Brand standards V1.1 September 2015
Brand standards Contents
2
Contents 04 Our brand 08 Today I will 11 Tone of voice 14 Brandmark and Open World 25 Colour 29 Type 34 Grid 37 Activation Mark 43 Holding shape 47 Photography 54 Information graphics 64 Illustration style 68 Digital 74 Video 82 Co-branding 93 Accessibility 98 Useful contacts
Our brand
1
04 Our brand Our customer promise
Helping people move forward every day Every day we help our customers to buy and sell whatever they want, however and whenever they want it. We make sure they’re not constrained by complexity, uncertainty or mistrust as we support them and their businesses in the drive for success. It’s important to build a new kind of relationship that’s not just based on great value, but also on mutual respect and trust. We are constantly seeking new ways to help our customers and clients seize the moment, enjoy the experience and achieve their ambitions. Making the most of today. Moving forward every day.
4
04 Our brand Our brand purpose
5
What we do is defined by the Barclays purpose:
We help people buy and sell every day
With trusted ingenuity at the heart of everything we do:
Helping people achieve their ambitions in the right way
What we do
How we do it Why we do it
6
04 Our brand Our experience principles
Our experience principles should guide our actions Trusted
Ingenuity
Inspire confidence
Brilliantly simple
Encouraging progress
Unexpected delight
Everything we do is secure, reliable and useful to our customers and clients.
We are upfront with our customers and clients. If we can’t explain it, we won’t do it.
We always find creative ways to meet the needs of our customers and clients so they feel they’ve progressed after every interaction with us.
We create special moments for our customers and clients, finding ways to bring a touch of enjoyment and magic to everyday life.
2
Today I will
02 Today I will From idea to sign-off
8
Today I will Our creative vehicle is built around the determined attitude of our customers and clients. It’s about how with Barclaycard at their side, they can seize the moment, make the most of their day and move forward.
The idea Visual
Key messaging
Sign-off
Whether using our photographic or illustration style, our visuals should bring our customer’s world to life. They should feel real, vibrant and playful.
Where communications represent the voice of our customer or client they should follow the structure “Today I will xxx (benefit)”. When this is not appropriate, e.g. direct communications such as letters, the structure should be switched to “xxx (CTA/benefit) today”. When written, “Today I will” should never be abbreviated. However, when spoken, it can be shortened to “Today I’ll” to sound more natural .
In brand communications “Get more out of today” should be incorporated as a sign-off to reinforce the customer promise. However, it should not be treated as a traditional strapline, so in other channels where we want to convey the sentiment of our promise, we incorporate it in a manner sympathetic to the context. For example by ending our letters with “Just another way you can get more out of today with Barclaycard”.
In instances where this is not possible (e.g. for legal reasons) the sentiment of us helping customers make the most of today should be reflected in the text.
Tone of voice
3
03 Tone of voice Introduction
Let’s PEP up our words:
Practical Empathetic Playful
10
11
03 Tone of voice Principles
It’s time to PEP things up
Our tone of voice principles
Every time you pick up the phone or put hands to keyboard, you’ve got an opportunity: to build a rapport, impress, sell, help and even make someone smile.
Practical
That’s why we need to use our words wisely. Tone of voice doesn’t just help us look at what we say, it helps us focus on how we say it. So whoever you’re talking or writing to, your words will feel and sound consistently and distinctively like Barclaycard.
We’re helpful, straightforward and clear. Our words make people’s lives easier.
Empathetic We’re in the moment. We stand alongside our audience and this brings warmth to our words.
Playful We’re ingenious. We solve problems with a lightness of touch that builds rapport. And we spread a little joy wherever we can. And when we get things right, we know it. How? Our audience will do two things:
Nod and smile A nod is a sign of understanding. It’s a sign of acceptance. I trust what I’m reading or hearing. A smile is a sign of satisfaction. It’s a sign Barclaycard ‘gets’ me. It’s a reason to feel positive, whatever the message. Download our toolkit from the Brand site to see how to PEP up your communications. It’s packed full of tips, techniques and best practice examples.
Visual identity
4
04 Visual identity Introduction
A strong brand is a consistent brand
13
14
04 Visual identity Principles
Let’s start with our four design principles. They define the framework for our brand identity and help us to create compelling, vibrant and coherent communications.
1 2 3 4
Simplicity is a must Clean and clear designs are the most effective. If there isn’t a purpose, it shouldn’t be there. Always communicate in plain language and remove unnecessary elements from your execution.
Keep it real We like what is real and natural. Our communications should reflect everyday life, mimicking our customer’s worlds, capturing moments as they happen.
Colour is key, in the right places While we’re predominantly a white and cyan brand, there is the opportunity at every touch point to use colour creatively.
Be insightful and accessible Before designing anything, start by understanding your audience and the environment where the interaction will happen. Use design influences and trends to keep our communications feeling relevant, fresh and ever-evolving.
04 Visual identity At a glance
15
Primary palette
Secondary palette
Primary brandmark
Open World
Activation Mark
Holding shape
Digital palette
Charts and tables
Illustration style
Icons
Photography
6x6 grid
Aa Bb Cc Typeface
04 Visual identity Brandmark and Open World
We open up
a brighter,
easier
world
16
17
04 Visual identity The brandmark
The brandmark Our brandmark acts as a distinct and recognisable signature across all of our communications. It’s made up of the Open World symbol and a wordmark. The symbol represents the nature of our brand: calm and controlled on the outside, vibrant and dynamic on the inside. The wordmark has been crafted from our Barclaycard Co font, modified to ensure maximum legibility.
Primary brandmark: full colour
Choosing the right brandmark Primary brandmark
The primary brandmark is the preferred version of the brandmark and should be used whenever possible.
Secondary brandmark
When space is an issue, the secondary brandmark can be used as an exception. Download our brandmarks here: Secondary brandmark: full colour
18
04 Visual identity The brandmark
Using the brandmark Clear space The clear space area is used to ensure our brandmark is always prominent and clearly visible in all our print and online communications. The clear space area applies to all versions of the primary and secondary brandmark. It is included in all the master artworks.
Primary brandmark: exclusion zone
Minimum size: 30mm / 133px
The clear space area is equal to the height of the wordmark (the height of the ‘a’ from the wordmark) across all edges.
Minimum size The primary brandmark is never used smaller than 30mm wide in print or 133px on digital media. The secondary brandmark is never used smaller than 22mm wide on print or 97px on digital media.
Secondary brandmark: exclusion zone
Minimum size: 22mm / 97px
19
04 Visual identity Brandmark variants
Choosing the right variant Both the primary and secondary brandmark appear in a number of colour variants. Each variant has been created for a specific use. The key is to ensure there is enough contrast so the brandmark is clearly legible. For information on how our brandmark works with others, see our co-branding and partnership section on page 85.
Core full colour brandmark: full colour horizontal brandmark. Note: the primary brandmark should be used whenever possible. The secondary exception should only be used as an alternative. It follows the same colour variant principles.
Core full colour The core brandmark is used in white or light photographic backgrounds.
Reversed full colour The reversed brandmark is used in cyan or mid to dark photographic backgrounds.
Greyscale The greyscale brandmark should be used in white backgrounds when full colour printing is restricted.
Full colour horizontal brandmark: light photographic background
Full colour reversed horizontal brandmark: mid to dark photographic background
Full colour reversed horizontal brandmark: purple background
Mono black The mono black brandmark should only ever be used when colour printing is restricted and tonal clarity cannot be guaranteed, for example in black and white advertisements and fax.
Mono white The mono white brandmark can be used when the core full colour version will not read clearly out of a dark photographic or coloured background or when printing in single colour.
Mono black horizontal brandmark
Greyscale horizontal brandmark
Mono white horizontal brandmark
20
04 Visual identity Animated and sonic brandmarks
The animated and sonic brandmark To help provide consistency across video content, the animated logo and sonic trigger should be used. They have been created to work together or separately where required. The animated version is ideally used on a white background or over light content. When this isn’t possible use the animated reversed brandmark to ensure standout.
