BRAND GUIDELINES California College of the Arts

Transcription

1 October 2016 BRAND GUIDELINES

2 A LOGO. A TYPEFACE. A PHOTO. A VOICE. Together these tools can paint a picture of California College of the Arts that is accurate, aspirational, and as awesome as we are. When these brand elements infuse everything we do, we deliver a consistent vision of CCA. This guide is an in-depth look at how to implement the CCA brand creatively and effectively. LET S SHOW THE WORLD WHO WE ARE.

3 SECTION 3 OUR IDENTITY CCA s identity represents the institution at the most basic visual level. It s a signature, a stamp of quality, and a symbol of pride for all of us to rally behind. By following a few simple guidelines, we can ensure that our identity remains unmistakably ours.

4 OUR LOGO ELEMENTS The CCA logo is the cornerstone of our visual identity, and using it consistently helps us establish a strong, recognizable brand. The updated brand language uses a flexible system that creates a dynamic and versatile logo. The logo is composed of two elements: the CCA lettermark and the wordmark. The wordmark is available in horizontal and a vertical versions to accommodate various layouts. These logo elements should only be reproduced from authorized digital files. Do not attempt to typeset them or recreate them yourself. 23 CCA LETTERMARK The CCA lettermark is the most prominent element within the logo. The basic lettermark lockup is shown here; however, the brand expression allows for two other configurations that can be chosen and aligned with the wordmark in different ways. This flexible system allows the identity to interact dynamically with the other elements in nearly any layout not simply as a logo tucked into the corner of a page. The lettermark should always be a single color; in most cases, this will be PMS Although, white and black are sometimes permitted. COLOR The lettermark can only appear in these three colors. PMS 3262 Black White WORDMARK California College of the Arts The wordmark is a required element of the identity system. However, its placement and scale can vary significantly as part of the dynamic identity system. The wordmark s prominence will depend on how familiar the audience is with the college. At times, it can be omitted from materials for internal audiences. COLOR The primary color for the wordmark is black. White is permitted for some backgrounds in order to increase legibility. Black White

5 DYNAMIC LOGO As part of a broad creative platform for the college, we ve broadened the use of the existing college s identity. A flexible system allows the CCA lettermark set in three fixed configurations and the wordmark, also set in three configurations to combine in a variety of ways to create a dynamic identity that can utilize size and space to achieve greater visibility, recognition, and creative expression. To avoid mishaps with spacing of the elements of lettermark and wordmark configurations, always import or link to approved artwork files. 24 LETTERMARK CONFIGURATIONS LETTERMARK ANATOMY Single Line Left Stack Right Stack The individual letter of the mark are spaced equally apart using half the width of the ring component in the a. The letters should not be used in any other configurations. Individual files are provided for each of the lettermark configurations. WORDMARK CONFIGURATIONS Single Line Two Line Stack California College of the Arts Three Line Stack California College of the Arts The wordmark is an essential part of executing the dynamic logo and should be considered a fixed image. The spacing of letters and words have been considered and correspond to other identity examples in this section. The uniform expression of the wordmark is important to our identity when creating marketing material that represents the entire college. Individual files are provided for each of the wordmark configurations.

6 IMPLIED LINE IN DYNAMIC LOGO CONSTRUCTIONS The execution of a dynamic logo does not simply rely on placing the lettermark and wordmark on the same page or screen. The connection between the two elements must be apparent in the composition. The clearest way to accomplish this is by aligning the wordmark to one of the strong implied vertical or horizontal lines extending from the lettermark. 25 These diagrammatic examples illustrate the strongest areas of implied line created by the three lettermark configurations. The wordmark examples are generalized to illustrate this idea. When creating dynamic logo compositions, be sure that the wordmark does not overwhelm the visual hierarchy of the identity.

7 COMBINING THE LETTERMARK AND WORDMARK DYNAMICALLY While the wordmark is a required element of the logo in most applications, it should always feel connected to the CCA lettermark. In scenarios when we apply a dynamic logo, the scale of the wordmark in comparison to the lettermark is flexible, but should be visually connected through alignment. 26 These diagrammatic examples illustrate the relationship of the lettermark and wordmark within a given format. Other factors such as photography and copy may play a role in constructing layouts but the relationship of these elements can work together to help elevate the visibility of our identity. Note that each example, no matter the placement of the lettermark, the wordmark is anchored to an implied line created by the structure of CCA. The size of the lettermark element on the page should be determined by the format, the inclusion of other elements (like the wordmark, photos, and copy), and the underlying grid of the composition. The scale of the dynamic logo elements should not exceed the minimum requirements of the standard logo lockup outlined on page 28. To view more examples of the dynamic logo in more completion and with additional visual element, go to Section 5: Bringing Our Brand To Life, beginning on page 63. Boxes illustrate various format shapes and possible dynamic logo configurations. They are not to scale.

