Archdiocese of Manila Style Guide by Geno Maglinao

Archdiocese of Manila | Style Guide

For questions and high resolution copies of the materials in this style guide, please contact: CHANCERY Arzobispado de Manila 121 Arzobispo Street, Intramuros, Manila +63(2)8527-3955 | +63(2) 8527-3850 | +63-929-252-5262 chancery@rcam.org | mlachancery@gmail.com

Branding Team: Geno A. Maglinao Romain Garry E. Lazaro Xavier N. Apostol

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TABLE OF CONTENTS I HISTORY & VISION 1 II IDENTIFYING MARKS 7 Coat of Arms Informal Logo Inappropriate Usage

III

COLORS & TYPOGRAPHY 16

IV APPLICATIONS 18 Official Documents Informal Applications

Archdiocese of Manila | Style Guide

HISTORY On February 6, 1579, Pope Gregory XIII, by virtue of the Apostolic Constitution Illius fulti praesidio, established Manila as a suffragan diocese of Mexico. Fray Domingo Salazar, a Dominican, was appointed its first bishop. Bishop Salazar took possession of his ecclesiastical seat in 1581. The church that was built earlier by Miguel Lopez de Legazpi, where the Manila Cathedral now stands, became the seat of the diocese and was placed under the patronage of La Purisima e Inmaculada Concepcion. Part of the Apostolic Constitution, Illius fulti praesidio, states, “… we erect and establish forever the town of Manila into a city, and its church into a cathedral, under the title ‘the conception of the same Blessed Virgin Mary’ to be held by one Bishop as its head, who shall see to the enlargement of its buildings and their restoration in the style of a cathedral church.”

OPPOSITE PAGE The throne room of the Arhbishop’s Palace during the Spanish colonial period

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On August 14, 1595, Pope Clement VIII, upon the proposal of King Philip II, issued the Papal Bull Super specula militantis ecclesiae elevating Manila into an Archdiocese thereby creating three suffragan sees, namely, Nueva Caceres, Nueva Segovia and Cebu. With the creation of these new dioceses, the territory of the Archdiocese of Manila was reduced to the City of Manila and ten nearby provinces, namely, Rizal, Bulacan, Pampanga, Nueva Ecija, Batangas, Laguna, Cavite, Bataan, Zambales and Mindoro. At the onset of the 20th century, the Archdiocese of Manila was further divided separating some areas to create independent sees and forming new dioceses. 1

The present ecclesiastical territory of the Archdiocese of Manila covers five cities, namely, Manila, Makati, Mandaluyong, Pasay and San Juan. It is surrounded by the Diocese of Kalookan in the north, the Dioceses of Cubao and Pasig in the east, and the Diocese of Paranaque in the south. The Archdiocese of Manila has 86 parishes, 58 of which are administered by diocesan priests while 28 under the religious. There are four minor basilicas, six national shrines, nine archdiocesan shrines, four chaplaincies, a sanctuary, and the cathedral. After Bishop Domingo Salazar, 32 prelates governed the ecclesiastical territory of Manila. Bishop Salazar (1581-1594) was succeeded by a Franciscan, Ignacio Santibáñez (1596-1598). He was replaced by the Dominican Miguel de Benavides (1603-1605). Diego Vázquez de Mercado (1610-1616) was the first secular to head the Archdiocese. Following him was a succession of Archbishops coming from different religious orders – Augustinians, Dominicans, Franciscans, a Hieronymite, a Trinitarian and a Piarist. In between the religious who became Archbishops were six members of the secular clergy. In 1903, following the American occupation of the Philippines, the Archdiocese of Manila received its first non-Spanish archbishop, Jeremiah James Harty (1903-1916), from St. Louis, Missouri, United States of America. He was succeeded by an Irishman, Michael James O’Doherty (1916-1949), who led the Church in the Philippines during the Second World War. Succeeding Archbishop O’ Doherty was Gabriel M. Reyes (1949-1952), the first Filipino to become Archbishop of Manila. His short term saw the beginnings of the reconstruction work after the war. His successor, Rufino Jiao Santos (19532

The present day cathedra of the Manila Cathedral.