Animated master brandmark (total length: eight seconds)
Animated reversed brandmark (total length: eight seconds)
Animated and sonic brandmark (total length: eight seconds)
Sonic brandmark (total length: two seconds)
Use the animated version for: • digital signage • corporate digital presentation • login screens (mobile/online/POS) • end frames (TV, film) • confirmation screens (games/online/mobile)
21
04 Visual identity Animated and sonic brandmarks
Using the animated and sonic brandmark Clear space The clear space for the animated brandmark follows the same principles of the static brandmark, leaving a distance equal to the height of the ‘a’ in the wordmark around all edges.
All animated brandmark assets are provided at 16:9 ratio with the correct exclusion zone
Minimum size: 172px
Always ensure 0.5 seconds of silence comes before and after the sonic brandmark in communications that contain music.
Minimum size To make sure the animated brandmark can always be seen properly, we never use it any smaller than 172px wide.
Positioning Exclusion (0.5 sec)
The animated brandmark should be centred to achieve maximum presence. Centred position
Exclusion zone
Sonic brandmark (2 sec)
Exclusion (0.5 sec)
22
04 Visual identity Using the brandmarks
Protecting the brandmark When using the brandmark, we ask that you help us look after it. These guidelines will help you avoid disturbing the integrity of the brandmark.
Don’t place the full colour variants of the brandmark on a complicated background, ensure that the most appropriate brandmark is being used
Don’t alter the brandmark lock up
Don’t alter the colour of the brandmark
Don’t distort the brandmark
Don’t use the brandmark as part of the copy
Don’t use the animated brandmark in greyscale
Don’t change the speed or movement of the animated brandmark
04 Visual identity Open World
The Open World symbol is part of the Barclaycard brandmark adding visual interest and creating recognition of our brand.
23
24
04 Visual identity Open World
Open World variants The Open World symbol can be used as a graphic, in dramatic and bold crops as shown in the following pages. It adds visual interest and builds greater recognition of our brand.
Open World reverse
Open World greyscale
Open World full colour
Open World mono white
04 Visual identity Brandmark, Open World and our cards
Our cards Our card designs are simple and always include the Open World symbol. The Open World full colour symbol then adapts to the chosen colour. For example, a cyan Open World symbol should sit on a cyan background. This differentiates between each product and embodies the flexibility and range of our services and products. The colour variants detailed should be used for all other applications. The card designs are the only exception that allows the Open World symbol to change to unspecified colours.
25
04 Visual identity Open World usage
26
Open World crops The crops shown on this page are the only permitted crops for portrait and landscape formats. It should not be used at a small size, but as a big and bold graphic with no more than one per execution. The symbol should only ever be cropped on two sides. Left and bottom or right and bottom. In portrait formats the symbol can also sit centred vertically and cropped left or right. The top of the should never be cropped as this is the most recognisable part of the symbol. These cropping principles apply to all of the other Open World colour variants.
Portrait or square left crop
Portrait or square right crop
Portrait banner left/right crop
Landscape left crop
Landscape right crop
Panoramic banner left crop
Panoramic banner right crop
5
Colour
05 Colour Introduction
Life’s better in colour
28
05 Colour Colour palette
29
Primary palette
Secondary palette
Used consistently, our primary palette delivers strong brand recognition across all expressions and provides clear navigation through our products and services.
Yellow is used as an accent colour for the Activation Mark, infographics, backgrounds, charts and tables. Raspberry, turquoise and blackcurrant are used as an accent colour for text, backgrounds, holding shape, infographics, charts and tables. Yellow should never be used for text. These colours should always support the primary palette and should never be used as ‘hero’ colours.
The use of white space makes our material clear and straightforward. The single, consistent use of vibrant cyan builds familiarity. Purple is used to add brightness to text and graphics. Dark purple is our neutral colour. It is used for supporting type and body copy. Silver is used for supporting copy and black is used for single colour production.
White
Cyan
Purple
Yellow
Raspberry
CMYK: 0/0/0/0 RGB: 255/255/255 HEX: #ffffff
Pantone: Process Cyan CMYK: 100/0/0/0 RGB: 0/161/228 HEX: #059FDB
Pantone: 267 CMYK: 85/100/0/0 RGB: 82/35/160 HEX: #5224A0
Pantone: 7409 CMYK: 0/33/100/0 RGB: 233/179/25 HEX: #e9b319
Pantone: 215 CMYK: 6/100/26/24 RGB: 154/3/85 HEX: #9a0355
Dark purple
Silver
Black
Turquoise
Blackcurrant
Pantone: 2695 CMYK: 89/100/6/56 RGB: 63/25/98 HEX: #3F1962
Pantone: 877 CMYK: 51/41/40/05 RGB: 132/135/137 HEX: #848789
Pantone: Black CMYK: 40/40/20/100 RGB: 0/0/0 HEX: #000000
Pantone: 326 CMYK: 80/0/40/0 RGB: 111/180/170 HEX: #6fb4aa
Pantone: 255 CMYK: 55/95/5/25 RGB: 100/39/105 HEX: #642769
30
05 Colour Colour palette
Using the primary and secondary colour palette All of our colours have been chosen for a specific role. Using them appropriately creates a strong and consistent brand across all of our communications and executions.
Activation Mark
Hero headlines
Headlines and subheads
Body copy
Text accents
Hero headlines are typeset in cyan or white Hero Paragraphs are set in cyan, or white when reversed out of a colour, or purple to create standout
Headline and subheads are set in cyan, white or purple Body copy is set in Dark Purple,Silver or Black.
Charts and graphs
Volo et omni amet plibusant as quis reperro bercit quiae exped ut iustrum facimo officias quamusae molut et expla qui ntibus, quibusciis asit, que estibea taturibus es ape veliquae rem quiaest lam, qui offictur. Qui nis dolut eturece ptatur sam assi ilitatia iditaquo dolorit
Holding shape
molupti to et laborporrum fugiatur sim quiatate la pra volendest ut iscitis que idem faccuptae anis dunt. Aqui verorem fugiti cullaniam, quam utatur restinis aut molupta cus. Fugitas sitati que nonsequamus mossimaio quam quia volo et omni sum plibusant as quis reperro bercit quiae exped ut iustrum facimo officias quamusae et expla qui delenda ntibus, quibusciis asit, que estibea taturibus es ape quiaest lam offictur.
6 Type
06 Type Introduction
32
AaBbCc Meet Barclaycard Co, our brand’s handwriting
33
06 Type Our typeface
Barclaycard Co
Barclaycard Co Light
Simple, clean and contemporary, its consistent use unifies all of our print and online communications.
Used for body copy and tables of information.
Its flexibility, with a scale of expression, can be used to convey a wide range of stories from standard functional copy to more expressive variations. It allows us to inform and inspire our audiences wherever we meet.
Barclaycard Co Regular
Download our typeface here:
Used for headlines, subheadings and points of emphasis within body copy.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 ?><(*&^%$£@!
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 ?><(*&^%$£@!
Barclaycard Co Bold Should be used for hero headlines and to draw attention to key words and phrases.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 ?><(*&^%$£@!
Open Sans Open Sans is only used for body copy in digital communications when it is impractical to use Barclaycard Co and should never be used for print. Open Sans is a free font commissioned by Google, it can be downloaded at opensans.com and implemented via Google Fonts. In instances where Open Sans is unavailable, Tahoma can be used as an alternative.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 ?><(*&^%$£@!
34
06 Type Our typeface
Hierarchy Headlines
Headlines use Barclaycard Co Regular Type should use sentence case with no punctuation Tracking should be set to Optical at -10
Colour appearance
Leading should be set the same as the type size (e.g. 35pt/35pt)
Introduction
Introductory copy should use Barclaycard Co Regular Type should use sentence case with no punctuation
Colour appearance
Tracking should be set to Optical at -10 Leading values should be set 2pt above the type size (e.g. 14pt/16pt)
35
06 Type Our typeface
Subheads
Subheadings use Barclaycard Co Regular Type should use sentence case with no punctuation
Colour appearance
Tracking should be set to Optical at 0 Leading should be set 2pt above the type size (e.g. 14pt/16pt)
Body copy
Body copy uses Barclaycard Co Light to ensure legibility. Use Barclaycard Co Regular to pull out titles and quotes. Type should use sentence case with full punctuation, and full paragraph breaks. Tracking should be set to Optical at 0.
