Brand guidelines
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
1 Contents 1
Contents
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Introduction
2.1 What is a brand? 2.2 Our visual identity at a glance 2.3 Our mission 2.4 How we describe ourselves 2.5 Our qualities 2.6 Our values 2.7 Our organisation 3 Our logo 3.1 Our logo 3.2 Positioning the logo 3.3 Suggested sizes 3.4 Contrast and clarity 4 Our mark 4.1 Our mark 4.2 Positioning the mark 4.3 Suggested sizes 4.4 Colour usage 4.5 Contrast and clarity
5 Our graphic element 5.1 The splash 5.2 Splash structure 5.3 Splash variations 5.4 Positioning the splash 5.5 Creating your own colour 5.6 Using the splash and the logo 5.7 Using the splash with images 5.8 Dark backgrounds 6
Colour and typography
6.1 Colour 6.2 Primary typeface: Gotham 6.3 Substitute typeface: Verdana 7 Example applications 7.1
Creating a poster or leaflet
7.2 Leaflets and posters 7.3 Season brochure 7.4 Stationery 7.5 Presentation slides 7.6 Press ad 7.7 Vouchers and membership card
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8 House style: writing 8.1 House style overview 8.2 Tone of voice 8.3 Writing for the web 8.4 Writing about ourselves 8.5 Numbers, dates and money 8.6 Apostrophes 8.7 Other punctuation 8.8 Describing disability 8.9 Ethnicity and gender 9 House style: formatting 9.1 Accessibility and legibility 9.2 Formatting our contact details 9.3 Formatting our email signatures 10 Digital files 10.1 File types: which to use when
2 Introduction
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
2.1 What is a brand? What is a brand? For ‘brand’ we could substitute the word ‘personality’; our brand is the way that we project ourselves, how others perceive us and we perceive ourselves. It extends from the way that we talk to ticket buyers, to the signature on our email; from our recruitment advertising, through to the language that we use in formal letters. The most obviously visible projection of our brand is our visual identity. What is a visual identity? A visual identity is the entire palette of visual output, it is the set of instructions that ensures that our visual output always reflects the values of our brand. It is the way that we apply our logo and all of the other elements (type, colours, shapes, sizes etc).
What is a logo? Literally speaking, a logo(type) is a mark created only from type, but common usage now encapsulates all visual ‘badges’ used to represent an organisation. It is just one tool in the visual identity toolbox. Why is it important? It is essential that every message counts, that every manifestation of our brand is clear, unambiguous and adds to a consistent visual message. By following the same concise, published instructions we are able to constantly reinforce values through clear and simple communications, at every level.
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Visual identity
Logo/mark
Brand
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
2.2 Our visual identity at a glance Our core elements The core elements of The Marlowe visual identity make our brand instantly recognisable. These elements are: • our logo and its variants • our mark and its variants • our graphic element: the splash • our image border • our typeface • our colour palette The way these elements are applied and their relationship to each other are important in identifying who we are, and creating a consistent visual aesthetic across all of our communication material.
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Mark
Logo
Graphic element: the splash
Image border
Typeface
Colour palette
Gotham
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
2.3 Our mission The Marlowe Theatre hosts unforgettable performances. We deliver experiences to cherish.
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2.4 How we describe ourselves The Marlowe is an astonishing new cultural destination at the heart of historic Canterbury. We are the home to one of the best theatres in the UK, the best performance spaces in Kent, and social spaces with the best views in Canterbury.
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
2.5 Our qualities Accommodating Everyone is welcome. We are warm, inviting and accessible in everything we do. Eclectic From pure entertainment to challenging drama, we’re not afraid to surprise and overturn preconceptions. We are respectful of tradition, but pioneering in running our theatre and our building.
Professional We are a team of informed professionals, offering knowledge and enhancing the experience of our visitors, customers and visiting artists. Enthusiastic We love live entertainment and the performing arts. That’s why we do this job. We share our passion to entertain, entice and excite our audiences.
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2.6 Our values We bring the best out of everyone. We provide the perfect spaces for outstanding entertainment and astonishing performances, packaged in a venue that inspires performers to exceed their expectations.
We nurture, support and engage with the local creative community. We believe that everyone deserves the best quality theatrical experience, so that’s what we give them.
Words we use to describe ourselves Eclectic
Welcoming
Engaging
Bold
Inspirational
Informed
Evocative
Creative
Credible
Entertaining
Stylish
Convivial
Professional
Stimulating
Encouraging
Surprising
Confident
Enthusiastic
Adaptable
Colourful
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
2.7 Our organisation The Marlowe This is the over arching name for who we are. We use this when talking about our organisation as a whole, and when not referring to any of the other offerings specifically. The Marlowe Theatre The Marlowe Theatre is the name of both our main offering and our main auditorium, and is used in all matters referring to either of the two. In practice, this will be the name we use most commonly, and will have the greatest public recognition.
The Marlowe Studio The Marlowe Studio is the name of our second performance space. We only use it when talking about matters relating specifically to The Marlowe Studio. The Marlowe Friends The Marlowe Friends is the name of our friends scheme. We only use it when talking about matters relating specifically to The Marlowe Friends.
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The Marlowe Our organisation
The Marlowe Theatre Our building and main auditorium The Marlowe Studio Our second space
The Marlowe Friends Our friends scheme
Other offerings
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
3 Our logo
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
3.1 Our logo What is our logo Our logo is the most important element in our visual identity. It states simply and clearly who we are, and as such should always be reproduced in a consistent way. It must never be redrawn or modified. The logo has four versions, each representing one of the four key parts of our organisation (see page 18). Note about these guidelines For the sake of simplicity we will be using ‘The Marlowe Theatre’ version to illustrate these guidelines. However the same guidelines apply to all versions.
How is it used? The logo is used in conjunction with the splash (see page 46). Together they comprise our core visual identity, and are used whenever we have control over the design of marketing material. This might include: •m arketing material for events at which The Marlowe is the producer or key stakeholder. • self-promotional material • vehicle livery and staff uniforms • wayfinding and merchandise
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The Marlowe Theatre Our main offering and main auditorium
The Marlowe Our organisation
The Marlowe Studio Our second space
The Marlowe Friends Our friends scheme
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
3.2 Positioning the logo Exclusion zone The space around our logo is an essential part of our visual identity. The logo should never be positioned too close to the edge of a page. As shown, a minimum distance can be measured using the width of the letter ‘M’. It is important that we retain a sense of open space in all applications of our logo; we never crowd it with text or other logos.
