Royal academy engineering visual identity guidelines

A guide to our visual identity

Royal Academy of Engineering

Identity guidelines Version 1.0

Introduction 2

At the heart of society The Royal Academy of Engineering promotes excellence in the science, art and practice of engineering. We are Britain’s national engineering academy as well as the fellowship of the country’s most eminent engineers.

These guidelines have been created to explain the Royal Academy of Engineering’s visual identity and how it should be used. They are intended for anybody who works with the organisation, whether you are commissioning, designing or delivering communication materials as a member of staff or an external agency.

Please read these guidelines carefully as they contain detailed information on how to apply the design elements and ensure we create a unique and flexible visual identity that is distinctly ours.

> Introduction

The logo The key elements Applying the elements

Royal Academy of Engineering

> Introduction

Identity guidelines Version 1.0

The logo The key elements Applying the elements

Introduction 3

Contents

The logo

The key elements

Applying the elements

01

Our logo

12

The thread device

26

Our distinctive visual style

02

Colour varients

13

Working with the thread

27

Design tone A

03

Our strapline

16

Our corporate typeface

28

Examples of design tone A

04

Logo colour formats

17

Working with typography

29

Design tone B

05

Logo sizes

18

Producing clear print

30

Examples of design tone B

06

Use on coloured backgrounds

19

Our system typeface

31

Design tone C

07

Exclusion zone

20

Our colour palette

32

Examples of design tone C

08

Positioning the logo

24

Imagery style

33

The A4 grid

09

Working with partner brands

25

Gradient overlay image treatment

34

The A5 grid

35

Working with the grid

10

Our logo as an endorsement

36

The grid in use

37

The design checklist

11

Please avoid

38

Further information

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo 01

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

The symbol

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

These elements are of a fixed size and position relative to one another and should not be altered in any way.

Never attempt to recreate the logo and always use the master artwork supplied.

The wordmarque

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

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The key elements Applying the elements

The logo 02

Colour variants Our logo is available in a series of different colour versions to enable flexibility and creativity in application.

They are to be used freely and not to categorise communications.

The logo must only appear in the colour combinations shown on this page. Never attempt to recreate the logo and always use the master artwork supplied.

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

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo 03

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

There is flexibility when using the strapline, as it can appear on its own or be locked up alongside the logo as illustrated below.

Please ensure that it is set at the same width as the wordmarque; this will ensure neither element dominates the other.

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

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo 04

Logo colour formats Our logo is available in a series of different colour versions for different applications.

This page explains where to use each version. Please ensure the correct logo is used when creating online and offline visual materials.

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

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

>> PLEASE USE JPG FILE FORMAT

>> PLEASE USE EPS FILE FORMAT

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

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

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>> PLEASE USE EPS FILE FORMAT

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Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo

Logo sizes

05

Our logo should be used at varying sizes depending on the application.

Below are the recommended sizes to use on standard format applications.

There is no maximum size at which the logo can be reproduced, although care should be taken to ensure that it is appropriate for its application.

A3

80mm

A4

60mm

DL

45mm

A5

50mm

280px

A6 35mm

40mm

Business Card

Digital

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo 06

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

On a white background

On a light tinted background

On a strong coloured background

Over busy areas of photography

On illustrations or patterns

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The logo 07

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

The grey line indicates the exclusion zone for the logo. The zone is based on half the width of the symbol. This is the minimum space around the logo, however please keep as large a space as possible around the logo.

Introduction

> The logo

The key elements Applying the elements

Royal Academy of Engineering

The logo 08

Identity guidelines Version 1.0

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

Introduction

> The logo

The key elements Applying the elements

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo 09

Working with partner brands In certain instances, our logo will appear alongside other partners’ logos on applications and communications.

The examples on this page illustrate the three most likely relationships.

AnyCo

AnyCo

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

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

Secondary partner Where we are not the lead partner, the design of materials will normally be influenced by our partner’s own visual style.