Colour appearance
Leading should be set 2pt over the type size (e.g. 10pt/12pt). â&#x20AC;˘ Bullet points can be integrated to summarise points â&#x20AC;&#x201C; You can use two levels if needed
Terms and conditions Colour appearance
Terms and Conditions use Barclaycard Co Light to ensure legibility. Use Barclaycard Co Regular to give emphasis if needed. Type should use sentence case with full punctuation. Tracking should be set to Optical at 0. Leading should be set 2pt over the type size (e.g.6pt/8pt).
Grids
7
07 Grids Introduction
6x6 Itâ&#x20AC;&#x2122;s what makes our communications clear and consistent
37
38
07 Grids Using the 6x6 grid
The 6x6 grid Our 6x6 grid, is used to divide compositions horizontally and vertically. It is the distinct, consistent framework from which we create all our compositions across print, digital and large formats. It provides clarity in presenting information and prompts recognition across all our audiences.
Adding columns and rows Where possible, use 6 rows or columns (e.g. portrait DL layouts retain 6 rows). For complex, heavy layouts the grid can be increased to 12x12. 12x12 landscape grid
Removing columns and rows For tall and thin formats the grid can be optimised by removing rows and columns. Rows and columns should be removed or added in multiples of 3.
Digital formats Dimensions for digital formats vary widely. Pay attention to how formats are constructed and how they adapt. With this in mind, try to retain as many columns and rows as possible. Skyscraper and banner adverts may require coarse grids of 1x3 or 1x6. Margins on 72ppi digital layouts should be no less than 20pt. Gutters on 72ppi digital layouts should be no less than 10pt. These values should be scaled accordingly for high-resolution output (e.g. retina screens).
3x6 landscape DL grid 12x12 portrait grid
1x6 Web banner
8 Activation Mark
08 Activation Mark Introduction
We are moving forward
40
41
08 Activation Mark Using the Activation Mark
Quick principles Our Activation Mark has been created to draw attention to the most important pieces of information, and add a consistent design element to our communications. The Activation Mark should be used to highlight hero headlines and draw the eye to call to actions; it is here to add warmth and pace to our communications. It should always be pointing forward, following the direction of reading from left to right. It can be used next to hero headlines and to bring emphasis to our copy CTA. It should always be reproduced in our yellow, and should be used sparingly. We never see more than two symbols per page. The Activation Mark
Download our Activation Mark here:
The Activation Mark: clear space
42
08 Activation Mark Using the Activation Mark
Positioning There are two main ways to use our Activation Mark as part of our identity system. The most common way is to align the mark to the cap height of the headline that it is highlighting, as illustrated top right. When used with the call to action, the mark can be bigger and take the entire height of the block of copy.
The Activation Mark: cap height of headline
The Activation Mark: height of call to action
43
08 Activation Mark Using the Activation Mark
Protecting the Activation Mark
bullet bullet bullet
When using the Activation Mark, we ask that you help us look after it by following our guidelines. Whatever you do, never change its colour or shape and only ever use the assets we supply.
Don’t change the colour of the Activation Mark
Don’t change the angle of the Activation Mark
Don’t attach the Activation Mark to a online button of any kind
Don’t use the Activation Mark as bullet points
Protecting the Ac
When using the Activation Mark help us look after it by following Whatever you do, never change shape and only ever use the as
Using the Activation Mark Don’t change the direction of the Activation Mark
Don’t overlay copy on top of the Activation Mark
Don’t use the Activation Mark on its own. It must be connected to a copy line
Don’t use the Activation Mark in standard headings and subheadings
Always ensure there is sufficient contrast for maximum legibility
Don’t use the Activation Mark as a holding shape for imagery
Don’t alter the relationship of the elements within the Activation Mark
Don’t stretch or distort the Activation Mark
44
08 Activation Mark Using the Activation Mark
The Activation Mark at work
Double arrows | Mobile/Tablet
Here are some examples of the Activation Mark in action. Please be guided by the principles for the mark’s use and integrate wherever appropriate. Britain’s longest balance transfer 0% 35 month from account opening (2.49% free applies)
Britain’s longest balance transfer 0% 35 month from account opening (2.49% free applies)
Double arrows | Social Media
linkedin.com
with spend alerts Keep on top of your spend with our SMS and email spend alerts. You can always know where you stand, no matter where you are.
Get more out of today with your Barclaycard
To find out more visit
barclaycard.co.uk/benefits
Enjoy the future of payment today
9 Holding shape
09 Holding shape Introduction
46
Sometimes our messages need to be held
It makes them feel important
47
09 Holding shape Using the holding shape
How to use the holding shape Our holding shape provides us with an easily recognisable supporting container to highlight information. Its shape (with round corners and straight edges) is derived from our typeface to provide a unified look and feel.
Apply now Equi officabo. Itatium ay rem dolor sit, consectetur adipiscing.
barclaycard.co.uk/ business/hospitality
barclaycard.com/bespoke
Information holder
Footer
It has the flexibility to fit the full range of layouts and purposes, and to contain imagery and schematic diagrams.
Holding information
The holding shape can be used to highlight a call to action, terms and conditions or legal copy.
Holding footer information
The holding shape can be used to contain information to aid legibility on busy backgrounds.
Colour appearance: solid, infill or outline
Colouring the holding shape
Both the primary and secondary palette can be applied to the holding shape, either as a solid colour or outline to provide stand out in a communication.
Holding an image
The holding shape can be used to contain supporting imagery or schematic illustrations.
Images
Evenis autemodit ommo que veligenda qui ut adistrunti velendisto et volor sus autet in cum quissit ationemquis. Veniscimus essimus inulparum ipit omnita nonsed ut liquae estrum quae ium aliciis itatur. Suntis qui doluptatem ut.
Evenis autemodit ommo que genda qui ut adistrunti velendisto et volor sus. autet in cum quissit ationemquis. Veniscimus essimus inulparum ipit omnita nonsed ut liquae estrum quae ium aliciis itatur. Suntis qui doluptatem ut.
48
09 Holding shape Using the holding shape
Constructing the holding shape Our holding shape has a clearly defined relationship to the layout it is used on. The layout grid is used to define the radius (the holding shapes corners), and the content clear space within the holding shape itself. Both are equivalent to half the layout gutter width, as shown on the right. For example a layout with 15pt gutters would mean a 7.5pt radius and content clear zone. This allows the holding shape to scale proportionally across different sized applications. The line weight for the outline of the holding shape is 1.25pt for A4 formats and below. The weight scales proportionally with the grid for larger formats.
Stroke values
A4 1.25pt A3 1.7pt A2 2.5pt A1 3.5pt A0 5.0pt
The small formats of digital applications can result in small gutters and radius. A minimum radius size of 5pt should then be applied. Copy should be set in our defined type sizes (see page 28-29).
The corner radius is half the layout gutter width
Apply now Oluptus reium fuga. Mus doles exerion sectotat ligenis il minus eos et offic to. Lo eatur aute volorup tinventur, quost latium sit et rerit molor simus eos ut. Excerest dolut asim rem aspero barclaycard.co.uk/register/ The clear zone is half the layout gutter width
49
09 Holding shape Using the holding shape
Images Our images should be placed within the holding shape when appearing as part of a layout. The exception to this is when the images appear full bleed or run to the edge of the page. Here are some examples of how and where to use imagery in the holding shape.