Positioning the logo We aren’t prescriptive about where our logo sits on the page (as long as it is given space to ‘breathe’), although it should normally sit in any of the four corners of a layout. Generally, the position of the logo is decided by design factors and its relationship to images.
9 House style: formatting 10 Digital files
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Exclusion zone Do not place anything within this area
Top left
Top right
Bottom left
Bottom right
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
3.3 Suggested sizes Minimum size It is important that our logo is clearly visible on every piece of communication that we produce. This page shows the recommended sizes that we should use our logo on different size documents. Obviously the logo can be used bigger, but wherever possible we don’t use it below the sizes indicated here.
Minimum size
15mm wide
DL and A5 formats
27mm wide
A4 format
38mm wide
A3 format
54mm wide
A2 format
76mm wide
A1 format
108mm wide
A0 format
152mm wide
9 House style: formatting 10 Digital files
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Minimum size 15mm wide
A3 format 54mm wide
DL and A5 formats 27mm wide
A4 format 38mm wide
A2 format 76mm wide
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
3.4 Contrast and clarity Placing the logo When on a light colour or image, our logo should be reproduced in black. Conversely, when on a dark colour or image, it should be reproduced in white. When using the logo on a photographic background, we ensure that it is positioned on an area which is free from tonal variation or image detail, and where it will be clearly visible. We are not prescriptive and there may be occasions where, for practical or aesthetic reasons, the logo would work better in an alternative colour. The most important thing is to ensure that there is a significant contrast with the background, and that the logo is clearly visible and legible.
9 House style: formatting 10 Digital files
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Correct usage (good contrast against the background)
Incorrect usage (poor contrast against the background)
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
4 Our mark
9 House style: formatting 10 Digital files
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
4.1 Our mark What is our mark Our mark differs from our logo in that it is only used at times when it is not possible (or would be deemed inappropriate) to use the splash. This might include: •v ery small applications (eg. badges) •m arketing material for events at which The Marlowe is not the dominant stakeholder. • for supplying to third parties • s itting alongside other logos in a logo strip Like the logo, it has four versions, each representing one of the four key parts of our organisation (see page 18).
9 House style: formatting 10 Digital files
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The Marlowe Theatre Our main offering and main auditorium
The Marlowe Our organisation
The Marlowe Studio Our second space
The Marlowe Friends Our friends scheme
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
4.2 Positioning our mark Exclusion zone The space around our mark is an essential part of our visual identity. The mark should never be positioned too close to the edge of a page. As shown, a minimum distance can be measured the height of the letter ‘M’. It is important that we retain a sense of open space in all applications of our mark; we never crowd it with text or other logos.
Positioning the logo We aren’t prescriptive about where our mark sits on the page (as long as it is given space to ‘breathe’), although it should normally sit in any of the four corners of a layout. Generally, the position of the mark is decided by design factors and its relationship to images.
9 House style: formatting 10 Digital files
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Exclusion zone Do not place anything within this area
Top left
Top right
Bottom left
Bottom right
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
4.3 Suggested sizes Minimum size It is important that our mark is clearly visible on every piece of communication that we produce. This page shows the minimum sizes that we should use our mark on different size documents. Obviously the mark can be used bigger, but wherever possible we don’t use it below the sizes indicated here.
Minimum size
20mm wide
DL and A5 formats
32mm wide
A4 format
45mm wide
A3 format
64mm wide
A2 format
90mm wide
A1 format
120mm wide
A0 format
180mm wide
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Minimum size 20mm wide
A3 format 64mm wide
DL and A5 formats 32mm wide
A4 format 45mm wide
A2 format 90mm wide
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
4.4 Colour usage Full colour Colour and transparency are an inherent part of our mark. As such, we need to be aesthetically sensitive when it is used against a dark background. It also has a single colour version, that should only be used when it is not possible to reproduce in full colour.
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The Marlowe brand guidelines 1 Contents 2 Introduction 3 Our logo 4 Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
4.5 Contrast and clarity Placing the mark As with the logo, the most important thing is to ensure that there is a significant contrast, and that the mark is clearly visible against the background.
9 House style: formatting 10 Digital files
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Correct usage (good contrast against the background)
Incorrect usage (poor contrast against the background)
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
5 Our graphic element
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
5.1 The splash What is the splash? The splash is the name for our graphic element. It is invaluable in conveying the sense of excitement and energy that is at the heart of what we do. It is a powerful tool for identifying who we are, and helps create a consistent visual aesthetic across all of our communication material.
9 House style: formatting 10 Digital files
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
5.2 Splash structure How it works The splash is made up of overlapping geometric shapes, derived from the shape of our flytower (and used in our mark). It is versatile, and can be used in virtually any configuration. The only restriction is that it should always be placed in the corner of the page, (and in such a way that the darkest part sits in the corner).
9 House style: formatting 10 Digital files
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Visible area The visible area is the part of the splash that we use when positioning the splash.
Dark area
Rotational area There will always be a certain amount of the splash that remains unseen, but can be made visible by rotating the artwork.
Bleed area Each version of the splash has a ‘bleed area’. This is the bottom part, which is squared-off and unsuitable for use within the visible area. However it can be used within the ‘bleed’ area of printed material (the excess area provided as a safeguard against inaccurate trimming).
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
5.3 Splash variations Why do we have variations? The splash is not a fixed graphic element. Its shape and look is intended to change with each application, creating a bespoke imprint on each application, while at the same time retaining a consistent visual aesthetic across all our communication. To facilitate this we have a suite of splash variations, each with a subtly different shape and colouring. There are no rules about which should be used when. They are entirely interchangeable, and an experienced designer can create their own variation from the contituent elements.
9 House style: formatting 10 Digital files
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Splash 1
Splash 2
Splash 3
Splash 4
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
5.4 Positioning the splash Positioning Opposite are some examples of other ways in which we can vary the look of the splash. These include: • variations in scale • position (always in a corner) • rotation • orientation (flipping)
9 House style: formatting 10 Digital files
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Some examples of how the splash can be placed 1 Splash enlarged to fill the bottom part of the page, but positioned so that little of the dark area is visible.