8 CLEAR SPACE FOR INDIVIDUAL ELEMENTS To achieve maximum impact and legibility, clear space must be maintained around the logo elements. The logo elements may be placed onto images, but no other graphic elements, typography, rules, or graphics should appear inside this clear space. 27 MINIMUM LETTERFORM CLEAR SPACE BLEEDING LETTERMARK In most cases, provide at least the minimum distance between the lettermark and other elements of the design. This includes the edge of the format frame, whether it is the screen or page. Additional space is advised for typographic elements. This is applied to all lettermark configurations. Some creative license is allowed for bleeding the dynamic logo in applications. This depends greatly on the scale of the logo and the visibility of the identity. See page 77 for an example of this limited application. Minimum clear space from format edge Minimum clear space from wordmark and other copy elements Corner illustrates a format edge or margin. MINIMUM WORDMARK CLEAR SPACE The clear space for the wordmark is equal to the cap height of the letter A in the mark. This is applied to all wordmark configurations.

9 STANDARD LOGO LOCKUPS In some instances, the dynamic logo expression is not appropriate for the layout situation (such as a co-sponsorship, an endorsement, or a particularly cramped space). One of the lockup options below should be present on outward-facing applications or in conjunction with a dynamic logo to provide a clear, more formal signature. Generally, this can appear at the end of a document. 28 PRIMARY STANDARD LOGO LOCKUP Double-Line Horizontal The preferred logo lockup is the Double-Line Horizontal configuration. The secondary lockups are provided as alternates to suit the aesthetic needs of the layout or to fit into constrained areas. SECONDARY STANDARD LOGO LOCKUPS Single-Line Horizontal LOCKUP ANATOMY The spacing between the lettermark and the wordmark should be half the diameter of the ring component in the a. Double-Line Stacked LOGO LOCKUP POSITION The preferred placement for our logo is the lower left zone of communications. If elements make the bottom left zone unsuitable, it s also acceptable to place the logo anywhere in the horizontal zone at the top or bottom. Again, corners are preferred, but the logo can be centered for more formal communications.

10 STANDARD LOGO CLEAR SPACE To achieve maximum impact and legibility, clear space must be maintained around the logo lockup. The logo elements may be placed onto images, but no other graphic elements, typography, rules, or images should appear inside this clear space. Use the diameter of the ring of the a as a measuring tool to help maintain clearance. 29

11 STANDARD LOGO MINIMUM SIZES To maintain full legibility, never reproduce the logo smaller than prescribed below for print or screen. There is no maximum size limit, but use your discretion when sizing the logo. It should never be the most dominant element on the page, but instead should live comfortably and clearly as an identifying mark inches (200 pixels) 2.75 inches (260 pixels) 1 inch (100 pixels).svg FORMAT For web, use the.svg (Scalable Vector Graphic) file format to ensure maximum flexibility and clarity. This format is essential in responsive web design, allowing for the logo to be appropriately scaled in all applications.

12 LOGO COLOR OPTIONS The color of the background will determine which version of the logo to use. Plan your layouts to accommodate using the preferred logo option. One-color versions of the logo should be used sparingly or if printing restrictions demand it. Use only the approved logo options represented here. 31 TWO-COLOR LOGO (PMS BLACK) Preferred Color background white or light TWO-COLOR LOGO (REVERSED WORDMARK) Dark Backgrounds ONE-COLOR: BLACK Light Backgrounds ONE-COLOR: WHITE Dark Backgrounds

13 LOGO MISUSES Here are a few simple don ts for using the CCA identity. Adhering to these will ensure that our logo is recognizable to all audiences. 32 DYNAMIC LOGO Do not arrange the elements of the dynamic logo so that the hierarchy of the wordmark overpowers the lettermark. Do not rearrange the lettermark elements or typeset the college name for the purpose of creating the dynamic logo Do not place any of the identity elements on their side or diagonally. STANDARD LOGO LOCKUP Do not change the colors of the logo beyond those provided. The logo can be placed on an image, but only in an area with very little contrast in tone or texture. Do not add drop shadows or other visual effects to the logo.