Images should appear full bleed (left) or within the holding shape as part of a layout (right)
Full bleed images should not have rounded corners (left), nor should the holding shape be cropped at the edge of the page (right)
Photography
10
10 Photography Introduction
Our photography style is vital to creating a
warm and friendly brand
51
52
10 Photography Our photography style
Our photography is about one thing. Real life. Spontaneously captured moments using dynamic crops and angles. Colour is bright and slightly over-saturated. Everyday snaps of everyday people.
Our photography principles The following pages give details on the photography style, from commissioned to stock library shots; how they are created, selected and used.
Focus on the subject Make the subject the focus of the shot. The subject of our shots should appear everyday, natural and easy to relate to.
Composition Compositions can vary from a single subject in open space to a busy close-up. The subject of the photo should be captured in a reportage style without looking deliberately staged. The key is to keep shots natural with a hand-held feel. As if theyâ&#x20AC;&#x2122;ve been taken on a phone or a point and shoot digital camera. The compositions should not be obvious or contrived.
Creating space The subject can be positioned in the middle of the frame or off-centre to create areas of space and more dynamic and visually interesting compositions. This helps when positioning text on imagery.
Depth of field Having foreground or background areas out of focus helps to put more emphasis on the subject. It adds richness and a natural feel to images. Using depth of field in an image is a subtle technique that should be used often.
Colour and brightness Our photography uses bright, over-saturated colour images, with a strong tonal range from solid black shadows through to mid tones and pure white highlights. It helps to create warm yet strong images. Black and white imagery should only be used when reproduction limits the use of colour.
Carefully considered cropping Careful consideration to cropping can transform an image. Cropping out unnecessary elements to put the focus on the subject is an easy way to enhance an image. Cropping an image to make it asymmetric is also effective. Changing the angle by rotating the image can also make it much more dynamic.
10 Photography Our photography style
Our image library There is an approved photography library on the Barclaycard Brand Site. This is a mixture of lifestyle imagery that tells a story to our customers with warmth and humanity. And, shots that show the more functional aspects of the brand. These images fall into two categories, lifestyle and usage imagery which are explained on the next page. The library provides a wide selection of imagery that is suitable for any purpose or piece of communication. Our full image library and PDF contact sheets are available here:
53
10 Photography Using imagery
54
Lifestyle and usage photography Lifestyle photography
Usage photography
Where possible, this style of image should always be our preference. Lifestyle photography, along with our tone of voice and messaging, is used for story telling â&#x20AC;&#x201C; showing the benefits of our products and services. This type of photography will typically be found on advertising, web pages, literature and direct mail.
Usage imagery is used to show the more functional aspects, for example card transactions, and provide opportunity for product close-ups.
Lifestyle imagery
Usage imagery
55
10 Photography Our photography style
Using stock imagery If purchasing photography from a stock library it is essential that you follow the selection and retouching process. This will ensure that purchased photography looks the same as commissioned photography and the two can live side by side if necessary.
Selection The selection of photography from a stock library should follow the same criteria as commissioned photography. Real life, spontaneous, captured moments using real people not models.
Colour saturation Colour should be adjusted to feel bright and natural. Use the ’vibrance’ settings and ’curves’ in Photoshop. Ensure you select an image that can be colour corrected to suit. Images which have already had distinctive colour effects added, duotone or black and white images, for example, won’t sit well with our commissioned images.
Before
Brightened saturated colour Noise/grain added to the image Rotated slightly anti-clockwise
Add noise
Subject cropped off on left-hand edge
Once your image has been colour corrected, add noise to give the same grain effect as the commissioned images. The amount of noise required will depend on the choice of original image.
Crop and angle Once the image has been retouched correctly, consider how it can be cropped and whether tilting the image will help to give it a more hand-held, natural feel.
After
Retouched stock image matches commissioned photography
56
10 Photography Photography resources
Our stock imagery
New searches
UK image library contacts
On-brand images can be found in pre-approved lightboxes. These lightboxes are refreshed regularly and may either be used as a source of inspiration or to purchase from (please contact our Corbis, Getty or Offset representatives to purchase the images).
Offset
Offset
In instances when you need to source new on-brand images, make sure all searches are conducted on either Offset, Getty or Corbis websites in order to benefit from our discounted rate. We have dedicated researchers who have undergone considerable training, understand our Brand’s identity and will do free searches for us.
Username: barclaycardpremier Password: barclaycard
Licensing information
Corbis
All purchased ‘on-brand’ imagery will be added to the images section of this site.
Username: Barclaycard Password: Barclaycard1
Getty Username: Barclaycard Password: Barclaycard1
swest@shutterstock.com swoodthorpe@shutterstock.com 0782 477 1140
Corbis Emlyn.Phillips@corbis.com 040 7644 7614 | 0771 212 8411
Getty Rhiannon.Hayes@gettyimages.com 040 3227 2584
11 Information graphics
11 Information graphics Introduction
58
Form follows function Our information is presented in a simple, visual way. It is universally understandable, intuitive and focussed around creating a coherent customer experience.
11 Information graphics Iconography
59
Choosing the right icon When it comes to choosing icons, there are two different sets you can choose from – functional and playful. It all depends on what communication you’re working on and what message you’re trying to get across. Here’s how to decide:
Functional icons We use these in our core digital and print communications to help customers navigate and easily find what they’re looking for. When using these, you’ll need to: • keep things consistent and to the same scale • use the cyan and white from the primary colour palette – cyan on a white background, or white on a cyan background
Key spend categories in focus
focus: Clothing In focus:InClothing It has been a mixed for quarter for clothing Overall, spending on clothing increased 6.4% in the It has been a mixed quarter clothing retailers.retailers. Overall, spending on clothing increased by 6.4% by in the third of quarter 2014, but this is considerably lower the 11.5% year-on-year growth seen in the second third quarter 2014, of but this is considerably lower than thethan 11.5% year-on-year growth seen in the second transaction 1.2% compared the previous year. This is partly because have transaction is down is bydown 1.2% by compared with the with previous year. This is partly because retailers retailers have
Playful icons We use these icons to help a message stand out and to generally liven up our communications as well as bringing infographics to life. When using these, you can: • use any colours from the primary or secondary palette • experiment with sizes and crops of the icons • be creative
factors. factors. outnew for the newyear, school year, family clothing, which includes at retailers that for the entire out for the school family clothing, which includes spendingspending at retailers that cater forcater the entire household, accounted fortwo-thirds nearly two-thirds of all clothing spend and by 12% the quarter. By household, accounted for nearly of all clothing spend and grew by grew 12% over theover quarter. By men’s clothing fell by 2.1%. contrast,contrast, spendingspending on men’sonclothing fell by 2.1%. There have also been wide seasonal variations across the quarter. August was amonth strongfor month for There have also been wide seasonal variations across the quarter. AlthoughAlthough August was a strong many retailers, fashion retailers, September saw a dramatic in sales warm weather encouraged consumers many fashion September saw a dramatic slump inslump sales as warmas weather encouraged consumers unseasonably warm weather sales. JohnBritain’s Lewis, Britain’s largest department store chain, unseasonably warm weather hit sales.hit John Lewis, largest department store chain, has alsohas also that shoppers were delaying purchases winter coats, and boots. reportedreported that shoppers were delaying purchases of winterofcoats, hats andhats boots. to the next quarter, signs that retailers canstronger expect stronger Looking Looking ahead toahead the next quarter, however,however, there arethere signsare that retailers can expect sales onsales on Among our respondents, one-quarter think will increase theiron spend on clothing clothing.clothing. Among our respondents, one-quarter think that theythat will they increase their spend clothing over theover the next three months. Thisto is be likely to beindriven in purchasing part by purchasing for Christmas, andby in purchases part by purchases of next three months. This is likely driven part by for Christmas, and in part of winter clothing have been postponed. winter clothing that havethat been postponed.