2 Splash reduced in size to fill only a small part of the page, but positioned so that lots of the dark area is visible.
3 Splash flipped horizontally and positioned in a different corner.
4 Splash rotated 30% anticlockwise to reveal different parts of its structure.
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
5.5 Creating bespoke colours Creating bespoke colours There may be occasions when, for practical or aesthetic reasons, the use of a bespoke colour splash is required. There are no restrictions on changing the colouring of the splash (the digital files of which can be edited using Adobe IllustratorTM or other similar programs), however the colours should be restricted to those within our palette (see page 60), and use gradient and colour – illustrated opposite. Some examples of recoloured splashes
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Colour/gradient Each shape uses a gradient of two colours from our palette, preferably from the same part of the spectrum. The exact nature of the gradient is at the discretion of the designer. Example colour gradient
C 100 M 66 Y 0 K 0
C 100 M 66 Y 0 K 0
R 35 G 80 B 160
R 35 G 80 B 160
Transparency The effect we aim to generate with our use of transparency mimics that of coloured ‘gels’ (used in theatre lighting). This creates new colours in the overlapping areas, and becomes progressively darker as more overlaps are added. This is normally best achieved by using a ‘multiply’ transparency. However there may be occasions when other transparencies achieve better results. The exact use of transparency is at the discretion of the designer.
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
5.6 Using the splash and the logo In conjunction with the logo The logo and the splash together comprise our core brand elements. However there is no fixed relationship between them, and the way in which they are used will depend on the piece of communication. See section 7 for some example applications.
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Size There are no specific restrictions covering the relationship in size between the splash and the logo. However we should bear in mind the need for the logo to sit at least within its exclusion zone (see page 21) and its need for sufficient contrast against the background.
Location The logo can sit either on top of the splash, or separate from it. This will depend on nature of the piece of communication being produced, and is at the designer’s discretion.
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
5.7 Using the splash with images In conjunction with images Because of the nature of our industry, we work with a range of different images, from different sources and of varying levels of quality. The splash is a useful way to maintain a consistent visual style. When applying the splash, it is important to ensure that its shape and position are sympathetic to the content of the image. It should not crowd the image or obscure any key elements. Likewise we should be sensitive to issues of colour, wherever possible retaining contrast between the colours of the splash and the colours of the image. The splash should be slightly transparent, just enough to discern the shape of the image underneath. We also retain a white border around the edge of the image. from which the splash breaks out. This further emphasises our unique visual identity.
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Border We retain a white border around the image. The size should be the width of the ‘M’ in the logo (which will differ according to the dimensions of the piece of communication.
Positioning The image and splash should be positioned together in such a way that the key elements of the image are not obscured.
Transparency We aim to retain the vibrance of the splash colours, while allowing the image to remain faintly visible underneath.
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
5.8 Dark backgrounds Alternative transparency settings It is important that our use of transparency allows the vibrance of the splash to be retained, while allowing the image to remain faintly visible underneath. Against light backgrounds we normally use a simple ‘multiply’ transparency. However against darker backgrounds there are a couple of alternative methods of achieving this. Shown opposite are two examples, although again, the exact technique used is left to the designer’s discretion.
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Two example techniques for achieving desired transparency
Splash (90% ‘normal’ transparency)
Alternative transparency settings Against light backgrounds we normally use a ‘multiply’ transparency. However, against dark backgrounds other transparency settings (particularly ‘hard light’) may give better results.
Splash (100% ‘Hard Light’ transparency)
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
6 Colour and typography
9 House style: formatting 10 Digital files
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
6.1 Colour Our palette We are an eclectic, enthusiastic, colourful organisation, and our colour palette is designed to reflect these qualities. We have a wide range of bright, vivid colours that can be used to convey a range of different tones of voice. We also use black and white as part of our palette. These are used primarily in text, as well as being the two preferred colours for our logo. By using black and white in this way, we create not only a clear and straight-forward tone of voice, but also a strong contrast to the colours of our visual palette. Opposite is our full palette, with colour breakdowns for print (CMYK) and screen (RGB).
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Mono
Reds
Purples
Blues
Turquoises
Greens
C 0 M 0 Y 0 K 100
C 0 M 0 Y 0 K 0
R 0 G 0 B 0
R 255 G 255 B 255
C 0 M 100 Y 100 K 30
C 0 M 100 Y 100 K 0
C 0 M 50 Y 100 K 0
C 0 M 20 Y 100 K 0
C 0 M 0 Y 100 K 0
R 177 G 17 B 22
R 237 G 28 B 36
R 247 G 148 B 30
R 255 G 203 B 8
R 255 G 242 B 0
C 80 M 100 Y 0 K 0
C 40 M 100 Y 0 K 0
C 0 M 100 Y 30 K 0
C 0 M 80 Y 0 K 0
C 0 M 40 Y 10 K 0
R 92 G 46 B 145
R 163 G 35 B 142
R 237 G 12 B 110
R 239 G 89 B 161
R 247 G 172 B 188
C 100 M 100 Y 0 K 30
C 100 M 100 Y 0 K 0
C 100 M 40 Y 0 K 0
C 100 M 0 Y 0 K 0
C 50 M 0 Y 0 K 0
R 33 G 29 B 112
R 46 G 49 B 146
R 0 G 125 B 198
R 0 G 174 B 239
R 110 G 207 B 246
C 100 M 0 Y 40 K 40
C 100 M 0 Y 50 K 0
C 80 M 0 Y 30 K 0
C 50 M 0 Y 15 K 0
C 20 M 0 Y 10 K 0
R 0 G 116 B 107
R 0 G 169 B 157
R 0 G 182 B 189
R 119 G 206 B 217
R 201 G 233 B 230
C 100 M 0 Y 75 K 30
C 100 M 0 Y 100 K 0
C 70 M 0 Y 100 K 0
C 40 M 0 Y 100 K 0
C 20 M 0 Y 100 K 0
R 0 G 128 B 89
R 0 G 166 B 81
R 77 G 184 B 72
R 166 G 206 B 57
R 215 G 223 B 33
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
6.2 Primary typeface: Gotham Using type Our primary typeface is Gotham. It is a contemporary typeface, derived from the rich typographic heritage of public display lettering (both paint and neon), with an art deco twist that harks back to the golden age of theatre. It is approachable and straightforward, yet possessed of great personality. We use four main variants; Condensed Book, Condensed Bold, Book and Bold. Gotham Condensed Book Gotham Condensed Bold We use these two for display only (primarily titles), where the emphasis is on impact and visibility. We do not use these for body copy or continuous text. Gotham Book Gotham Bold We use these for all other typesetting, particularly where legibility and ease of reading are concerned.
