Royal academy engineering visual identity guidelines

A guide to our visual identity

Royal Academy of Engineering

2

Introduction

Introduction The logo The key elementsApplying the elements

>Identity guidelinesVersion 1.0

At the heart of society

The Royal Academy of Engineering promotes excellence in the science, art and practice of engineering. We are Britain’s national engineering academy as well as the fellowship of the country’s most eminent engineers. These guidelines have been created to explain the Royal Academy of Engineering’s visual identity and how it should be used. They are intended for anybody who works with the organisation, whether you are commissioning, designing or delivering communication materials as a member of staff or an external agency.Please read these guidelines carefully as they contain detailedinformation on how to apply the design elements and ensure we create a unique and flexible visual identity that is distinctly ours.


3



Introduction

Contents

The logo01 Our logo02 Colour varients03 Our strapline04 Logo colour formats05 Logo sizes06 Use on coloured backgrounds07 Exclusion zone08 Positioning the logo09 Working with partner brands10 Our logo as an endorsement11 Please avoid

The key elements12 The thread device13 Working with the thread16 Our corporate typeface17 Working with typography18 Producing clear print19 Our system typeface20 Our colour palette24 Imagery style25 Gradient overlay image treatment

Applying the elements26 Our distinctive visual style27 Design tone A28 Examples of design tone A29 Design tone B30 Examples of design tone B31 Design tone C32 Examples of design tone C33 The A4 grid34 The A5 grid35 Working with the grid36 The grid in use37 The design checklist38 Further information


01

The logo



Our logoOur logo is modern, confident and distinctive and ensures we stand out in the marketplace. It is made up of two elements - the symbol and the wordmarque.

These elements are of a fixed sizeand position relative to one another and should not be altered in any way. Never attempt to recreate the logo and always use the master artwork supplied.

Our logo is the most valuable asset of our visual identity and an instantly recognisable symbol of the organisation. It has been inspired by a flint axe and designed to visually represent our core proposition – engineering is at the heart of society.

The symbol The wordmarque


02

The logo



Our logo is available in a series of different colour versions to enable flexibility and creativity in application. They are to be used freely and not to categorise communications.

Colour variantsThe logo must only appear in the colourcombinations shown on this page. Never attempt to recreate the logo and always use the master artwork supplied.

Special use logo varientThe silver version of our logo can be created in CMYK or a metallic can be used. This logo is restricted for use by the President and CEO for their personal communications such as business cards, letter heads and invitations.


03

The logo



Our strapline is a strong link back to the strategic vision of placing engineering at the heart of society. It is a bold statement of intent.

There is flexibility when using the strapline, as it can appear on its own or be locked up alongside the logo as illustrated below. Please ensure that it is set at the same width as the wordmarque; this will ensure neither element dominates the other.

The strapline is available as artwork to complement each of the logo colour options. Please ensure the correct strapline and logo combination are used.

Our strapline


04

The logo



Our logo is available in a series of different colour versions for different applications. This page explains where to use each version. Please ensure the correct logo is used when creating online and offline visual materials.

Logo colour formats

Four colour logo (CMYK) This is the preferred version of the logo and should be used on corporate literature, colour advertising and wherever full colour reproduction is possible.

One colour greyscale logo This version should be used on applications where only one colour reproduction is available, such as forms and mono advertising.

One colour solid logo This version is only to be used for reproductions where gradients cannot be reproduced effectively, such as screen printing, etching and embossing.

RGB colour logo This version should be used for all on screen applications such as PowerPoint presentations and web.

This is dummy text. It is intended to be

read but have no meaning. As a simulation

of actual copy, using ordinary words with

normal letter frequencies, it cannot

deceive the eye or brain.Engineering breakthroughsChanging the skyscraper race

This is dummy text. It is intended to be

read but have no meaning. As a simulation


normal letter frequencies, it cannot

deceive the eye or brain.

Moving the masses:Rethinking public transport Advances in structural technology

This iss dummy text. It is intended to be

read bbut have no meaning. As a simulation


normaal letter frequencies, it cannot

deceivve the eye or brain.