In this instance, we must ensure that our logo is applied and positioned correctly according to the principles set out in these guidelines.

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo 10

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

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

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

Royal Academy of Engineering

Introduction

Identity guidelines Version 1.0

> The logo

The key elements Applying the elements

The logo 11

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

Never apply a drop shadow to the logo

Never distort the logo to fit

Never skew the logo

GL BAL Never set the logo at an angle

Never modify the relationship between the symbol and the wordmarque

Never use the symbol within headlines or slogans

Royal Academy of Engineering

Introduction The logo > The key elements Applying the elements

Identity guidelines Version 1.0

The key elements 12

The thread device The thread device is a graphic representation of engineering running through the heart of society.

It is a dynamic device that encapsulates this ethos and forms the basis of our visual style.

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

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

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

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

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

Introduction The logo > The key elements Applying the elements

Royal Academy of Engineering

Introduction The logo > The key elements Applying the elements

Identity guidelines Version 1.0

The key elements 14

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

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

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

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

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

Royal Academy of Engineering

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The key elements 15

Working with the thread This is an extremely flexible element, so care should be taken when working with it.

Below are examples of things to avoid.

Ensure the thread does not overpower the design

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

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

Ensure both colourways of the thread appear in all crops

Ensure the thread is not placed directly over images

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

Never adjust the colours within the thread device

Ensure the correct colourway thread is used with the corresponding logo

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

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

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

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

Soho Gothic & Soho AaBbCcDdEe

AaBbCcDdEe

%&@:#?!*

%&@:#?!*

£0123456789

£0123456789

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

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

This is an example headline

Soho Gothic Light

This is an example introduction paragraph.

It is intended to be read but have no meaning.

As a simulation of actual copy, using ordinary words with normal letter frequencies, it can not deceive the eye or brain.

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

Soho Gothic Light

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

Soho Gothic Italic

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

This is an example headline

Soho Heavy

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

Soho Gothic Light Soho Bold

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

Soho Regular

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

Soho Italic

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

>>

The text is clear, simple and consistent

>>

The text is of sufficient size and weight and easy to read

>>

The contrast between the text and background is as high as possible - only white or light backgrounds should be used with black or dark text

>>

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

Introduction The logo > The key elements Applying the elements

Royal Academy of Engineering

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Identity guidelines Version 1.0

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

This typeface is a web safe font and has been chosen to complement Soho.

It is readily available on all PCs.

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

Verdana AaBbCcDdEe ÂŁ0123456789 %&@:#?!*

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

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

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

Ultramarine PMS CMKY RGB WEB

2748c 100/95/15/25 34/41/108 #22296C

Electric Blue PMS CMKY RGB WEB

299c 90/20/0/0 0/153/218 #0099DA

Hydro Blue PMS CMKY RGB WEB

297c 55/0/0/0 91/203/245 #5BCBF5

Dark Green PMS CMKY RGB WEB

3425c 90/20/90/40 0/101/56 #006538

Acid Green PMS CMKY RGB WEB

376c 40/0/100/0 166/206/57 #A6CE39

Jade PMS CMKY RGB WEB

570c 50/0/40/0 127/203/174 #7FCBAE

Slate Grey PMS CMKY RGB WEB

425c 10/0/10/70 97/105/102 #616966

Steel Grey PMS CMKY RGB WEB

422c 10/0/10/30 169/181/175 #A9B5AF

Light Jade PMS CMKY RGB WEB

5527c 15/0/15/10 196/215/212 #C4D7CA

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

PANTONE® is a registered trademark of PANTONE® Inc.