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abcdefghijklmnop abcdefghijklmnop 0123456789 !?.,;:-– Gotham Condensed Book abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789 !?.,;:-–”’@£$%&()
Gotham Condensed Bold abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789 !?.,;:-–”’@£$%&()
Gotham Book
Gotham Bold
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789 !?.,;:-–”’@£$%&()
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789 !?.,;:-–”’@£$%&()
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
6.3 Substitute typeface: Verdana Our substitute typeface Verdana is a ‘system font’ on all modern computer operating systems, and is a standard default typeface for websites. Our substitute typeface should be used whenever our other typefaces are not available or cannot be embedded into a supplied document. For example: web pages, HTML emails, Microsoft documents (such as Word or Powerpoint).
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abcdefghi abcdefghijk 012345678 Verdana Bold
Verdana Regular
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789 !?.,;:-–”’@£$%&()
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789 !?.,;:-–”’@£$%&()
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
7 Example applications
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
7.1 Creating a poster or leaflet Our standard poster/leaflet layout Shown opposite is our standard poster/leaflet layout. Using this as the basis for the designof posters, leaflets and other marketing material helps create a consistent visual aesthetic, and streamlines the design process by limiting the number of new decisions that have to be made. In the standard layout, our logo always sits top left. Event details and other copy sit at the bottom, aligned left to the margin created by the logo. The splash provides an area of flat colour across which type can be placed, minimising the potential legibility problems associated with placing type directly over an image. However this is only intended to act as a guide. There will be occasions when breaking this layout is preferable. This decision is left to the designer’s discretion.
Border and spacing In order to provide a sufficient border, we normally use the height of the letter ‘M’ to determine our margin Margin All information aligned left, in line with logo
Event title Gotham Condensed Bold Date Gotham Bold Pricing Gotham Book Details Gotham Bold
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Ladysmith Black Mambazo Sat 2 & Sun 3 Jul 2011 £15–£20 marlowetheatre.com 01227 787787
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
7.2 Leaflets and posters
Ladysmith Black Mambazo Sat 2 & Sun 3 Jul 2011 £15–£20 marlowetheatre.com 01227 787787
Standard poster/leaflet layout
Dan Antopolski Thu 18 Apr 2011 £10–£15 marlowetheatre.com 01227 787787
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Camera Obscura Thu 14 aug 2011 £10–£13.50
TopHat Starring Tom Chambers and Summer Strallen Music and lyrics by Irving Berlin Based on RKO’s Motion Picture
Tue 8–SaT 19 nov 2011 £19–£45 marlowetheatre.com 01227 787787
Using a bespoke splash
marlowetheatre.com 01227 787787
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
7.3 Season brochure Welcome to our astonishing new theatre, bringing you the best of everything.
Launch season AUTUMN 2011–SPRING 2012 The Friars, Canterbury, Kent CT1 2AS Box Office: 01227 787787 marlowetheatre.com
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OPENING EVENTS
The interval is over. . . now it’s time to celebrate! We’ll be launching our new theatre with a series of exciting events.
Gala
Family
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There is also a new venue, The Marlowe Studio. Here you can experience something that will surprise and inspire, with a wide range of performances, creative workshops, gigs and events. It will also provide a place for Kent’s many creative artists and performers to devise and premiere new work. It’s not just about the shows, however. You’ll be watching performances in the best possible setting with luxurious theatre seats and outstanding interior design.
Three spacious bars, and the chance to enjoy tasty food and drink at The Riverside, makes us the perfect place to relax and meet with friends (even if you are not seeing a show). The bars also offer amazing views of Canterbury that you won’t have seen before. Yet, this is still the theatre that you love. The Marlowe Friends scheme will give you the chance to be part of our family, with lots of events and opportunities to get involved. Join us and be part of it!
Northern Ballet’s The Nutcracker TUE 1–SAT 5 NOV MAIN AUDITORIUM
Northern Ballet return with their magical version of this much loved ballet. It is Christmas Eve in the twinkling drawing room of the Edwards’ family home. Amidst the commotion, the fire crackles and the pile of presents grows ever taller. A curious box of performing toys captivates the children, but it is the wooden nutcracker doll that enchants young Clara most. Share in Clara’s adventures as she is swept away by her nutcracker prince into a magical winter wonderland of dancing snowflakes and the famous Sugar Plum Fairy. Performed to Tchaikovsky’s enduring score, played live by the Northern Ballet Sinfonia, The Nutcracker is scattered with Northern Ballet’s unique dance magic. “A Christmas cracker by a star company.” SUNDAY EXPRESS
“Possibly one of the greatest ballets performed by one of Britain’s best companies.”
MARK EVERETT
YORKSHIRE EVENING POST
THEATRE DIRECTOR
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TIMES Tue–Sat: 7.30pm Thu & Sat: 2.30pm TICKETS Tue–Sat evenings: £33.50, £30, £24.50, £18 Premier Seats: £38 Thu matinee: £24.50, £21.50, £19, £16 Premier Seats: £29 Sat matinee: £27.50, £23, £19.50, £16.50 Premier Seats: £32 DISCOUNTS Concessions: £3 off (except Fri & Sat evenings) The Marlowe Friends and Friends of Northern Ballet: £4.50 off top two prices and Premier Seats (Tue–Thu evenings & Thu matinee) Discovery Card: £8 (limited availability) Groups: Bring 10 or more people and get 10% off Schools: All tickets £10, one teacher goes free with every 10 students (Thu performances) Family offer: All tickets half price for children under 16yrs (Tue & Wed performances, limited availablilty) Pre-performance talk: Fri 4 Nov, 6.30–7pm Audio Described performance: Sat 5 Nov, 2.30pm
PHOTO: JASON TOZER
This is an exciting new beginning for The Marlowe Theatre. We’ll be presenting unforgettable performances in a magnificent new building, designed by award-winning architect Keith Williams. Our larger auditorium means that you’ll now be able to enjoy the biggest and best touring shows and performances.