Chaanging theskyyscrapper race

This is dummyy text. It is intended to be

read but have nno meaning. As a simulation

of actual copy using ordinary words with

of actual copy,, using ordinary words with

normal letter ffrequencies, it cannot

deceive the eyye or brain.

Retthinnking ppublic transport

This is dummy text. It is intended to be read but

have no meaning. 20 October 2012

Generic form example

YOUR DETAILS

1. About you

Surname

First names

2. About your spouse

Address

Telephone

Email

>> PLEASE USE EPS FILE FORMAT


>> PLEASE USE JPG FILE FORMAT



05

The logo



Logo sizesOur logo should be used at varying sizes depending on the application. Below are the recommended sizes to use on standard format applications. There is no maximum size at which the logo can be reproduced, although care should be taken to ensure that it is appropriate for its application.

80mm

60mm

50mm

A3

A4

A5

A6

DL

40mm

45mm

280px

Business Card

Digital

35mm


06

The logo



Use on coloured backgroundsOur logo should only ever appear on a white or a light tinted background or neutral areas of photography. It must never appear over bright colours, over busy areas of photography, or on patterns.

On a white background On a light tinted background

On a strong coloured background Over busy areas of photography On illustrations or patterns


07

The logo



We have defined a minimum clear space into which no other visual elements should be placed. To ensure visual impact we recommend keeping a large area of white space around the logo wherever possible.

Exclusion zoneThe grey line indicates the exclusionzone for the logo. The zone is basedon half the width of the symbol. This is the minimum space around the logo, however please keep as large a space as possible around the logo.


08

The logo



The logo can appear on either side of materials and at any height, as illustrated below. In each case the logo is to be positioned a set distance away from the edge of publications, as defined by the exclusion zone.

Positioning the logo


09

The logo



In certain instances, our logo will appear alongside other partners’ logos on applications and communications. The examples on this page illustrate the three most likely relationships.

Working with partner brands

AnyCo

AnyCo AnyCo

Lead partner When we are the lead partner, the design of materials should conform to our visual style with our partners’ logo positioned at the bottom of covers. The partner logo should be sized approx 3/4 the width of our logo.

Equal partner Where we are working in equal partnership, both logos should appear at the top of covers and the design of materials should, where possible, conform to our visual style or, at minimum, include one of our design assets.

Secondary partner Where we are not the lead partner, the design of materials will normally be influenced by our partner’s own visual style. In this instance, we must ensure that our logo is applied and positioned correctly according to the principles set out in these guidelines.


10

The logo



Our logo will appear as an endorsement alongside other logos on third party applications. In these cases, it is important that the impact of our logo is not lost and enough space is left around it.

Our logo as an endorsementThe space around the logo should be at least the specified size of the exclusion zone, and where possible, double that as illustrated below.

Negative logo version We have a negative version of the logo which has been created to use when our logo is restricted to appearing on a dark background on a third party application. This version is only to be used if a dark background is completely unavoidable.


11

The logo



Our logo is a valuable visual asset and care must be taken to ensure it is clearly presented. In order to preserve the integrity of the logo, please avoid executions which misuse, amend or trivialise the identity.

Please avoid

G L BA L

Never apply a drop shadow to the logo

Never set the logo at an angle

Never distort the logo to fit

Never modify the relationship betweenthe symbol and the wordmarque

Never skew the logo

Never use the symbol within headlines or slogans


12

The key elements


>

Identity guidelinesVersion 1.0

The thread device is a graphic representation of engineering running through the heart of society. It is a dynamic device that encapsulates this ethos and forms the basis of our visual style.

The thread deviceThe device has been created to flow from a controlled and balanced beginning to a loose and fluid end point. This enables us to crop into set areas of the thread to form a series of interesting and varied creative executions.

A colourful asset The thread device is available in each of the logo colourways - please always ensure that the same colour logo and thread device are used together.

The thread has been created specifically for the Academy, never attempt to recreate it and always use the master artwork supplied.