The unseasonably warm start to autumn has impacted fashion retailers. Also, a lot of retailers delayed their summer sales because
and quarterly spend by category MonthlyMonthly and quarterly spend data by data category Aug 2014 Sep 2014 Plan to spend Jul 2014Jul 2014 Aug 2014 Sep 2014 Q3 TotalQ3 Total Plan to spend more in more Q4 in Q4 Family clothing 12% Family clothing Men’s clothing Men’s clothing
0.7%
12%
15.2%
15.2% 9.7%
9.7%
0.7%
-2.5%
-2.5% -4.3%
-4.3% -2.1%
12%
12%
17.1%
-2.1%
18.2% 18.2%
Women’sWomen’s clothing clothing 3.9%
3.9%
9.2%
9.2%
2.7%
2.7%
5%
5%
18.3% 18.3%
Department Department stores stores 7.3%
7.3%
6.0%
6.0% 2.2%
2.2%
5%
5%
16.4%
Overall spend clothing 6.9% spend Overall clothing
6.9% 9.6%
9.6% 3.5%
3.5% 6.4%
Functional icon set
That’s a broader challenge in the sector, which would have shifted
17.1% Natalie Berg Global Research Director Planet Retail
16.4%
6.4% 25.7% 25.7%
Playful icon set
60
11 Information graphics Iconography
Iconography do’s and don’ts To help make things simple for our customers it’s important that we keep our icons consistent. You’ll find a set of our most common icons on the right and some golden rules you’ll need to follow below. When using icons, make sure they: • always resemble a real and obvious object, e.g. the ‘home’ icon should be a house and the ‘email’ icon should be an envelope • are instantly recognisable • are basic shapes and don’t use any unnecessary details • are usually drawn as an outline • visually cover a similar surface area For more guidance, you can view our iconography toolkit here. Download our full library of icons here:
User
Update personal details
Settings and help
Call
Letter
Vouchers
Information
Location
Menu
Search
Mouse
Statement: post+
Forward and back arrow
Padlock
Statement email
Statement: online
Home
Confirmation
Alerts
Favourites
Download
Auto topup
News
Load funds
Error
Warning
Pay
Add
Minus
Key
Phone
Face to face
Settings
Activity
Messages
11 Information graphics Iconography
61
Constructing icons These pages outline the basics of constructing an icon. For a more in depth understanding please refer to the icon toolkit.
The grid To create a consistent family of icons, always start with a 140x140 pixel content grid composed of 10px cells within a 30px exclusion area. Final artwork can then be resized as required.
How to construct the icon grid Follow the steps below to set-up the grid in Adobe Illustrator. This guideline document is shaped around Adobe Creative Suite, but the principles can be applied to most vector and raster design software packages. 1. C reate a new document with width and height set at 200px. The icons will generally be used at smaller sizes, but keeping the build artboard at 200px allows them to be reduced for almost all uses.
1 grid unit = Line weight
The core elements • The primary line weight is 1 grid unit in thickness • When lines have rounded ends, the diameter of the circle used should be 1 grid unit • When creating icons, any angles should try to lock to 45 degree rotations • Curves can be created at various sizes. They should always be sections of a perfect circle • Use 1 colour from the Barclaycard colour palette
10px
200px
140px
Minimum size Print: The minimum size we use for printed icons is 5mm. On-screen: The minimum size we use in digital icons is 20px.
Grid
2. C reate a rectangle with width and height set at 140px. Position it in the centre of the artboard. This rectangle is purely a visual aid for defining the boundaries of the content grid and will be deleted when no longer needed. 3. S elect ‘Guides and Grid...’ within preferences. Set a gridline every 10px and set subdivisions to 1. 4. In the ‘View’ menu select ‘Snap to Grid’ and ‘Show Grid’.
Core elements to remember
62
11 Information graphics Charts and graphs
Displaying data By only including what is relevant and removing what is unnecessary, we present complex information in a simpler, visual way, like when we need to show summaries of information, graphs and charts. Our charts and graphs share the same core style as our typeface, holding shape and icons, with round corners and straight edges giving a unified look and feel.
Key figures Key figures (e.g. credit limit totals) can be displayed confidently using our typeface and highlight colour.
Mr Bailey 4929 4012 3456 7890
Additional elements such as icons or keylines can be used to help navigate through content.
£50 £4,450
Use clearly differentiated type sizes to bring attention to the figures, using smaller sizes to annotate or support.
£4,500 Current balance
Available spend
Displaying key figures
Tables Tables of information (e.g. spending summaries) are created using our 6x6 (or 12x12) grid to align columns of information. Increments of 5pt (ideally with the baseline grid) create evenly spaced rows. Keylines of 0.3pt sit above each row, spaced evenly between rows. To ensure clear hierarchy, use Barclaycard Co Regular for headers and totals, and Barclaycard Co Light for all other table content. Generous leading between each row should be allowed e.g. 9pt / 15pt leading.
Your spending this year Month
Purchases
Cash advances
Interest
Total
January
£75.00
£0.00
£2.50
£77.50
February
£0.00
£0.00
£0.00
£0.00
March
£0.00
£40.00
£5.00
£45.00
April
£115.00
£0.00
£5.00
£120.00
May
£0.00
£10.00
£2.50
£12.50
June
£0.00
£10.00
£2.50
£12.50
July
£0.00
£0.00
£0.00
£120.00
September
£0.00
£30.00
£5.00
£35.00
Table
63
11 Information graphics Charts and graphs
Pie charts Our pie charts use clearly differentiated forms (each section of the chart is separated) making the information easy to understand. Information is arranged logically – charts begin at the top and run clockwise.
Construction
Use solid and tints of our colour palette to define categories within the pie chart. Refer to the colour section for specified tint values. Keys and annotations can also be used to clarify more complex information sets.
8% 18%
8% 18% Shopping
18% 8% Leisure
36%
13%
13% Bills
36% Groceries
36%
13%
13% 13% Household
12% 12% Entertainment
13% 12%
• Leisure £30.45 • Groceries £8.33 • Entertainment £1.99 • Holiday £30.45 • Family £11.33 • Shopping £1.99 • Health £10.33 • Household £30.45 • Bills/Utilities £8.33 • Business £14.99 Total
These options are an example of best practice to be used for annual reports etc. Try to match the examples as closely as possible, depending on the design programme capabilities. For further guidance on accessibility, see section 16.
£40.77
39% Leisure 11% Groceries 10% Holiday 9% Entertainment 24% Health 7% Bills
64
11 Information graphics Charts and graphs
Bar charts Construction
£30.45
£33
Use either solid or tints of our colour palette to define categories within the chart. Refer to the colour section for specified tint values. Keys and annotations can also be used to clarify more complex information sets.
£18.99
£20.98 £11.33
£245
• Leisure £34.12 • Groceries £8.33 • Entertainment £1.99 • Holiday £30.45 • Family £11.33 • Shopping £20.98 • Health £33.00 • Household £22.00 • Bills/Utilities £18.99
£40.77
These options are an example of best practice to be used for annual reports etc. Try to match the examples as closely as possible, depending on the design programme capabilities. For further guidance on accessibility, see section 16.
Groceries
Leisure Groceries
£345
Entertainment £425
Household Bills
Leisure
Entertainment
£375
Family
Health
£1.99
£8.33
Entertainment
Groceries
Leisure
Entertainment
Groceries
Leisure
Entertainment
Groceries
£320
Entertainment
Business
Leisure
£440
Groceries
Shopping
Total
£410
Leisure £22
£34.12
Our bar charts use the same combination of round corners and straight edges as our typeface, holding shape and icons. The charts can be arranged horizontally or vertically, with bars clearly separated from one another.
£332 £268
Leisure Groceries Entertainment
65
11 Information graphics Charts and graphs
Graphs Our graphs use clearly differentiated forms (each section of the graph is separated) making the information easily understood.
Construction
Use either solid or tints of our colour palette to define categories within the graph. Refer to the colour section for specified tint values. Always ensure the darkest colour is used for the category in the foreground of the graph to avoid any undesirable colour combinations. Axis lines should use Barclaycard dark purple, in a weight that is visible but not dominant, no thinner than 0.3pt.