Top Hat Starring Tom Chambers and Summer Strallen Music and lyrics by Irving Berlin Based on RKO's Motion Picture PR
TUE 8–SAT 19 NOV MAIN AUDITORIUM W IOR TO THE EST
END Experience the style and romance of 1930s Hollywood in this lavish new version of Fred and Ginger's classic film.
Tom Chambers and Summer Strallen star in the first-ever stage production of Top Hat, the legendary 1935 film that starred Fred Astaire and Ginger Rogers, one of the greatest film musicals of all time.
TIMES Evenings: 7.30pm Thu & Sat matinees: 2.30pm TICKETS Mon–Thu evenings: £36.50, £31, £26, £21 Premier Seats: £40 Fri–Sat evenings & Sat matinees: £39.50, £34, £28, £23 Premier Seats: £45 Thu matinees: £28.50, £25, £22, £19 Premier Seats: £35 DISCOUNTS
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The Marlowe brand guidelines 1 2 3 4
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5 Our graphic element 6 Colour and typography 7 Example applications 8 House style: writing
9 House style: formatting 10 Digital files
7.4 Stationery The Marlowe Theatre The Friars Canterbury Kent CT1 2AS
Information: 01227 862098 Press: 01227 862270 Box Office: 01227 787787 E: marlowetheatre@marlowetheatre.com Twitter: @marlowetheatre marlowetheatre.com
The Marlowe Theatre The Friars Canterbury Kent CT1 2AS
Information: 01227 862098 Press: 01227 862270 Box Office: 01227 787787 E: marlowetheatre@marlowetheatre.com Twitter: @marlowetheatre marlowetheatre.com
with compliments
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The Marlowe Theatre is owned and managed by Canterbury City Council
The Marlowe Theatre is owned and managed by Canterbury City Council
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7.5 Presentation slides
Presentation 12 OCTOBER 2011
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7.6 Press ads
The interval is over and the performance is about to begin The new Marlowe Theatre, Canterbury, will open in early autumn 2011 Set to become one of the country’s landmark theatres, the new Marlowe will present a broad range of touring shows and performances. This striking building will also house the new Marlowe Studio, a space dedicated to providing an exciting programme of performances, education projects and creative activities. THE MARLOWE THEATRE • 1,200 seats • An orchestra pit accommodating up to 80 musicians • Superb sightlines in a stunning auditorium • Great acoustics • State-of-the-art facilities for visiting companies • Full accessibility throughout THE MARLOWE STUDIO • Flexible performance space for 150 seated or 300 standing
We are delighted to be taking bookings now for our opening season – and beyond! For further information, or to make a proposal, please contact: Mark Everett, Theatre Director Email: marlowetheatre@canterbury.gov.uk Post: The Marlowe Theatre c/o Canterbury Visitor Centre 12–13 Sun Street, Canterbury Kent CT1 2HX
www.marlowetheatre.com Follow our progress on Twitter @marlowetheatre The Marlowe Theatre is owned and managed by Canterbury City Council. The New Marlowe Theatre Project is proud to be supported by: The New Marlowe Theatre Development Trust (Registered Charity no. 1120751)
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7.7 Vouchers and membership cards THE
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8 House style: writing
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9 House style: formatting 10 Digital files
8.1 House style overview What is a house style? Use of language, particularly written language, is often subjective and subject to social factors (such as how we were taught at school). Each of us will have a personal view about when and how to use punctuation, capital letters, italics and phrasing. To ensure that we are all consistent (and that we communicate through a shared language) we have adopted a house style, a reference point that demonstrates how we approach our written communications.
Why do we need a house style? As a respected cultural destination we need to ensure that we write with a consistent approach and tone. We need to ensure that all of our messages reinforce our values as an accommodating, enthusiastic, professional theatre. A clarity and continuity across all communications ensures that each of us represents the values of our theatre to every audience. Inconsistencies of approach within a single document can lead to confusion for the reader. For example if a word is capitalised in one place but not another, the reader may infer that emphasis is being placed where none is intended. Inconsistencies of approach across the range of communications may lead to a confusion or lack of confidence about us and the work we do.
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When should we use our house style? The house style can be thought of as the language of our theatre. We should use the house style in all forms of communication at all times*.
Who should use the house style? Anyone who speaks for, or writes on behalf of, our theatre, at any level, should follow our house style. We should therefore make our house style freely available to all potential partners and contributors.
Examples of use include:
Whenever we work with partners we should ensure that they follow our house style. We should ensure that we make this a contractual obligation of any supplier.
• Season brochures •L eaflets, flyers and other marketing material • Launch campaign • Email, internal and external • Signage within the building • Website • Restaurant and bar menus * An exception to this is when it is considered appropriate to write press releases in the style of the relevant publication.
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8.2 Tone of voice Our tone of voice Our tone is approachable and inclusive. We write and speak with clarity and authority to ensure a consistent, enthusiastic and professional approach that is easily understood by all audiences. Approachable and inclusive We are an important cultural destination, and our language should reflect this. We strive to make everyone feel included by referring to our partners and colleagues directly. Compare ‘an evening the audience will never forget’ to ‘an evening you will never forget’. To further ensure that we are inclusive, we: • r efer to The Marlowe Theatre as ‘we’ or ‘us’ never ‘it’ or ‘they’ • use gender inclusive language •u se language that is concise and clear to all possible audiences We avoid any jargon, phrases, acronyms or unexplained abbreviations that may exclude our readers.
Where appropriate, we use standard English phrases rather than non-English alternatives. For example ‘about’ rather than ‘circa’. We use an active voice to make clear who is doing the action. Compare ‘the performer will play the lead role’ (active) to ‘the lead role will be played by the performer (passive). We only use a passive phrase only when it is necessary for emphasis. For example ‘this challenging role will be played by the performer’. Succinct and simple Our aim is for succinct phrasing rather than unnecessarily complicated structure. For example, we use ‘because’ rather than ‘due to the fact that’. Shorter sentences are easier to understand so we aim for a sentence length of 15–20 words. We should re-read to spot (and remove) any words that add nothing to a sentence.