13

The key elements


>


The thread can be cropped at different points along its length to enable almost limitless executions. However, it should not be used in its entire length. Illustrated here are a series of crops that could be used.

Please note that the thread is only to be used on the front of applications and must not appear on the inside of any publications, as this will lessen its impact.

Working with the thread


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The key elements


>


The thread device has been created in 3D software – and is available to use as artwork in PSD format with an Alpha channel cut out layer. This format will allow for easy import and use in DTP software such as Adobe Indesign.

This page illustrates how to import the artwork correctly into Indesign, to work with the asset effectively.


Step one Select the required thread and check the small dialog box on the left hand side of the panel labelled ‘Show Import Options’.

Step two Select the image tab from the top menu, then select the Alpha channel from the drop down menu.

Step three The placed image file will now have the thread shape masked – allowing for images to be easily set behind it.


15

The key elements


>


This is an extremely flexible element, so care should be taken when working with it. Below are examples of things to avoid.


Ensure the thread does not overpower the design

Ensure the thread is not placed directly over images

Ensure the thread does not appear too thin and small in the design

Never add additional graphic effects to the thread such as a drop shadow

Ensure the thread is cropped cleanly with no extra elements creeping in

Ensure both colourways of the thread appear in all crops

Never adjust the colours within the thread device

Ensure the correct colourway thread is used with the corresponding logo


16

The key elements


>


Our corporate typeface is Soho, a type superfamily of fonts which is available as both a sans serif and slab serif and in a variety of weights and styles allowing for scope and creativity in application.

Our corporate typeface

Soho Gothic & Soho

It is a modern, distinctive and versatile typeface which has been designed to communicate with confidence and authority, whilst retaining a technicaland engineered feel.

It should be used for all professionally produced materials including annual reports, leaflets and advertising. This typeface is available for external agents to purchase from FontShop’s website:www.fontshop.com

AaBbCcDdEe£0123456789%&@:#?!*

AaBbCcDdEe£0123456789%&@:#?!*

We would recommend using Light, Medium and Bold as a starter set for most applications.


17

The key elements


>


Our corporate font has a wide range of weights available to ensure full flexibility in application. The use of font weights and sizes is not specified as various applications will require a different tone and feel to be communicated.

Working with typography

This is an example headlineThis is an example introduction paragraph. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it can not deceive the eye or brain.

This is an example picture caption - intended to be read but not understood.

This is example body copy. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain. Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves.

This is an example headlineThis is an example introduction paragraph. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it can not deceive the eye or brain.


This is example body copy. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use gibberish to approximate text have inherent disadvantages that they distract attention towards themselves.

The advantage of the Soho font family is the ability to mix and match the slab and sans serif typefaces together in applications as they share the same character shapes.

The individual design tones specified from page 25 onwards dictate which font weights are available to use for individual designs. In each case the slab and sans can be used.

Soho Gothic Light Soho Heavy

Soho Gothic Light Soho RegularSoho Gothic Italic Soho Italic

Soho Bold

Soho Gothic Light

headline Soho Gothic Light headline Soho Heavy

words with normal letter frequencies, it can not deceive the eye or brain. Soho Bold

copy, using ordinary words with normal letter frequencies, it can not deceive the eye or brain. Soho Gothic Light

attention towards themselves.

Soho Gothic Light

attention towards themselves.

Soho Regular




18

The key elements


>


When designing and producing any form of print collateral, it is important to adhere to our legibility requirements and ensure the following:

Producing clear print

>> The text is clear, simple and consistent>> The text is of sufficient size and weight

and easy to read>> The contrast between the text and background is

as high as possible - only white or light backgrounds should be used with black or dark text

>> Text should not appear in front of complicated or high contrast images


19

The key elements


>


Verdana is our system typeface and should be used when restrictions mean that Soho can not be used. These includeinternally created documents, lettersand electronic media, such as online.

Our system typefaceThis typeface is a web safe font and has been chosen to complement Soho.It is readily available on all PCs.