Average
Aug
Average
Aug
Monthly
Median
Sept
Oct
Monthly
When creating solid keyline graphs, use one weight of keyline, no thinner than 0.6pt. To allow finer comparison of trends, graphs can also be placed on an axis. It is advisable to avoid using solid colour graphs over axis, as the additional lines will cause confusion. Annotations can also be added to highlight any key findings within the graph.
Median
Sept
2012
2010
Oct
55
55
50
50
45
45
40
40
35
35
30
30
25
25
20
20
15
15
10
10 Aug
2011
Sept
These options are an example of best practice to be used for annual reports etc. Try to match the examples as closely as possible, depending on the design programme capabilities. For further guidance on accessibility, see section 12.
Aug
Sept
66
11 Information graphics Charts and graphs
Interacting with information Interactive information graphics allow the user to view information in a more dynamic way from a summary to a more detailed viewpoint.
Entertainment HMV £35.00 O2 £8.00 Apple £11.00
Intuitive interaction Different states of interaction allow for information to be broken down into sections. By allowing the viewer to control this at their own pace, the content becomes much simpler to understand. You can also use colours from the secondary palette to highlight sections, for additional clarity.
Mr Bailey 4929 4012 3456 7890
Mr Bailey 4929 4012 3456 7890
Mr Bailey 4929 4012 3456 7890
£4,500
£4,500
£4,500
£50 £4,450
£400 £4,100
£3,375 £1,175
Current balance
Current balance
Current balance
Available spend
Available spend
Available spend
35 Online balance: bar and balance move to show available spend.
Entertainment
8 35
HMV £35.00 £8.00 O2 Apple £11.00
11 8 11
Pie chart: as the user interacts more detailed information unfolds
Illustration style
12 Illustration Introduction
Fresh Iconic Playful Positive
68
69
12 Illustration Our illustration style
Our unique illustration style brings together photography, iconic representations of modern life and simple, paper textured illustrations.
The following design components create the foundations of the illustration style Where headlines are used, they are simple, conveying a leading product benefit or a key message.
Imagery is used to dramatise a benefit, convey emotion or add a sense of movement to our communications. The strings in particular add movement and anchor the image to the scene. A keyline is added to all photography for a stand out effect.
The illustration style conveys the quirky playfulness of Barclaycard, adding warmth and humanity to our brand executions. Our illustration style has been designed for direct response communications. If youâ&#x20AC;&#x2122;d like to use the illustration style in any other type of material, please get in touch with the brand team via identity@barclaycard.uk
When used, the card is clearly and simply shown with a shadow as the only treatment.
The background texture sets the scene and anchors the other components within it.
Paper textured illustrations add warmth and depth to our world. They can also be used to suggest movement and/or change.
70
12 Illustration Core brand components
Photography: objects with typography There will be occasions when itâ&#x20AC;&#x2122;s appropriate to integrate a key word or statement with an image (whether static or in animation) to help save space. This treatment can help dramatise, simplify and add impact to the message. The words (or numbers) used must be in context with the image and must not be contrived or abstract.
Use of silhouettes of people The photographic hero images of people are a core part of the illustration style. Silhouettes of people can be used as support imagery where we want to add a more subtle human factor to an execution.
Paper textured illustrations
Photography: objects with typography
Paper texture illustrations Use of silhouettes of people
Shadows
Photography: people
Paper textured illustrations are used as a secondary element to add depth and perspective to our environment. They are simple representations of the natural and man-made world around us, such as clouds, trees, planes, boats, town and city skylines.
Shadows Shadows help to ground the otherwise floating objects. It brings depth and perspective to the scene, and adds a hint of realism to our paper textured illustrated world.
Photography: people People can be used within our executions where we want to include the idea of the individual and/or visually identify a demographic we are targeting. The imagery we use needs to look natural, real-life and not contrived or staged in any way.
Digital
13 Digital Introduction
Digital experiences should be
Fresh, fluid and consistent All about the user Inclusively designed
72
13 Digital Consistent experience across all devices
73
Responsive design
Usability informing the design process
Responsive design means the interface is constantly responding to the size of the window the interface is being viewed on.
Users want things to be easy. This can be achieved with simple and consistent navigation and uncluttered page designs.
This enables us to give our users a consistent and tailored experience, no matter what screen theyâ&#x20AC;&#x2122;re on. Content should be specially formatted for different devices and elements such as burger menu and larger buttons should be introduced to acknowledge the difference between a mouse or touch screen.
Simplified navigation and site structure
Mega drop down menu
Consistent calls to action
Consistent interaction devices
13 Digital Grids
74
Our new responsive grid Our new grid is fluid, fully responsive and unifies UI layout across screen sizes. This structure applies to our overarching 6x6 grid, as set out on page 37. To see all the options, please download our templates here:
Desktop
Tablet
Mobile
13 Digital Using imagery
Use of brand lifestyle imagery Imagery is an important element that runs through all our communications. Refer to our photography toolkit for in depth guidelines around our style of images. There are some considerations that need to be taken into account when making selections for mobile and digital. Complicated compositions and messages don’t translate well to a mobile user for example. In many instances, UI elements like buttons will be sitting above the image, therefore selection should ideally be made in-situ, informed by the screen in which it will sit and the technical limitations of its placement.
Picture sizes We have two types of hero images tall and shallow. Tall are on every home page, the shallow images can be used on service pages where the taller one gives too much impact. • Small: 1044 px x 217 px (shallow) 1044 px x 393 px (tall) • Medium: 1366 px x 290 px (shallow) 1366 px x 473 px (tall) • Large: 1920 px x 408 px (shallow) 1920 x 665 px (tall) (Small, medium, large relate to responsive sizing)
75
13 Digital Using colour
76
Implementing the colour palette
Functional digital palette
These examples give an overview how colour can be implemented to keep a consistent look and feel across our communications, whilst meeting accessibility standards.
As well as our primary and secondary colour palette, there are some additional colours we use for digital. The digital palette has been developed purely for functional use. Blue is used for buttons where the call to action is set in white and for navigational elements. Red is used for warning messages. Green is used for confirmation messages. Copy grey is used for body copy. Light grey is used for backgrounds on boxes. e.g. notes. Mid grey is used for shadows, strokes and dividers.
Blue
Green
Red
RGB: 8/93/169 HEX: #085DA9
RGB: 114/191/68 HEX: #72bf44
RGB: 224/48/48 HEX: #e03030
Copy grey
Mid grey
Light grey
RGB: 64/64/64 HEX: #444444
RGB: 183/183/183 HEX: #b7b7b7
RGB: 241/241/241 HEX: #f1f1f1
77
Video
14 Video Objectives
78
Helpful
Clear
We listen and respond to the needs of our customers. We want to help our customers at every touch point with our brand. We want to put the customer first, giving them information and tools to help with common issues. We are warm and approachable. We talk to our audience directly.
We use the same language as our customers when talking about our products and avoid using jargon or internal wording. We use plain English and simplify where necessary without being patronising.
Expert We show expertise and passion across all our products and services by featuring people who know and understand our products and services.
Wide reaching Barclaycard is a truly international business, and this should be reflected in the imagery chosen for locations and in the selection of cast.
Authentic Where possible, the cast selected should be genuine Barclaycard customers, supported by staff members. Locations should reflect authentic environments where our products are used, e.g. office, bar, public transport, home.
Democratic
Our B2B and B2C stories can be created in the same way.
Social We love to create content which is entertaining or helpful enough to be shared across social platforms.
79 79
14 Video Editorial house-keeping
Imagery
Voiceover
Think natural, nothing too staged. We want to capture a sense of living ‘in the moment’. The idea is to celebrate a slice of real life in all its diversity.
Sometimes there may be need for a voiceover when talking through services or product details. This can help to expand on key product details, alongside future proofing the content.
Camera work - brand For brand and product message films consider using prime lenses to create a cinematic look with shallow depth of field.
VO artists should be selected from the Barclaycard talent pool (refer to the voiceover toolkit for guidance).
Music
Stories are brought to life in a considered editorial, documentary style. This style utilises a combination of graphic composition and handheld, fluid photography.