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

Ultramarine PMS CMKY RGB WEB

2748c 100/95/15/25 34/41/108 #22296C

Electric Blue PMS CMKY RGB WEB

299c 90/20/0/0 0/153/218 #0099DA

Hydro Blue PMS CMKY RGB WEB

297c 55/0/0/0 91/203/245 #5BCBF5

Red PMS CMKY RGB WEB

Storm Grey 200c 0/100/85/15 206/21/45 #CE152D

Orange PMS CMKY RGB WEB

151c 0/60/100/0 245/130/32 #F58220

Yellow PMS CMKY RGB WEB

7548c 0/20/100/0 255/203/5 #FFCB05

PMS CMKY RGB WEB

425c 0/0/10/70 99/99/93 #63635D

Cement Grey PMS CMKY RGB WEB

422c 0/5/10/30 189/180/171 #BDB4AB

Sand PMS CMKY RGB WEB

7528c 0/7/20/14 223/207/182 #DFCFB6

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

PANTONE® is a registered trademark of PANTONE® Inc.

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

Ultramarine PMS CMKY RGB WEB

2748c 100/95/15/25 34/41/108 #22296C

Electric Blue PMS CMKY RGB WEB

299c 90/20/0/0 0/153/218 #0099DA

Hydro Blue PMS CMKY RGB WEB

297c 55/0/0/0 91/203/245 #5BCBF5

Ultraviolet PMS CMKY RGB WEB

2627c 75/100/0/50 59/2/86 #3B0256

Magenta PMS CMKY RGB WEB

225c 5/90/0/0 226/61/150 #E23D96

Amethyst PMS CMKY RGB WEB

521c 40/50/0/0 157/133/190 #9D85BE

Charcoal Grey PMS CMKY RGB WEB

7540c 10/10/0/70 97/97/106 #61616A

Rose Quartz PMS CMKY RGB WEB

5215c 7/15/0/30 172/162/177 #ACA2B1

Warm Grey PMS CMKY RGB WEB

5235c 5/15/7/15 206/189/192 #CEBDC0

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

PANTONE® is a registered trademark of PANTONE® Inc.

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

Ultramarine PMS CMKY RGB WEB

2748c 100/95/15/25 34/41/108 #22296C

Electric Blue PMS CMKY RGB WEB

299c 90/20/0/0 0/153/218 #0099DA

Hydro Blue PMS CMKY RGB WEB

297c 55/0/0/0 91/203/245 #5BCBF5

Graphite PMS CMKY RGB WEB

7477c 45/0/0/75 43/84/100 #2B5464

Silver PMS CMKY RGB WEB

7542c 15/0/0/30 158/179/190 #9EB3BE

Sky PMS CMKY RGB WEB

545c 20/0/0/10 181/213/229 #B5D5E5

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

PANTONE® is a registered trademark of PANTONE® Inc.

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

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

Introduction The logo > The key elements Applying the elements

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Identity guidelines Version 1.0

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The key elements 25

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

1. Original image

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

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

3. Open a new layer - use the gradient tool to add a dynamic gradient to the image - utilising the secondary palette. Adjust the layer transparency mode to overlay.

Ensure the result is visually similar to those illustrated here

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

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

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

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

Tone A The visual style is to be used for communications that aim to inform and update the reader or for reference purposes.

Examples include the annual review, the List of Fellows, newsletters, stationery and business cards.

4 3

5

6 7 8

2

9

1

10

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

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

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

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

4 3

6 7 8 9

1

10

Logo positioning The logo can be placed in the four corners of applications White space Use of an open, clean design with plenty of white space Font choice Light, Medium and Bold weights can be used

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

5

2

Small image area The image area for contained imagery can cover no more than a 1/5 of the application height.

Cut out images using the image treatment can be larger - as long as large areas of white space are maintained.

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

4 3

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

5

6 7 8

2

9

1

10

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Design tone B The visual style is to be used for communications that aim to inform and involve the reader and to elicit a response.

This tone is to be used primarily for policy reports, research findings and activities

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

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

4 3

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

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

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

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

5

6 7 8

2

9

1

10

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

4 3

5

6 7 8

2

9

1

10

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

including event flyers, schools activities, fundraising activities and materials for marketing awards and prizes.