VerdanaAaBbCcDdEe£0123456789%&@:#?!*

Please note this typeface should not be used for external professionally created applications, including corporate materials, advertising and communications which should use the Soho type family.


20

The key elements


>


Illustrated is the mini palette to use when working with the green version of our logo. These colours should be matched accurately to ensure they are applied consistently.

Our colour palette

PMS 2748cCMKY 100/95/15/25RGB 34/41/108WEB #22296C

PMS 299cCMKY 90/20/0/0RGB 0/153/218WEB #0099DA

PMS 297cCMKY 55/0/0/0RGB 91/203/245WEB #5BCBF5

PMS 3425cCMKY 90/20/90/40RGB 0/101/56WEB #006538

PMS 376cCMKY 40/0/100/0RGB 166/206/57WEB #A6CE39

PMS 570cCMKY 50/0/40/0RGB 127/203/174WEB #7FCBAE

PMS 425cCMKY 10/0/10/70RGB 97/105/102WEB #616966

PMS 422cCMKY 10/0/10/30RGB 169/181/175WEB #A9B5AF

PMS 5527cCMKY 15/0/15/10RGB 196/215/212WEB #C4D7CA

Ultramarine

Electric Blue

Hydro Blue

Dark Green

Acid Green

Jade

Slate Grey

Steel Grey

Light Jade

Our colour palette features a series of bright colours taken from the logos, with a selection of muted secondary colours.

The colour palette has been split into a series of mini palettes which complement individual logos. These are outlined on the following pages.

Please do not use the colours shown on this page, and elsewhere in these guidelines, for colour matching. They are not intended to match the PANTONE® Colour Standards. For accurate PANTONE® Colour Standards, refer to the current edition of the PANTONE® colour Formula Guide. PANTONE® is a registered trademark of PANTONE® Inc.


21

The key elements


>


Illustrated is the mini palette to use when working with the yellow version of our logo. These colours should be matched accurately to ensure they are applied consistently.

Our colour palette




PMS 200cCMKY 0/100/85/15RGB 206/21/45WEB #CE152D

PMS 151cCMKY 0/60/100/0RGB 245/130/32WEB #F58220

PMS 7548cCMKY 0/20/100/0RGB 255/203/5WEB #FFCB05

PMS 425cCMKY 0/0/10/70RGB 99/99/93WEB #63635D

PMS 422cCMKY 0/5/10/30RGB 189/180/171WEB #BDB4AB

PMS 7528cCMKY 0/7/20/14RGB 223/207/182WEB #DFCFB6

Ultramarine

Electric Blue

Hydro Blue

Red

Orange

Yellow

Storm Grey

Cement Grey

Sand



22

The key elements


>


Illustrated is the mini palette to use when working with the purple version of our logo. These colours should be matched accurately to ensure they are applied consistently.

Our colour palette




PMS 2627cCMKY 75/100/0/50RGB 59/2/86WEB #3B0256

PMS 225cCMKY 5/90/0/0RGB 226/61/150WEB #E23D96

PMS 521cCMKY 40/50/0/0RGB 157/133/190WEB #9D85BE

PMS 7540cCMKY 10/10/0/70RGB 97/97/106WEB #61616A

PMS 5215cCMKY 7/15/0/30RGB 172/162/177WEB #ACA2B1

PMS 5235cCMKY 5/15/7/15RGB 206/189/192WEB #CEBDC0

Ultramarine

Electric Blue

Hydro Blue

Ultraviolet

Magenta

Amethyst

Charcoal Grey

Rose Quartz

Warm Grey



23

The key elements


>


Illustrated is the mini palette to use when working with the silver version of our logo. These colours should be matched accurately to ensure they are applied consistently.

Our colour palette




PMS 7477cCMKY 45/0/0/75RGB 43/84/100WEB #2B5464

PMS 7542cCMKY 15/0/0/30RGB 158/179/190WEB #9EB3BE

PMS 545cCMKY 20/0/0/10RGB 181/213/229WEB #B5D5E5

Ultramarine

Electric Blue

Hydro Blue

Graphite

Silver

Sky



24

The key elements


>


When choosing imagery, always try to use images that are future focused, dynamic, aspirational and thought provoking. These images also need to illustrate people’s relationship with society.