Music needs to be relevant to the story being told. We can use it to set the tone for the piece, amplify emotion, punctuate an edit or drive a story.
Camera work - social
Where possible, music is upbeat and optimistic. It’s a good idea to sense check to ensure that it doesn’t overpower dialogue or key messaging.
For social and user generated content (UGC) edits, there is freedom to experiment and be creative. Great content can be shot on a mobile phone.
Locations Relevance is key. Locations should be relevant to the narrative. Locations are not studio based, but take place in everyday surroundings such as Barclaycard offices, customer homes or outdoor settings/environments.
Lighting Where possible, lighting should be natural.
Grade Our colour palette is optimistic, a saturated vibrancy in keeping with our brand style guides.
Multiple screen sizes Clarify content placement at the pre-production stage as this may impact the creative. It may be useful to create multiple assets for the same content if it’s needed across media/devices. I.e. amend small titles for mobile exports.
14 Video Framework
80
Entertain
Inform
Enable
Content designed to entertain and inspire. It can be disruptive, fun and shareable.
This content is designed to bring the benefits of our products, innovations and services to life.
Content based around our customers’ interests, and how Barclaycard can help to keep people moving forward every day.
Content to help drive direct conversion and/or assist with a specified action at the end of the customer journey.
We want to give people facts and information to help facilitate decision making. Although practical, we still want to be able to present what we’re about in a lateral and engaging way.
Examples could include: • campaign amplification • music and events • inspirational stories around customers’ lives
Examples could include: • instructional or how-to based formats, typically seen alongside FAQs
Examples could include: • showing how innovations such as, Barclaycard Anywhere can fit into people’s lives
Please note: the lines between these content categories blur along the customer journey at times. We want to be able to create inspirational content that can inform as well as entertain.
14 Video Video design
There are a number of key, additional elements that help to make our video content on-brand and strengthen the messaging. These will be introduced over the next few pages.
81
Opening frame The title should appear within the first two or three seconds of the film.
Duration
The image is out of focus and comes into focus as the title fades.
Typography
5-8 seconds
Barclaycard Co Light, 72px, tracking: 80 Colour:#ffffff
Effect (where applicable) Outer Shadow Opacity: 10% Colour: #000000 Spread: 0 Size: 21px
14 Video Video design
82
Strapline
Copy
BCAP
Subtitles
Two to three seconds after a contributor first appears in a film, a strapline with their name and background should be introduced.
When blocks of copy fade in they should alternate between the left and right hand side of the frame. The type aligns appropriately to the side it is on. You should try to use white for the main copy colour; when the background is light use Barclaycard cyan.
Use the BCAP guidelines to ensure there is enough time to read all of the legal copy in the video. Legals should be centred, with double spacing in between paragraphs.
Subtitles should adhere to the current web accessibility standards. This is a consideration for the player chosen.
Duration 5-8 seconds
Typography First line: Barclaycard Co Regular, 80px Second line: Barclaycard Co Light, 48px Colour: #ffffff
Positioning Titles can appear top left and right, bottom left and right, depending on the framing of the shot. The text should appear in the title safe area. Titles should be left or right aligned accordingly.
Duration
1 second per word plus 2 seconds
0.2 seconds per word. For 10 words and more add an additional 4 seconds. For 9 words or less add an additional 3 seconds.
Typography
Typography
Copy: Barclaycard Co Light, 74px Colour (Dark Background): #ffffff Colour (Light Background): #00aeef
Copy: Barclaycard Co Light, 72px Colour: #ffffff Leading: 2.0
Positioning
Positioning
Copy appears within the center 600px (Vertical) of the frame, aligned to the appropriate side.
Bottom of frame within title safety. Below 810px. (leaving space for copy)
Duration
Typography Copy: Barclaycard Co Regular, 55px Colour: #ffffff Leading: 2.0
Positioning Bottom of frame within title safety. Below 810px. (leaving space for copy).
14 Video Video design
Statistical copy and graphics Using perspective the graphical elements will float in from different depths on the Z axis, slowly coming into position and focus.
Stats typography First line: Barclaycard Co Light, 190px Second line: B arclaycard Co Regular, 93px Colour: #ffffff
83
Product cutaways
Digital graphics
Animations
Where products, tools and services are promoted, cutaways of people using various devices can work well in order to demonstrate how they can be used. To show or guide people through their online journey, we animate the relevant pages from our website, mobile site, or app to highlight key messaging.
If the userâ&#x20AC;&#x2122;s online journey is to be illustrated as a graphic overlay, thought needs to go into the composition of a shot to allow enough space for the graphic to work.
Animations should have the perspective set to the scene of the clip so to appear to be interacting with the talent.
Itâ&#x20AC;&#x2122;s possible to shoot the devices and the site live. However showing the journey using graphics in post allows for future proofing, as the graphics can easily be updated as the site, tools and offers change.
Copy typography
Background
Copy: Barclaycard Co Light, 74px Colour: #ffffff
All background layers are set at low opacity (reducing when multiple layers). This will allow the video to subtly play through the graphics.
They should always be done using our typeface, colours, holding shape and iconography style.
14 Video Video design
84
End frame
End frame with call to action
On the last shot of the film, the end frame should appear.
The CTA should fade in 1 second after Barclaycard sonic finishes. It should be accompanied by the blue lozenge, which should always be clickable.
Our films end using the Barclaycard sonic logo, sized to 1920x1080. It can be downloaded at the Brand Site.
Duration
Duration
1 second per word plus 2 seconds
5 - 8 seconds
Positioning
The elements need to be centred on the frame.
Typography
Barclaycard Co Light, 72px Colour: #00aced
Positioning Centered
Sonic logo transitions
15 Co-branding and partnerships
15 Co-branding and partnerships Co-branding
86
We play well with others How we look and act depends on whether we are the host or the guest. When we are the host, we like the party to feel distinctly Barclaycard. When we are the guest we are supportive and our brandmark does the talking.
87
15 Co-branding and partnerships Co-branding
When Barclaycard is the host: Barclaycard takes the lead on the visual identity and only the partner logo is added. We provide clear guidance about the placement of partner assets, their role is clearly expressed in the headline or body copy (where applicable). Alternatively an entire partner branded area can be inserted as long as itâ&#x20AC;&#x2122;s clearly marked and there is no confusion around whoâ&#x20AC;&#x2122;s identity that is.
Example 1: Barclaycard with Geostar as guest logo
Example 2: Barclaycard with University of Reading
88
15 Co-branding and partnerships Co-branding
When Barclaycard is the guest: The partner leads and only the Barclaycard brandmark will feature. In this instance we give the partner clear guidance on the use of our assets (e.g. minimum size and clear space around the brandmark). The role of Barclaycard is clearly expressed within the headline or body copy (where applicable). Alternatively an entire Barclaycard branded area can be inserted as long as itâ&#x20AC;&#x2122;s clearly marked and there is no confusion around whoâ&#x20AC;&#x2122;s identity that is.
Coco-Cola visual identity with Barclaycard as guest
15 Co-branding and partnerships Partnerships
89
We love nothing more than to support our partners. With partnerships, our brandmark acts like a trusted endorsement that shows our expertise in transacting and/or our care and commitment to our communities.
We support others
90
15 Co-branding and partnerships Partnerships
Barclaycard is powering the technology Our partner leads and Barclaycard’s brandmark and endorsement will feature within our partner’s visual identity. In this instance, we use the ‘Powered by’ Barclaycard logo.
SMC and Wyndham visual identities with Barclaycard endorsement
91
15 Co-branding and partnerships Partnerships
Barclaycard is the transactional partner Our partner leads and Barclaycard’s brandmark and endorsement will feature within our partner’s visual identity. In this instance, we use the ‘Official payment partner’ Barclaycard logo. The Ticket Factory
Barclaycard is the supporting partner In this scenario Barclaycard provides funding for: • the sponsored entity • performing a community service • a citizenship activity Our partner leads and Barclaycard’s brandmark and endorsement will feature within our partner’s visual identity. In this instance, we use the ‘In partnership with’ Barclaycard logo.
