans serif letter style for body and heads Garamond #3 light Garamond #3 italic Garamond #3 bold Other serif letter styles for body and heads in multiple weights and italics Bauer Bodoni* Centaur* Century Electra* Granjon Palatino Perpetua* Sabon* *Fonts with lowercase (old-style) figures Gill Sans light Gill Sans light italic Gill Sans regular Gill Sans regular italic Other sans serif letter styles for body and heads in multiple weights and italics Akzidenz Avenir Frutiger Futura Helvetica The Mix* Univers *Fonts with lowercase (old-style) figures The Style extends to the use of the typeface options shown here. These typefaces are attractive and very functional, possessing a range of weights and styles for complex typographic needs. Most of these fonts are obtainable from Adobe or other major type sellers. Big Caslon and Caslon 540 can be requested from University Communications. See Resources on the Identity Web site: Serif fonts for heads only Big Caslon (caps. & lowercase, small caps.) Trajan (caps. only) Gothic is the recommended sans serif letter style for signs. Serif font for office use on a desktop PC Sans serif font for office use on a desktop PC Times roman Arial Times italic Arial italic Times bold Arial bold

24 Identity colors 24 Supplementary Elements bluegold Pantone Blue1235 coated, 122 uncoated cmyk rgb Web FFB300 Secondary palette Full-intensity colors 75% tints for softer colors Plus 20% black Neutral palette orange yellow-green green cyan blue purple Pantone purple cmyk rgb Web FE921C 71BC1F 3EA BB 7364AD Pantone 75% % % % % % purple cmyk rgb Web FDAD4B 94CF4C 6EBF5C 5AA1CA 9486BF AA49A1 Pantone k k k k k purple + 20k cmyk rgb Web CB E 1E6A95 5B508B 74126C complementary color palette A balanced and vivid color set has been created for use on various internal and external visual applications. It is intended to add special emphasis as well as to help link all presentations. Together with the logo color, blue, this secondary color set comprises the palette. Used singly or in combinations, the secondary colors can, for example, be applied to graphic elements on brochure covers, chapter divider pages and promotional folders. On other printed documents or in Powerpoint presentations, they can be used on diagrammatic or statistical charts and graphs. They may also find use on displays and temporary signing needs. The gray and metallic tints can be combined with the bright hues to create a more subtle, reserved appearance. Please note: Do not use any of the bright colors as the primary color on printed covers or other graphic media, especially behind or against the logo, since these colors are not associated with the identity. Refer to pages 9 through 12 regarding the logo and color usage and page 15 for incorrect usage. gray gray gray gray gray black silver Pantone warm gray 3 warm gray 5 warm gray 7 warm gray 9 warm gray 11 black silver cmyk no match rgb no match WebD1C6C0A89F9A9E F000000no match