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

4

5

3

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

7 8 9

1

10

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

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

6

2

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

4 3

Full image area Imagery is much more dominant within the design Confident use of colour Larger areas of bright colours can be used to inject another dimension into designs

5

6 7 8

2

9

1

10

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The A4 grid A six column grid has been set up to form the basis for all A4 size spreads.

The grid can be used to create different column combinations of text and can be used to align photography and charts.

Using the grid will ensure that all spreads have a common and consistent style.

10

All dimensions illustrated here are in millimetres.

10 10

28

28 3

28 3

28 3

28 3

28 3

17

17

28

28 3

28 3

28 3

28 3

28 3

10

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The A5 grid A six column grid has also been set up to form the basis for all A5 size spreads.

As with the A4 grid, the grid can be used to create different column combinations of text and can be used to align photography and charts. Using the grid will ensure that all spreads have a common and consistent style.

8

All dimensions illustrated here are in millimetres.

8 8 18.5

18.5 3

18.5 3

18.5 3

18.5 3

18.5 3

14

14

18.5

18.5 3

18.5 3

18.5 3

18.5 3

18.5 3

8

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Working with the grid The grid can be used to create either two or three column grids for general text.

However, these do not always need to be set solidly. Create instead a more spacious design which will make the brochure more dynamic and exciting.

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

2 column grid

3 column grid

2 + 4 column grid

2 column alternative grid

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

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

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

This is an example heading

This is an example heading sing ordinary words with normal letter frequencies, it cannot deceive the eye or brain.

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

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

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

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

3 column grid

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

Paragraphs may be long or short.

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

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

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

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

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

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

Paragraphs may be long or short.

Texts can be produced to complete and area, as the basic copy is simply repeated. This is dummy text.

It is intended to be read but have no meaning.

As a simulation of actual copy,

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

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

Paragraphs may be long or short.

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

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

Paragraphs may be long or short.

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

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

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

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

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

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

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

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

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

This is dummy text. It is intended to be read but have no meaning.

As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention.

THIS IS AN

EXAMPLE HEADING This is dummy text.

It is intended to be read but have no meaning.

As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.

This is dummy text. It is intended to be read but have no meaning.

As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.

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

This is dummy text. It is intended to be read but have no meaning.

As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves. Simultext may be produced in any typeface, at whatever size and format is required. Paragraphs may be long or short.

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

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

2 + 4 column grid

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

This is dummy text. It is intended to be read but have no meaning.

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

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

This is dummy text. It is intended to be read but have no meaning.

As a simulation of actual copy, using ordinary words with normal letter frequencies, it cannot deceive the eye or brain.Dummy settings which use other languages or even gibberish to approximate text have inherent disadvantages that they distract attention towards themselves. Simultext may be produced in any typeface, at whatever size and format is required. Paragraphs may be long or short.

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

Paragraphs may be long or short.

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

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

Paragraphs may be long or short.

It is intended to be read but have no meaning. As a simulation of actual copy.

Royal Academy of Engineering

Identity guidelines Version 1.0

Introduction The logo The key elements > Applying the elements

Applying the elements 37

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

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

>>

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

>>

The correct design tone has been used for the communication

>>

The imagery used is future focused and dynamic

>>

The logo and thread device colour choice complement any imagery used

>>

The correct colour palette has been used with the corresponding logo

>>

The thread device has been used effectively and cropped at a suitable location

>>

The correct weights of type have been used

>>

The grid has been used correctly

>>

Sign off from the Academy’s communications team

Royal Academy of Engineering

Identity guidelines Version 1.0

Applying the elements 38

Further information Our aim is to build a strong, lasting and consistent visual identity.

Each area of our visual identity, from advertising to stationery should adhere to these guidelines. If you have any queries about them or their usage, please contact: Dr Lesley Paterson Head of Communications and Engagement

Dominic Joyeux Publications and Web Editor

E lesley.paterson@raeng.org.uk

E dominic.joyeux@raeng.org.uk

T +44 (0) 20 7766 0684

T +44 (0) 20 7766 0679

Introduction The logo Key elements > Applying the elements