#PaddingtonTrail 46
47
Primrose Hil l Regent Park
Farri
7
5
6
Fitzrovia
Marylebone
Edgware Rd
33
Bristish Museum
34
N e w g at
Hol born
14
Mar ble Arch
20
O xford C ircus
18
Soho
21 23
Reg
P iccadil ly C ircus
12
P icc 10
ad illy Green Park 19
Hyde Par k
K e nsington R d
Knightsbridge
11
Buckingham Palace
The
32
25
The
St ran
28 29
39
St Paul’s Cathedral Bank
36
30
ll
St James Park
38
35
Blackfriars
d
London Eye
Trafalgar Square
Ma
e St
31
C ovent Garden
26
27
Westminster
Blackfriars Rd
Kensington Gardens
24
ent St
17
Mayfair
Oxford St
22
16 15
9
Hyde Park
King sway
8
Notting Hil l 50
Tower of London
37 40
Shakespeare's G lobe Theatre
41
Borough Market
Bor ough
48
Heatrow Airport
Natural History museum
Big Ben
Greenwich 43 Greenwich
13
C helsea F C 49
Paddington Bear NSPCC
Sloane Square
45
d
4
St
3
gue
Baker St
Marylebone
2
Paddingt on
nR
nta
1
Museum of C hild hood
ngdo
Mo
War wick Avenue
Little Venice
Imperial War museum
42
O2 44
92
15 Co-branding and partnerships Logo usage
Applying the Barclaycard logo Making a decision The most appropriate line is to be chosen by the Barclaycard Sponsorship Team or Community Team, in collaboration with the Global Brand Team, on a case-by-case basis.
1. Co-branding The co-branding principles apply to our entire suite of logos; Barclaycard Arena, Barclaycard Center, Bespoke, bFlex and bPay. Barclaycard is the host
Some sponsorship partners may also prescribe the line, especially if Barclaycard is only one of a number of official sponsors. Guest logo
The endorsement line When applying the Barclaycard endorsement line, it is our partner’s responsibility to ensure the sponsored entity logo has greater visual emphasis than the Barclaycard logo and endorsement line.
When Barclaycard is the host use Barclaycard’s visual identity guidelines and give guidance on the placement of partner logos and other visual elements in our material.
Host logo
Barclaycard is the guest When our partner leads Barclaycard’s brandmark and endorsement will feature within our partner’s visual identity.
2. Partnerships
Be careful with the Barclaycard logo
Powering technology
Follow the clear space rules for the Barclaycard endorsement logo and the minimum size, 30mm or 133px on digital media.
The Barclaycard logo ‘Powered by’ is used when we are powering the technology.
Avoid putting the Barclaycard endorsement logo on to background colours that will clash with the logo or detract from the Barclaycard brand. Where possible, put the logo on white or black backgrounds. If the logo sits against a complex part of an image, re-crop the image or retouch the background to make the Barclaycard logo clearer.
Barclaycard is the transactional partner The Barclaycard logo ‘Official payment partner’ is used when we are a transactional partner.
Barclaycard is the supporting partner The Barclaycard logo ‘In partnership with’ is used when we are funding a sponsored entity or is performing a community service or a citizenship activity.
15 Co-branding and partnerships Brand sponsorship
We like
to make
a bit of
noise When we sponsor something big we like to make a bit more noise about it. If we are the lead sponsor, we usually work with the partner to develop an identity for the event which fits with our personality and theirs. In these cases, the driver is the agreement we have in place and the Brand Team should be involved in the very early stages to support and guide where necessary.
93
94
15 Co-branding and partnerships Brand sponsorship
Barclaycard as the leading sponsor Logo placement When Barclaycard is the leading sponsor, the Barclaycard logo should be positioned first and/or bigger than the other endorsement logos, if several third party logos endorse the sponsored entity. ‘Barclaycard’ is integrated into the existing or newly developed logo/name/title of the sponsored entity or activity if: • Barclaycard is the main sponsor • Barclaycard funds the entity/activity entirely or partly
Partner responsibilities In this scenario the logo configuration is developed case-by-case and signed off by the Barclaycard Global Brand Team.
British Summer Time
Accessible design
16
16 Accessibility Introduction
These are three Barclays principles we need to take into consideration:
Perception Operation Understanding
96
16 Accessibility Perception
Principle
Affected users
Consideration
Output
97
Non-text information
Video and audio information
Structure and presentation Those using assistive technology
Distinguishable information Users with colour deficiencies and those using audio screen reading software
Visually impaired users
Hearing impaired users
If the user is unable to make out the graphics, will they be able to perceive the necessary information?
Will all users be able to perceive the information?
Can the information be rendered clearly in alternative formats?
Can the information be viewed/ heard by all users?
Text alternatives are provided for all non-text content such as images, charts and graphs. Labels are associated programmatically with interface objects.
Captions and transcripts are provided for audio and video content.
Content is adaptable and made available to assistive technologies. Users have access to the operating system accessibility tools, without affecting application functionality and any page titles, headings, forms and tables are clearly communicated via assistive technology.
Sufficient contrast is used to make things easy to see and hear. Colour is not relied upon to provide meaning. Additional audio is not
16 Accessibility Operation
Principle
Functionality via multiple input methods
Affected users
Users with limited motor control or hand tremors
Consideration
Output
98
Timeouts
Preventing seizures
Navigation
Blind/visually impaired users or those with dexterity impairements and cognative limitations
Users with epilepsy or photosensitivity
Will all users be able to access the functions? Will they be able to control a pointing device to target small objects?
Will all users be able to read content and perform functions that are time-dependent?
Do moving items prevent users from concentrating? Does content strobe or flicker?
Is a user required to relearn new interfaces? Does it require complicated or accurate movements?
All content can be accessed without the use of a pointing device or pointing gestures in a logical way. Shortcuts are provided to allow users to skip over large amounts of navigation or to complete common tasks and keyboard focus and text cursors are clearly visible.
Sufficient time is allowed to accommodate the slowest users by warning users and allowing them to either adjust, extend or turn off time limits.
Animated content does not cause seizures. All forms of flickering and blinking are avoided.
Help users navigate and find content. Design and navigation is clear and consistent. People should be able to confidently predict where interface elements can be found. Buttons, form controls, touch areas and links are large enough to be selected without the possibility of selecting adjacent controls. Multiple methods of reaching content are provided.
Users with reduced dexterity
16 Accessibility Understanding
Principle
99
Content
Forms and instructions
Assistive technologies
All users
Users with limited sight, colour perception or those using assistive technology
Will all users be able to access the functions? Will they be able to control a pointing device to target small objects?
Will all users be able to read content and perform functions that are time-dependent?
Do moving items prevent users from concentrating? Does content strobe or flicker?
Is a user required to relearn new interfaces? Does it require complicated or accurate movements?
Make text readable and understandable by using a clear typeface (i.e. Open Sans) on a plain background. Use the simplest language possible for information, instructions, prompts and outputs.
Make content appear and operate in predictable ways. When content updates dynamically (i.e. without a page refresh), screen readers may be unaware. These functions can easily be made accessible. Options include ARIA roles and alerts, as well as front-end development frameworks that specifically support accessibility.
Help users avoid and correct mistakes. If certain form fields are required, the field should be labelled accordingly, and configured to alert the screen reader user. After submitting the form, users will need to be alerted to submission confirmation and any submission errors and be given an easy way to navigate to those errors.
Maximize compatibility with current and future technologies. Descriptions and instructions for all accessibility features are provided.
Affected users
Users who are blind, partially sighted or colour blind
Consideration
Output
Predictable behaviour
Users reliant on assistive technology
17 Contacts
17 Contacts Useful contacts
If youâ&#x20AC;&#x2122;re unsure about anything, head to the Brand Site or contact the Brand team to clarify things. Remember, thereâ&#x20AC;&#x2122;s more information in our Brand standards and other toolkits. Brand assets and toolkits
Brand feedback identity@barclaycard.co.uk
101