Using design elements for print : For designers : Brand : �鶹ӳ��

Using design elements for print

Understand our framework for producing designs that incorporate �鶹ӳ�� brand elements.

Symmetry in our brand

The approach to our centred designs takes inspiration from the centrally aligned look of early �鶹ӳ�� publications.

The front cover of the first �鶹ӳ�� prospectus, dating from 1962, showing the centrally aligned look.

Logo

Our logo should always be horizontally centred. This central placement creates a strong axis that runs throughout communications, while framing surrounding content.

Preferably place the logo at the bottom margin. Where putting the logo at the bottom would compromise visibility, place it at the top margin instead.

This could be useful for exhibition stands or when brochures are displayed in literature stands.

Diagram showing the logo can be placed at the top or bottom of a piece of A4 paper

The logo should sit a clear distance from the bottom or top edge of the page. The minimum distance is the height of the symbol plus the height of a single line from the wordmark.

Diagram showing how far to place the logo from the bottom of a page, using spacer text for guidance

Displaying the name of a department, School or unit

We have created a system so Schools, departments and units at �鶹ӳ�� can fit seamlessly within our identity. To protect our reputation and to ensure consistency, these should be applied in a consistent manner.

You can add the name of a department, School or unit to give it prominence. Place this at the top margin of your design, centred, in the style of a running head (see typography).

Do not combine names of departments, Schools, professional services units and teams with the �鶹ӳ�� logo.

Diagram showing the name of the School, department or unit centred and placed at the top and the logo centred and placed at the bottom on branded publications

Read about our logo.

Page structure

Our page structure can be used for many applications including literature covers, posters and postcards.

The page is divided into three parts:

Heading

The heading of the composition is where the School, Unit, Title or URL should be placed.

Main content

The centre of the composition is where the main content is placed – either copy-led or symbol-led.

Sign off

The bottom of the composition is where the sign off should be placed – this can be the logo or wordmark.

Important: In exceptional circumstances, where placing the logo on the bottom margin would compromise visibility, use the alternative placement. This could be useful for exhibition stands or when brochures are displayed in literature stands.

Page structure diagram: The heading is placed in small capital letters at the top margin. The main content can consist of either copy or the US symbol, large in the centre. At the foot of the page you can either put the call to action, the logo or any additional information.

Symbol-led versus copy-led approach

Our identity allows us to place either copy or the symbol at the heart of the work.

While they are similar in approach, there are slight differences in the placement of elements.

Symbol-led versus copy-led diagram: This shows a symbol-led cover treatment with the US symbol large in the centre of the page, and a copy-led treatment featuring large text in the �鶹ӳ�� Baskerville font.

Symbol-led designs

These symbol-led approaches use the �鶹ӳ�� ligature as the symbol.

Page structure

The page structure of symbol-led work can be composed of the following elements:

Heading

The heading of the composition should contain the School, Unit, Title or URL, set in ITC Franklin Gothic Medium. The heading should always match the point size of the sign off.

Main content

The centre of the composition is where the symbol is positioned – it should be large, confident and dynamic.

Sign off

The bottom of the composition is where the sign off should be placed. This should be always be the logo or wordmark.

Framing device

If you’re using an image, apply the framing device. If it’s just copy, it can be ignored.

The framing device should be set to 5mm for A6, A5 and A4 formats, and 8mm for A3 and A2 formats.

The framing device should always be white – do not use colour.

Tip: If there are any print reproduction concerns about maintaining the correct margin, the framing device can be removed.

Symbol-led cover diagram: This visual example of a cover page layout shows the Heading, Main Content area, Sign off device and Framing device in use. The Heading example says ‘Undergraduate prospectus’. The Main Content is the US symbol and the sign-off says ‘�鶹ӳ��’. The framing device is a white border around the page.

Prospectus cover example

This image shows a symbol-led prospectus cover treatment.

How the symbol works with other elements

When used as a graphic element the symbol can interact with other elements to create additional depth and interest.

Example 1

Symbol-led cover example 1: The symbol can be placed behind people or objects within a scene, creating visual interplay. It should always appear straight on and never look forced in this instance. If a large proportion of the symbol is not visible, the logo lock-up should be used in conjunction with it.

Example 2

Symbol-led cover example 2: The symbol can appear to be overprinted against an image or illustration.

Example 3

Symbol-led cover example 3: Type can be overlaid on the symbol.

Important: In these examples minimum clear space rules do not apply. However, the symbol must always be centrally-aligned, both vertically and horizontally, to the page.

Copy-led designs

These examples show a copy-led approach using varied lengths and font sizes of copy.

Page structure

The page structure of copy-led work can be composed of the following elements:

Heading

The School, Unit, Title or URL, set in ITC Franklin Gothic Medium. This example has optical kerning and tracking set to +200.

Main content

Use UOS Baskerville Titling for copy. Like the symbol-driven option, this should be large, confident and central to the design.

Vertically, the type should be centrally-aligned between the bottom edge of the top component and the top edge of the bottom component.

Sign off

At the bottom, use the �鶹ӳ�� logo to sign off the page and centrally frame the copy.

Framing device

If you’re using an image, apply the framing device. If it’s just copy, it can be ignored.

The framing device should be set to 5mm for A6, A5 and A4 formats, and 8mm for A3 and A2 formats. If you’re working to a bigger canvas, scale up proportionately as you increase from A2.