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1973), became the first Filipino to be elevated to the College of Cardinals on March 20, 1960. When Cardinal Santos died in 1973, Jaro Archbishop Jaime Lachica Sin was appointed Archbishop of Manila and later elevated as Cardinal on May 24, 1976. He served this local Church for nearly thirty years until his retirement in 2003 when the Vatican appointed the then Lipa Archbishop Gaudencio Borbon Rosales in his place. Archbishop Rosales became a Cardinal in 2006 and stayed in office until December 11, 2011. He was succeeded by then Imus Bishop Luis Antonio Gokim Tagle who was installed as the 32nd Archbishop of Manila on December 12. 2011 and was elevated to the Cardinalate on November 24, 2012. Cardinal Tagle was appointed Prefect of the Congregation for the Evangelization of Peoples on December 8, 2019, leaving the Archdiocese of Manila vacant until the appointment of Cardinal Jose Advincula from the Archdiocese of Capiz as Archbishop of Manila on March 25, 2021.

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VISION

A people called by the FATHER in JESUS CHRIST to become a COMMUNITY of persons with FULLNESS OF LIFE witnessing to the KINGDOM OF GOD by living the PASCHAL MYSTERY in the power of the HOLY SPIRIT with MARY as companion.

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THE EVOLUTION OF THE COAT OF ARMS

Original coat of arms of the City of Manila (1596)

Old Ecclesiastical Seal of the Archdiocese of Manila used until 1949

Coat of Arms designed by Archbishop Madriaga (1950s)

Coat of Arms of Cardinal Rufino Santos by Galo Ocampo (1960)

RCAM Coat of Arms used since 1990s

New Official Coat of Arms

THE COAT OF ARMS The coat of arms identifies and represents an institution through symbols. The ecclesiastical arms of the Metropolitan See of Manila was designed by ecclesiastical heraldist Archbishop Mariano A. Madriaga, which was later drawn by Filipino artist and heraldist Galo B. Ocampo. It is an adaptation of the arms granted by His Catholic Majesty Philip II of Spain to the first capital of the country honored by the title La Muy Insigne y Siempre Leal Ciudad de Manila (The Noble and Ever Loyal City of Manila) on March 20, 1596. The arms of the Archdiocese of Manila consist of a shield divided horizontally into two fields, the upper gules (red) and the lower azure (blue). In the upper field against the red background is depicted a tower in gold with a door and three windows in blue, and a silver crescent on dexter chief. In the lower field against the blue background is a silver-colored sea lion holding in its right paw a cross fitchée. The castle in the original arms of the City of Manila, which originated from the crest of the Kingdom of Castile, was changed into a tower to represent God Himself, who is called in Psalm 60:4 “turris fortis contra inimicum” (a tower of strength against the enemy). The three windows make the tower reflect the Blessed Trinity: Father, Son, and Holy Spirit, three Persons in one God. The silver crescent placed in the upper right-hand corner of the shield represents the Immaculate Conception, patroness of the Manila Cathedral, the Archdiocese of Manila, and of the entire Philippines. The symbol of the moon comes from Revelation 12:1 - “A great sign appeared in the sky, a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars.” Archdiocese of Manila | Style Guide

The sea lion historically called the Ultramar (in Latin ultra means from beyond and mar connotes the sea) was a distinctive emblem given by the King of Spain to the City of Manila as an overseas colony. The lion is derived from the arms of the Kingdom of León, with a tail of a fish instead of legs to identify Manila as a territory overseas. The sword held by the sea lion was substituted with a cross fitchée which is a cross whose base is pointed. Crosses of this description are said to have been carried by the early Christians on their pilgrimages so that they might readily be fixed in the ground while performing their devotions. This signifies the missionary call of the Filipino people to plant the faith, not only in Asia, but throughout the world. Another reason for the substitution of the sword by the cross is the policy enshrined in the Constitution of the Philippine Republic: “The Philippines renounces war as an instrument of national policy, adopts the generally accepted principles of international law as part of the law of the land...” (Art. II, Sec. 2). By this, the Filipino faithful proclaim that they cannot “glory except in the cross of our Lord Jesus Christ” (Gal. 6:14). Surmounting the shield is a miter, a symbol of rank and responsibility for prelates, representing the jurisdiction of the Archdiocese of Manila as a diocese established by the Pope and given to the care of our Archbishop. The miter is also a sign of our final victory in heaven, its symbolism arising from St. Paul’s analogy: “I have fought the good fight, I have finished the race, I have kept the faith. From now on the crown of righteousness awaits me “ (2 Tim. 4:7-8).