Imagery styleEngineering is an exciting topic, and this needs to be communicated clearly. The images should always be high resolution and correct for design output.


25

The key elements


>


For certain applications, a bespoke image treatment can be used to add an extra dimension to imagery.

The process of creating these images is outlined below. This image treatment can be used across designs for tone A, B and C.

Gradient overlay image treatment

1. Original image 2. Cut out Image - change colour mode to greyscale, increase contrast then change colour mode back to CMYK

3. Open a new layer - use the gradient tool to add a dynamic gradient to the image - utilising the secondary palette. Adjust the layer transparency mode to overlay. Ensure the result is visually similar to those illustrated here


26

Applying the elements

Introduction The logo The key elementsApplying the elements >


Our visual style is controlled by the concept of a dial device which can be turned up or down depending on the target audience and type of message that is trying to be conveyed.

Our distinctive visual style

1 10

2 9

3 8

4 75 6

This is an extremely flexible system, so to add control we have three tones of communication. These tones will help to ensure that all materials produced are communicating effectively.

Tone A The visual style is to be used for communications that aim to inform and update the reader or for reference purposes. Examples include the annual review, the List of Fellows, newsletters, stationery and business cards.

Tone BThe visual style is to be used for communications that aim to inform and involve the reader and to elicit a response. This tone is to be used primarily for policy reports, research findings and activities targeting a professional audience for professional purposes, such as materials for marketing grant schemes and workshops, seminars and technical lectures.

Tone CThe visual style is to be used when the aim of the communication is to inspire the reader and / or to elicit an action. This tone is to be used primarily for activities that are aiming to attract a wide range of audiences including event flyers, schools activities, fundraising activities and materials for marketing awards and prizes.

Each tone has its own set of design criteria, which become looser and freer as the dial is turned up.

Tone B


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The visual style is to be used for communications that aim to inform and update the reader or for reference purposes. Examples include the annual review, the List of Fellows, newsletters, stationery and business cards.

Design tone A

1 10

2 9

3 8

4 75 6

The visual style is created by the useof smaller images and a more corporate layout. Care should be taken to ensure that there is plenty of white space.

Small image area The image area for contained imagery can cover no more than a 1/5 of the application height. Cut out images using the image treatment can be larger - as long as large areas of white space are maintained.

White space Use of an open, clean design with plenty of white space

Font choice Light, Medium and Bold weights can be used

Logo positioning The logo can be placed in the four corners of applications

Complementary colours The thread device and logo colour complement the chosen imagery

This design tone does allow for the thread device to be used in isolation, as illustrated on the next page.


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These examples illustrate design tone A applied to a series of applications.

Examples of the design tone A

1 10

2 9

3 8

4 75 6

Image treatment This design tone allows for the use for the image treatment applied to cut out images, whilst maintaining large areas of white space


29




The visual style is to be used for communications that aim to inform and involve the reader and to elicit a response. This tone is to be used primarily for policy reports, research findings and activities

Design tone Btargeting a professional audience for professional purposes, such as materials for marketing grant schemes and workshops, seminars and technical lectures.

1 10

2 9

3 8

4 75 6

Image area The image area allows for images of up to 1/3 of the application height to be used

White space The increase in image size for this design tone means these applications have less white space

Font choice Font choices are opened up to allow the introduction of Thin, Regular and italic type weights

Logo positioning The logo can be placed in the four corners of applications



30




These examples illustrate design tone B applied to a series of applications.

Examples of the design tone B

1 10

2 9

3 8

4 75 6


31




The visual style is to be used when the aim of the communication is to inspire the reader and / or to elicit an action. This tone is to be used primarily for activities that are aiming to attract a wide range of audiences

Design tone Cincluding event flyers, schools activities, fundraising activities and materials for marketing awards and prizes.