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For example: •T he feedback that was received from... • We are currently in the process of booking a show by... We should not turn verbs into noun phrases. For example: • ‘ we intend to’ rather than ‘it is our intention to’ • ‘ please arrange’ rather than ‘please make arrangements for’ Large passages of text can be daunting so we break up long passages into shorter paragraphs. We also use tools to give pace and emphasis to any publication, including: subheadings, lists, charts and tables. Authority and confidence We are an active part of the cultural landscape. There are therefore times when we must be authoritative; we must give clear opinion, direction and instruction.
We need to show authority without being over-authoritative. This can be a difficult balance but it is important to get the balance right. To achieve this balance we: •d o not use dense or complex language but do not shy away from complex issues. We do not dumb down our subject. •a re enthusiastic about accomplishments and express praise for good work but do not use excessive adjectives or gush. We are professional and credible. •u se language that is familiar to our audience (who may come from any walk of life) We ensure that we are informed and knowledgeable about all aspects of our subject. If we express a personal opinion we make clear that we are not speaking on behalf of the Theatre.
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8.3 Writing for the web Writing for the web People read websites differently than they do printed material. In particular, people scan the range of content rather than reading left to right, top to bottom.
Explanative headings Good headings are crucial. We try not to use references or metaphors that do not adequately describe the content.
By following these simple tips, our website will be more effective:
Sub-headings Sub-headings also make content easier to scan. We should group related topics by using subheadings.
Begin with the conclusion Put the most important information at the start, such as the ‘who, what, where, when, why, and how’. Shorter sentences Keep the sentences simple, with one main idea. As a rule, we should aim to write 50 per cent less text than we would in print. Shorter paragraphs Multiple paragraph breaks allow the reader to rest their eyes. As a rough guide, paragraphs should be kept to less than 60 words.
Keywords first Where possible, headings and links should begin with the most important words. Lists Information in lists is clearer and easier to scan. But we should be careful that we don’t use too many on a single page. Long pages Content that spans several pages (and therefore requires the reader to scroll) should be kept to a minimum. If we have a lot of content we should consider ways to split it.
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Pages or downloadable files We should include content as on-screen pages but should also consider making large documents into downloadable files. Alternative text Our website should be accessible to all users. To facilitate this we should provide a suitable text equivalent for any images we add to a page. Link names We should avoid link titles such as ‘more’ and ‘click here’. Instead we should use descriptive text that refers to the intended linked page or item. Abbreviated URLs We do not use ‘http://’ as part of any named URL. We do use ‘www.’ on all appropriate URLs. When referring to our own URL, we drop the ‘www’ and use ‘marlowetheatre. com’. We don’t use lengthy URLs that include more than one forward slash ‘/’. Instead we create a link using descriptive text or use the URL shortening service, bit.ly.
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9 House style: formatting 10 Digital files
8.4 Writing about ourselves How we describe ourselves We use the words ‘we’, ‘our’ and ‘us’ as much as possible when it is clear that we are talking about the Theatre as a whole. We can use ‘The Marlowe’ to avoid repetition of ‘we’ within a paragraph. ‘The Marlowe Theatre’ or ‘The Marlowe’ can also be used when talking in a historical context, thus reinforcing the status of our corporate image and brand. For example ‘The Marlowe has staged many award-winning shows over the last few years’.
We use ‘you’ when talking to our audience. For example: ‘You [the audience member] should let us know...’ ‘I’ can be used if a personal approach is needed or if ‘we’ is not appropriate. For example: ‘I can let you know when our audio-described shows are, if that would be helpful.’ We only use the third person if conveying the decisions of others. For example: ‘The production team has decided to...’ or ‘The set designer has asked...’
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8.5 Numbers, dates and money Numbers We write out the numbers zero to nine as words, and switch to numerals from 10 onwards. For example ‘the players attended nine out of 10 sessions’. The exceptions to that rule are when numbers: • r elate to a standard unit of measurement, for example £5, 2cm, 9pm, page 6 •a re joined by a dash meaning ‘to’: 5–14, 6–12 years • are in a table or figure • s tart a sentence, for example ‘Ninety tickets were sold.’ We use commas in thousands or specific larger numbers but use decimals for generic larger numbers: 1,000, 2,800, 3,280,210, 7.5 million [not 7 1/2 million]. We write out ordinal numbers up to 20 and use numerals above: first, eleventh, 23rd. We write out simple fractions like ‘three-quarters’ (with hyphens) but use numerals for clumsy fractions like ‘1/38’.
Times Where appropriate, we use the 12-hour clock and use ‘am’ and ‘pm’, not ‘o’clock’. We leave out full stops, spaces or unnecessary zeros: • 9am (not 9.00am) • 9.30pm (not 9:30pm) Dates Whenever possible, we use dates or specific time references rather than ambiguous phrases such as ‘in summer’, ‘this year’. We use this styling for dates: • on 21 December • Tuesday 21 December 2011 • 21/12/11 [date/month/year] • 1990s, the 80s • the 21st century • 2010–11 [to show periods of time] • 2010/11 [to show a financial year] •a utumn 1992 [seasons should be lower case]
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Money We use symbols but not abbreviations to denote money and we leave out full stops, spaces or unnecessary zeros: • £ and p not pounds and pence • £3 [not £3.00] • £3.50 • 99p [not £0.99] •£ 2.5 million [not £2,500,000 or £2.5m] • £1,000 •w e define 1 billion as one thousand million For non-sterling currencies we write out the name in full in text but use symbols on tables or captions. For example ‘the fee was 150 yen’. We assume that any reference to dollars means US unless otherwise stated. For example NZ$10.