14 3 / Identity USING THE IDENTITY WITHIN PROGRAM SUB-BRANDS When individual school disciplines at CCA produce marketing and program information only about themselves, they should use standard logo lockups in their materials. The dynamic logo is reserved for CCA-wide branding and for communicating about more than one school or audience. ISOLATED LETTERMARK CALIFORNIA COLLEGE thearts sub-brand piece has already OF IfTHE established the California College of TITLE the OF Arts name within the same layout, COMMUNICATION or if the marketing piece has a clearly HERE defined CCA campus audience, then the lettermark may be used without the wordmark. PRIMARY LOGO LOCKUP INTERIOR DESIGN LECTURES CALIFORNIA COLLEGE OF THE ARTS LECTURE NAME Allison Arieff, Hadley Arnold, Peter Arnold, Jasmine Benyamin, Tom Buresh, Anita Cooney, Alvin Huang, Mitchell Joachim, Jinhee Park, Albert Pope, and Allison Williams join CCA faculty and other guests to review studio work in Architecture and Interior Design When including the identity, if the California College of the Arts name is not already present, the standard logo lockup must be used. Details at: cca.edu/calendar/architecture SUB-BRAND EXAMPLES CALIFORNIA CALIFORNIACOLLEGE COLLEGE OFOFTHE THEARTS ARTS TITLE TITLEOFOF COMMUNICATION COMMUNICATION HERE HERE CALIFORNIA COLLEGE OF OF THETHE ARTS CALIFORNIA COLLEGE ARTS INTERIOR DESIGN LECTURES INTERIOR DESIGN LECTURES DATA CLAY LECTURE NAME LECTURE NAME SYMPOSIUM Allison Arieff, Hadley Arnold, PeterPeter Arnold, Allison Arieff, Hadley Arnold, Arnold, Jasmine Benyamin, TomTom Buresh, Anita Cooney, Jasmine Benyamin, Buresh, Anita Cooney, Alvin Huang, Mitchell Joachim, Jinhee Park,Park, Al- AlAlvin Huang, Mitchell Joachim, Jinhee bert bert Pope, and and Allison Williams join join CCACCA Pope, Allison Williams faculty and and otherother guests to review studio workwork faculty guests to review studio in Architecture and and Interior Design in Architecture Interior Design Details at: cca.edu/calendar/architecture Details at: cca.edu/calendar/architecture PROSPECTUS PROGRAM The School of Architecture is a unique example of a sub-brand with a distinct visual expression. While the sub-brand should adopt minimal aspects of the identity into its execution, it should not adopt the voice and messaging of the overall college brand. In this case, the visual elements of the school and distinctive tone and language of the college brand are incompatible. SUMMER 2016 DATA DATACLAY CLAY SYMPOSIUM SYMPOSIUM PROSPECTUS PROSPECTUS SUMMER SUMMER PROGRAM 2016 PROGRAM 2016 LOGO RESTRICTION Do not create or lock up the sub-brand s name or other elements with the lettermark identity. 33

15 COLLEGE SEAL Our seal is an important part of our college s heritage. It is reserved for use on communications that represent the Office of the President. For example, it s imprinted on ceremonial documents, awards, and diplomas. It may be used occasionally for other purposes, but only by permission from the Office of the President. For more information on the use of the college seal or to request artwork files, communications@cca.edu. 34 The College Seal should never be locked up with the wordmark and should not be modified in any way. The versions of the seal on this page are the only versions permitted. COLOR OPTIONS BLACK NEW TEAL (PMS 3262) PMS COOL GRAY 8 WHITE MINIMUM SIZE CLEAR SPACE In order to maintain full legibility, never reproduce the seal smaller than 1.0 inch for print. There is no maximum size limit. The use of the seal for web is discouraged due to the amount of detail. Use your best judgment on other screen applications. Ensure that clear space is maintained around the seal for legibility and prominence. Photos, text, and graphic elements must follow these guidelines. Use one quarter of the seal s diameter as a measuring tool. 1 inch

16 RESOURCES AND CONTACTS Please contact the Marketing and Communications office with questions and requests for using the assets presented in this document. Becky Ruden Vice President Marketing and Communications Strategy E becky@cca.edu T M