Tip: If there are any print reproduction concerns about maintaining the correct margin, the framing device can be removed.

Copy-led cover diagram: This visual example of a cover page layout shows the Heading, Main Content area, Sign off device and Framing device in use. The Heading example says ‘Undergraduate prospectus’. The Main Content is a five-line phrase: ‘There is nothing like a dream to create the future’. The main content is centred vertically and placed an equal distance from the heading and the sign-off. The sign-off is the �鶹ӳ�� logo. The framing device is a white border around the page.

Prospectus copy-led example

This image shows a copy-led prospectus cover treatment.

Copy-led page examples

These examples show how the page structure can accommodate various text lengths, from single words to short statements or longer passages of text. Make sure all text remains legible.

Example 1: Page showing single word.

Example 2: Page showing short statement.

Example 3: Page showing longer passage of text.

Our grid system

When using grids in �鶹ӳ�� literature, use a 12-column grid as a framework. This allows spreads to adapt to two, three and four columns, which gives you flexibility within layouts and greater freedom with content.

The 12-column grid can be used on any size and format.

Designers should use their judgment when considering margin and gutter sizes and keep these consistent throughout a piece of communication.

12 column grid diagram: Double-page spread set up with a 12-column grid, evenly spaced gutters and even-sized outer and upper margins. The lower margin is slightly larger.

The diagrams below show a four-column, three-column and two-column grid. The gutters and margins are the same size in all examples.

Four-column grid

Three-column grid

Two-column grid

Typography

Shown below is a typical spread from a piece of printed �鶹ӳ�� literature.

The following principles for type styles should form the basis for printed literature designs.

Running heads

Marked 1 below – ITC Franklin Gothic Medium/uppercase/centred (this example has optical kerning and tracking set to +200).

Heading

Marked 2 below – UoS Baskerville Titling/sentence case/centred, optical kerning (this example has optical kerning and tracking set to -20).

Standfirsts

Marked 3 below – UoS Baskerville Titling/sentence case/centred (this example has optical kerning and tracking set to -10).

Page numbers

Marked 4 below – ITC Franklin Gothic Book/centred (this example has optical kerning and tracking set to +100).

Pull quotes

Marked 5 below – UoS Baskerville Titling/sentence case/centred or ranged left (this example has optical kerning and tracking set to -10).

Sub headings

Marked 6 below – ITC Franklin Gothic Medium/uppercase/centred or ranged left (this example has optical kerning and tracking set to +200).

Body text

Marked 7 below – ITC Franklin Gothic Book/sentence case/ranged left or centred (for longer passages of text always set text ranged left). (This example has optical kerning and tracking set to 0).

Typography diagram: Page layout designed using our brand fonts, styled according to the seven types of written content mentioned above.

Use your judgement when considering text sizes and keep these consistent through your work.

For a guide to our heading hierarchy in web content, browse our web components library.

See what our fonts look like and how to get them.

Sub-head hierarchy

Shown below is a typical spread from a piece of �鶹ӳ�� literature.

The following principles for type styles should form the basis for sub-heading hierarchy.

Header

Marked 1 below – UoS Baskerville Titling, sentence case, centred, 100% tint.

Sub level 1

Marked 2 below – ITC Franklin Gothic Medium, uppercase, centred or ranged left, 100% tint.

Sub level 2

Marked 3 below – ITC Franklin Gothic Medium, uppercase, centred or ranged left, 100% tint.

Sub level 3

Marked 4 below – ITC Franklin Gothic Medium, uppercase, centred or ranged left, 60% tint.

Sub-head hierarchy diagram: Page layout designed using our brand fonts, styled according to the seven types of written content mentioned above.

Tables

Shown below is a typical table structure from a piece of �鶹ӳ�� literature.

Take care laying out tables to ensure they are easily editable and, if published on-line, easily readable by screen readers. Tables should have a clear reading order and should be fully style-sheeted so screen reader tags can be applied.

The following principles form the basis for table styling.

Running heads

ITC Franklin Gothic Medium/uppercase/centred (this example has optical kerning and tracking set to +200).

Heading

UoS Baskerville Titling/sentence case/centred, optical kerning (this example has optical kerning and tracking set to -20).

Sub-headings

ITC Franklin Gothic Medium/uppercase/centred or ranged left (this example has optical kerning and tracking set to +200).

Horizontal rules

Extend the rule across the table when distinguishing major sub-sections, underlining the heading name and strengthening the structure.

For other rules, extend to the column of tinted cells as necessary.

Column highlight

Filled cells should be given a 20% black or a 30% tint of the subheading colour if applying a hue. Use your judgement when considering legibility and alter tints values if needed.

Typical table structure diagram: This is a typical table structure from a piece of �鶹ӳ�� literature. The example is taken from the �鶹ӳ��’s Financial Statements.

Inset tables

Shown below is an inset table to illustrate figures in the text.

Filled cells should be given a 30% tint of the subheading colour (marked 1 below). Use your judgement when considering legibility and alter tint values if needed.

Text-bordered margins above and below the table should be allowed an extra gutter-length’s space (marked 2 below).

Inset table diagram: An example of an inset table within a typical page layout. Alternate columns are highlighted with a pale colour, and there plenty of space has been left above and below the table.