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8.6 Apostrophes Apostrophes As the use of apostrophes causes confusion for many, we have included this simple reference. There are only two uses for apostrophes: for possession and for omission. To indicate possession For singular words we add an apostrophe and an ‘s’. • He is the show’s director • This highlights Smith’s vocal range For names ending in ‘s’, our convention is to add clarity (and show that they are not plurals) by adding an additional ‘s’. • I was impressed by Sarah Jones’s whole-hearted delivery For plurals that end in an ‘s’ we add the apostrophe after the ‘s’ as this clarifies meaning. Compare:
To indicate omission We use an apostrophe to show where a letter (or letters) have been missed out. In the book Eats Shoots and Leaves, Lynne Truss describes these as ‘tombstones’ for dead letters. For example: • I’ll be there [I will be there] • It’s great to see you here [it is great to see you here] Use of contractions and omissions may be inappropriately informal for some forms of communication. Common mistakes with apostrophes Various English words are used without apostrophes because using them would cause confusion. For example:
•T he choirs’ voices combined in beauty [multiple choirs]
• An apostrophe is not used to show possession for the word ‘it’ because that would cause confusion when compared to the abbreviation of ‘it is’ or ‘it has’:
•T he choir’s voices combined in beauty [single choir]
• It’s been lovely to hear its sound improve through playing
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The same is true of ‘who’ and ‘whose’: •W ho’s the man whose singing sounds so sweet? Apostrophes do not need to be used to make things plural. Compare: •S ince the 1990s we have been using an automated ticketing service [correct] •S ince the 1990’s we have been using an automated ticketing service [unnecessary]
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8.7 Other punctuation Commas We use commas sparingly and only when they provide meaning. We are not afraid to use a comma before ‘and’ if it adds clarification to meaning.
Lists When presenting a bulleted list, we introduce it with a colon. We do not put any full stops at the end of the bullet points, and we begin each new bullet in lowercase.
• t here was a marked difference between Jack and Jill, and Bill and Ben.
Quotation marks By default, we use single quote marks.
When ending a list with ‘and’, a comma is seldom necessary.
We only use double quote marks for a quotation within a quotation.
• t he orchestra performed to children, teachers and guests.
For quotations that span multiple paragraphs, we open each paragraph with single quote marks but only use a closing quote mark at the end of the quotation.
When ending a list with ‘etc’ we add a comma. • t he brass section comprised tuba, trumpet, French horn, etc We use a comma to separate someone’s name from their title or job description. For example: ‘thirteen is not a lucky number,’ said Bill Patterson, dancer. Full stops We use single spaces after full stops (and other punctuation marks).
Using capitals We have adopted the trend of using as few capitals as possible. We only add a capital letter if it helps to communicate meaning. For titles and headings we only capitalise the first word, unless we are using the name of a work that is conventionally written with initial capitals throughout.
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Spelling out symbols or abbreviations We spell out the ampersand (&) as ‘and’ in all cases except if it is the name of an organisation and they always use the ‘&’. We spell out the oblique (/) as ‘or’, except in tables, in number or date formats or in website addresses. Instead of using ‘and/or’, we rephrase the sentence to say ‘x or y or both’. We write ‘page’ instead of using the abbreviation ‘pg’ or ‘p.’ unless in a table where space is tight.
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8.8 Describing disability Describing disability We are aware of the potential for discrimination against people with disabilities. We are mindful that our use of language needs to address areas of disability with sensitivity. The Disability Discrimination Act (DDA) defines someone as disabled if they have a ‘disability or long term health condition that has an impact on their day to day lives’. The Act covers people with a broad spectrum of conditions and circumstances who may not refer to themselves as disabled. Half of all disabled people are older than 60 and all disabled people are at a higher risk of poverty and social exclusion. It is widely acknowledged that the term ‘disabled people’ (rather than ‘people with disabilities’) best describes the nature of social exclusion and poverty. If we need (or it is useful to) describe a particular impairment then we use an accurate description. For example many more people have visual impairments than are registered as blind.
We use person-focused wording when describing an impairment. For example: ‘someone with epilepsy’ not ‘an epileptic’. If we are writing a particular article on disability or are addressing a specific topic that touches issues of disability we should consult with professionals or representatives on the subject to ensure accuracy of language. For example: in an article on the subject, it may be useful to distinguish between the words ‘deaf’ and ‘Deaf’.
Note: The use of the capital ‘D’ in ‘Deaf’ refers to those born Deaf or deafened in early or late childhood. Their primary experience is using sign language and being part of the communities and culture of the Deaf collective.
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Don’t use
Do use
disabled toilet
accessible toilet
the blind
blind people visually impaired people
the deaf
deaf people (see note) hearing-impaired people
dumb deaf and dumb
without speech
people with disabilities the disabled cripples / invalids
disabled people
special needs
access requirements
condition / problem
impairment
mental illness
mental health service user
able-bodied
non-disabled
people suffering from‌ people affected by... victims of... people with disabilities
people with... [always state a specific impairment]
mentally handicapped
learning disabled people people with learning difficulties
physically handicapped
physical impairment mobility impairment
wheelchair-bound confined to a wheelchair in a wheelchair
person who uses a wheelchair
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8.9 Ethnicity and gender Ethnicity and race When using language to describe people we are careful about when it is useful and necessary to describe their race or ethnic background. We are always specific in our use of language. We do not use inconsistent language. For example: ‘Black and Muslim people’ compares two different groupings, race and community or religion, within a description. We try not to use the term ‘Asian’. Instead we use more specific terms, such as Indian, Chinese, Sri Lankan, Burmese, Afghan, Malaysian, etc. Where useful we use more specific terms than the word ‘Black’ to describe people, such as West African, African-American, AfroCaribbean. If we do use the word Black (to describe race) then we always use a capital ‘B’. We never use Black as a noun, only as an adjective. Compare: we say ‘Black people across the nation’; we do not say ‘a nation of Blacks’.
We don’t use the term BME. Instead we spell it out as Black and minority ethnic. When describing particular communities, we are careful to use language that is comfortable for that community. We do not use the terms coloureds or coloured people, although ‘people of colour’ is acceptable if that is the term used by a particular community. When talking about those from the Gypsy tradition, we use the term that is specific to the community or organisation that we are talking about. For example ‘gypsies’, ‘travellers’ or ‘Roma’ can all be acceptable or unacceptable to different groups. We don’t use ‘ethnic minority’ as a term, nor do we refer to ‘ non-whites’ or ‘non-Blacks’ etc. We do not use the term ‘mixed race’. Instead we say ‘dual heritage’ or ‘from more than one ethnic group’.
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Gender Unless we need to write about one sex in particular, we use gender-inclusive language that includes both women and men. We are mindful that the any attempt to use ‘he/she’ can be uncomfortable so we find ways to avoid them. For example: •m ake the whole sentence plural (where possible). ‘Comedians take up their residencies in the spring’, not ‘The comedian takes up his residency’. • r epeat people’s profession or titles (but not so often that this becomes repetitive), for example rather than saying ‘If a musician wants to…, he should contact…’ say ‘If a musician wants to…, the musician should contact’.