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OFFICIAL VARIATIONS 1

These variations of the coat of arms are used for the official materials and formal documents of the Archdiocese of Manila. 2

1. Vertical coat of arms in full color 2. Vertical coat of arms in black 3. Vertical coat of arms in white for black or other dark backgrounds Go to page 18 to see the official materials and formal documents where these variations may be used.

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INFORMAL LOGO On the opposite page is the informal logo of the Archdiocese of Manila. This will be available for everyday use of the Archdiocese, especially in social media, in informal events, merchandise, and other materials of the same nature. This logo was created to make the brand of the Archdiocese closer to the people and to give it a fresher and more current look. This version of the logo, although simplified, still bears the complete parts of the official coat of arms. However, the color variations were minimized and the images were simplified. The wordmark was replaced by a new typeface, Bodoni, to make it more legible and to differentiate it from the official coat of arms.

Archdiocese of Manila | Style Guide

OFFICIAL VARIATIONS A

Only these official variations of the informal logo may be used. See page 20 for the various aplications of these versions. A. Informal logo in full color B. Informal logo in black C. Informal logo without the wordmark

D. Informal logo without the wordmark in black

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INAPPROPRIATE USAGE

Official coat of arms for informal applications

Different typeface

In official typeface but not stacked

Different shades of the official colors

Solid color other than black

Different proportion of coat of arms and wordmark

Distorted

Busy, low contrast background

Excessive use of Photoshop effects

Low resolution

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COLORS

GOLD R234 G193 B3 C10 M22 Y100 K0 #eac103

RED R225 G31 B40 C5 M99 Y97 K1 #e11f28

BLUE R0 G52 B154 C100 M90 Y5 K1 #00349a

RED/BLUE GRADIENT Combine the two official shades of red and blue into a gradient.

Archdiocese of Manila | Style Guide

TYPOGRAPHY Old English Text

Calendas Plus

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

The Old English typeface is only used for the official coat of arms and unofficial logo.

Calendas Plus is used in most materials. Whether formal or informal, this may be used for headlines and bodies of text.

Bodoni

Roboto

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

Bodoni is only used for the informal logo.

Roboto is used sparingly. It will only be used when a need for a sans serif typeface arises.

Archdiocese of Manila | Style Guide

OFFICIAL DOCUMENTS Letterhead & Letter Envelope

Letter, 8.5x11in

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The Roman Catholic Archdiocese of Manila

Letter envelope, 9.5x4.13in

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INFORMAL APPLICATIONS Social Media Posters

Poster for Mass Schedules

Facebook Profile Picture Frame

Event Poster

Archdiocese of Manila | Style Guide

GUIDELINES FOR CREATION OF SOCIAL MEDIA MATERIALS 1.

The informal logo may be used without the wordmark.

2. The logo must always be placed at the top part or at the lower left corner of the layout. It cannot be placed at the lower right portion nor at the bottom center part for consistency. 3. The social media icons and handle may be placed at the bottom part of the layout as an invitation to follow all the official social media platforms of the Archdiocese. 4. Only high resolution photos may be used. 5. Texts has to be in the official typefaces. 6. Text must be in high contrast with the background. Do not put texts in busy backgrounds. Black or colored gradients may be used as background to the text to make sure that the texts are readable.

Archdiocese of Manila | Style Guide

Archdiocese of Manila Style Guide

Articles inside

II IDENTIFYING MARKS

I HISTORY VISION