1 10

2 9

3 8

4 75 6

Full image area and the ability to utilise cut outs Imagery is much more dominant within the design, with the opportunity to use cut outs

Font choice Font choices are opened up to allow for the use of all weights in the Soho font family

Logo positioning The logo is unrestricted to allow the logo to be used in different positions, still following the exclusion zone as a positioning guide



32




These examples illustrate design tone C applied to a series of applications.

Examples of the design tone C

1 10

2 9

3 8

4 75 6

Full image area Imagery is much more dominant within the design

Confident use of colour Larger areas of bright colours can be used to inject another dimension into designs


33




A six column grid has been set up to form the basis for all A4 size spreads. The grid can be used to create different column combinations of text and can be used to align photography and charts. Using the grid will ensure that all spreads have a common and consistent style.

All dimensions illustrated here are in millimetres.

The A4 grid

10 28 28 28 28 28 28 28 28 28 28 28 28 1017 173333333333

10

10


34




A six column grid has also been set up to form the basis for all A5 size spreads. As with the A4 grid, the grid can be used to create different column combinations of text and can be used to align photography and charts. Using the grid will ensure that all spreads have a common and consistent style.

All dimensions illustrated here are in millimetres.

The A5 grid

18.5 18.5 1433

18.53

18.53

18.53

18.58 18.5143

18.53

18.53

18.53

18.53

18.5 8

8

8


35




The grid can be used to create either two or three column grids for general text.However, these do not always need to be set solidly. Create instead a more spaciousdesign which will make the brochure more dynamic and exciting.

The following examples illustrate the flexibility of the grid and how it can be used creatively in application.

Working with the grid

2 column grid 3 column grid 2 + 4 column grid 2 column alternative grid


36




These examples illustrate the grid in use, making the most of the flexibility it offers.

The grid in use

This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.

This is an example heading


Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves. Simultext may be produced in any typeface, at whatever size and format is required. Paragraphs may be long or short.

This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have

sing ordinary words with normal letter frequencies, it cannot deceive the eye or brain.


This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention.



This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have

sing ordinary words with normal letter frequencies, it cannot deceive the eye or brain.








This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves. Simultext may be produced in any typeface, at whatever size and format is required. Paragraphs may be long or short.

It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain. Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves. Simultext may be produced in any typeface, at whatever size and format is required. Paragraphs may be long or short.

Texts can be produced to complete and area, as the basic copy is simply repeated. This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.


This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention. This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.




Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves.

Simultext may be produced in any typeface, at whatever size and format is required.

Paragraphs may be long or short. It is intended to be read but have no meaning. As a simulation of actual copy.

THIS IS AN EXAMPLEHEADING







Texts can be produced to complete and area, as the basic copy is simply repeated. This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy,


This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention. This is dummy text. It is intended to be read but have no meaning. As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.



Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves.

.

This is an example heading

2 column grid

2 + 4 column grid

3 column grid


37




This checklist has been developed to ensure all pieces of design created are ‘on brand’ and ensure that we are building a consistent and recognisable identity.

Design checklist

>> The logo is the correct size for the application and has been positioned correctly

>> The correct design tone has been used for the communication>> The imagery used is future focused and dynamic>> The logo and thread device colour choice complement

any imagery used>> The correct colour palette has been used with

the corresponding logo>> The thread device has been used effectively

and cropped at a suitable location>> The correct weights of type have been used>> The grid has been used correctly>> Sign off from the Academy’s communications team

Before any work goes to final production please ensure the following points are adhered to:


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Applying the elements >

Introduction The logo Key elementsApplying the elements

Further information

Our aim is to build a strong, lasting and consistent visual identity. Each area of our visual identity, from advertising to stationery should adhere to these guidelines. If you have any queries about them or their usage, please contact:

Dr Lesley PatersonHead of Communications and Engagement

E [email protected] +44 (0) 20 7766 0684

Dominic JoyeuxPublications and Web Editor

E [email protected] +44 (0) 20 7766 0679

Date post:	07-Apr-2016
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Royal academy engineering visual identity guidelines

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