• r ephrase other parts of the sentence, for example rather than saying ‘A stage-hand needs to protect himself from…’ say ‘A stage-hand needs protection from…’. If none of these solutions is appropriate, we use ‘he or she’. But we don’t use ‘he’ and ‘she’ in alternate sections, nor do we use a catch-all line such as ‘throughout this document “he” should be taken to mean…’.
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9.1 Accessibility and legibility Our approach It is important that our communications are readily accessible to as wide an audience as is practically possible. We do not want to exclude any audience group through a lack of forethought about how we produce materials and documents. We make sensible judgements about legibility and accessibility. We find a balance between making our communications accessible to the widest possible audience, and the relative cost of producing such material. We ensure that we are aware of the needs of our audience, and put in place mechanisms to accommodate these needs.
Contrast We ensure that all written communication is high contrast to ensure maximum legibility. Typefaces We have chosen typefaces that are clear and legible at relatively small sizes. We do not use type that is less than 8pt for the main text of any document (although we may choose to use smaller type for photo captions and tables, where space is an issue). Capitalisation and italics We do not use capitalised words as these are harder to read. We use italics sparingly. Spacing We use an open leading (the spacing between lines of text) to ensure maximum legibility. We do not increase word or letter spacing, and keep any kerning (manually altering the space between letters) to a minimum.
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Alignment For large areas of type, we always align the text to the left, with a hard margin. Type placement We are careful when placing type over images to ensure maximum contrast and legibility. Colour We avoid using colour only to highlight information. We distinguish highlighted information in other ways (such as using bold, or adding line breaks). Producing documents When binding documents we are careful not to crease or fold through type. We use matt or uncoated paper to avoid glare on the page.
poor contrast makes accessibility difficult
good contrast makes accessibility easier excellent contrast makes accessibility easiest
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9.2 Formatting our contact details A consistent format By using a consistent format in the way that we write our contact details, we can ensure maximum clarity for all of our recipients, no matter who we are communicating with. We can use this basic format: The Marlowe The Friars Canterbury Kent CT1 2AS T: 01227 787787 E: info@marlowetheatre.com marlowetheatre.com
It is not necessary to include all details in every piece of communication, although the relative sizes should remain consistent. We should make a judgement about the amount of details that is useful in each context. If space is tight and our address needs to appear in one line, we add commas to aid clarity: The Marlowe, The Friars, Canterbury, Kent CT1 2AS
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The Marlowe The Friars Canterbury Kent CT1 2AS T: 01227 787787 E: info@marlowetheatre.com marlowetheatre.com
Our address is written out in full with no punctuation
A full paragraph break is introduced to show clear distinctions between content We include contact numbers and email address and indicate them like this
John Baker Head of Development T: 01227 378119 M: 07866 061946 E: john.baker@marlowetheatre.com The Marlowe The Friars Canterbury Kent CT1 2AS T: 01227 787787 E: info@marlowetheatre.com marlowetheatre.com
When we use personal contact details, they always follow the person’s name, and precede our generic contact details
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Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
9.3 Formatting our email signatures We all use the same style of email signature to ensure consistency. These are formatted in HTML (web-based mark-up language) but have been considered in a way that they can be easily read by non-HTML recipients (such as those using Blackberry devices). We do not insert pictures or logos as this can be misinterpreted by some firewalls and spam-filters; at best it produces inconsistent results across different computer systems. Marketing or news messages can be added before our email signature. They are formatted in 10pt Verdana. Lines are used to distinguish the end of the email messages Our details are formatted as they are here, including a legal disclaimer.
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________________________________ Cinderella – tickets on sale now Tickets for our spectacular pantomime are now on sale. This festive fun-filled extravaganza is guaranteed to delight the whole family. ________________________________ John Baker Head of Development T: 01227 378119 M: 07866 061946 E: john.baker@marlowetheatre.com The Marlowe Theatre The Friars Canterbury Kent CT1 2AS T: 01227 787787 E: info@marlowetheatre.com marlowetheatre.com This email (and any attachments) is confidential, and may contain personal views which are not the views of the The Marlowe Theatre unless expressly stated. If you have received it in error, please let the Society know immediately and delete it from your system. It is intended only for the stated addressee(s), and access to it by any other person is unauthorised. If you are not an addressee you must not disclose, copy, circulate or in any other way use or rely on the information contained in this email. Copyright reserved.
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
10 Digital files
9 House style: formatting 10 Digital files
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The Marlowe brand guidelines 1 2 3 4
Contents Introduction Our logo Our mark
5 6 7 8
Our graphic element Colour and typography Example applications House style: writing
9 House style: formatting 10 Digital files
10.1 File types: which to use when Digital files Our logo files have been specifically calibrated to maintain consistency across diffferent applications and outputs. Selecting the correct file type, for each specific use, minimises problems and reduces our need to further consider issues of resolution and colour matching. The master copy of our logos is held, on disk, by our Head of Communications (TBC).
JPEG /.jpg • For our in-house use • Low resolution (72dpi) • Screen colours (RGB) These are for our everyday use on documents that we generate and produce in-house. They are saved to be compaitble with comuter screens and in-house printers; they use the Red Green Blue (RGB) colour spectrum to generate their colours. These are low resolution files (72dpi), predominently for use on computer screens. We should not supply these files to printers or design suppliers (who need high-resolution files). But they are appropriate for web and other digital uses.
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TIFF /.tif • For professional use • High resolution (300dpi) • Print process colours (CMYK)
Illustrator /.ai /.eps • For designers/printers only • Vector files • Print process colours (CMYK)
Use for leaflets and posters. Supply these files to printers and design suppliers.
These are specialist (vector) files that are not resolution-dependent. Use only for supplying to designers or printers.
They are saved for use by print suppliers and designers. They use the process print colour spectrum (CMYK) Cyan, Magenta, Yellow, and Black. These are print resolution files (300dpi). They can be used in most contexts but are a large file size that is impractical for our day-to-day use.
These are only compatible with certain software packages. Before supplying to a printer or design supplier ensure that they accept ‘Adobe Illustrator’ or ‘Illustrator EPS’ files.