design guidelines
C
C
C
C
C
C
C
C = cap height of K and E Exclusion zone
Main logo (primary configuration)
Exclusion zone
The symbol and logotype shown above is the master configuration which
The red box above delineates the
should be used to represent the school whenever possible. The relative position,
minimum area around the logo
proportions and colours should not be changed. Master artworks should be used
which should remain free of other
in all instances and elements should not be redrawn or emulated.
type or graphic elements. Relative
The exclusion area around the logo, illustrated above, is the minimum area which
measurements are given as units of C,
should be kept clear of other graphic elements.
which is the cap height of the K and E
All uses of the logo should be approved by the Marketing Department prior to
at the intended size.
production. Master artworks can be sourced from marketing@kesw.org.
CMYK or RGB colour mode.
Solid line, for use when colour and half tone are not available.
Use the white type version against dark backgrounds (either gold as shown here, or blue).
Banner format (secondary configuration)
IB logo
In instances where a landscape format is required, such as on website banner
Whenever possible, all outward
ads, on banners at outdoor events, or as part of a masthead, the Banner
facing material should carry the
format below may be used. This should only be used when the space allowed
International Baccalaureate logo.
does not permit reasonable use of the primary configuration. Layouts should
When used in close proximity to
be approved by the Marketing Department before proceeding. Master
the main logo, the diameter of the
artworks of this logo can be supplied by the Marketing Department on
IB symbol should not exceed the
request: marketing@kesw.org
cap height of the King Edward’s C = cap height of KE
C alignment
C
C
C
Exclusion zone
lettering.
E
Typefaces
Please use the typefaces below for all King Edward’s material.
Bembo is a sharp, cleanly cut classic,
Frutiger was designed in 1975.
When using frutiger as text, a
humanist serif font which was recut in
It is clean cut and robust offering
minimum of 30% leading is
the 1920’s but originates way back in
high legibility, and complements the
recommended (eg. 9pt on 12pt
1495. Its small ‘x’ height and tooled
formality of Bembo. It is available in
leading), this text, for example, is
curves display elegance and gravitas.
several weights but we recommend
8.5 on 14pt. Subheadings can be in
Bembo should be used primarily for
using ‘light’ for text, or ‘roman’ if
Frutiger if understated; when more
headlines and titles, but can also fulfil
reversing out of a colour. It should also
prominent, use Bembo and at a
more formal roles as a text font.
be used for small type and captions.
larger size. Calibri
Bembo regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcedefghijklmnopqrstuvwxyz 1234567890
(digital, email and letter default) All outward-facing material should be produced using Bembo and Frutiger, with designs approved by the marketing department.
Frutiger light
In instances where these fonts
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
cannot be used, such as in certain digital communications, emails and official letters, Calibri should be employed.
Principal colours In order to project the distinctive red cross in the shield, the supporting
KEW Gold 0-14-88 45
0-14-88-15
colours are based around blue and yellow, the other two primary colours in the reflective colour spectrum. The yellow colour is towards gold in nature (see specification below). Where possible, some gradation
KEW Blue 100-0-0-0
100-60-0-25
should be used on the colours to add life and depth. This picks up on the subtle three dimensional effect used on the master shield artwork. Examples right show the degree of light shade and colour change.
Background colour
White space is also an important
A cream/stone colour can be also be used to add softness and warmth to offset
element of the design style, allowing
the starkness of the other colours.
the design to ‘breathe’, and giving
Colour: cmyk 0-6-10-0 or PMS 155 at 50% tint.
designs a sense of luxury.
Overlaying type in lower case. cmyk 18-25-60-0.
Yellow cmyk
rgb
light 0-14-88-15
223-187-49
dark
0-14-88 45
158-134-31
Blue
cmyk
rgb
light 100-0-0-0
0-174-239
dark 100-60-0-25 0-80-143
Suggested colour palette, see over.
typography
Support colours The colours shown right are the supporting colours for the identity. They can be used for tasks such as colour coding, but should not be used
30% 70% 100%
30% 70% 100%
do not tint
to excess. Colours not included in the King Edward’s palette must only be used where the King Edward’s colours
cmyk 31-23-27-60
cmyk 57-20-0-0
cmyk 0-90-100-0
are not appropriate.
rgb 40-93-92
rgb 103-171-221
rgb 239-65-35
Avoid using too many colours at once,
pms 418C
and too many tints. Colour modes Different media render colours differently, so
30% 70% 00%
30% 70% 100%
30% 70% 100%
consistency across varying media platforms is difficult. Please use the following information to maximise consistency. cmyk - for printed output, either professionally
cmyk 12-100-7-0
cmyk 53-14-41-2
cmyk 19-24-47-0
or at office level.
rgb 241-203-0
rgb 130-172-94
rgb 212-184-123
rgb - for online, web and screen use, such as powerpoint, video etc.
Curves in the right places
Depth and layering
Photographic backgrounds
The curves which make up the shield
As established in the shield device,
device are followed through in the
an effect of three dimensions should
When using the logo against a
capital ‘K’ in the Bembo typeface, as
be carried through designs to create
photographic background please
well as the rounded nature of Frutiger.
a sense of space. Overlapping,
ensure unquestionable legibility.
Curves are relaxed, calm and caring
translucency, drop shadows and scale
There are four ways this may be
and form an important part of the
will help this.
achieved:
King Edward’s identity. They soften
a) use a part of the photo which is
the appearance of the school and
clear and simple with little variation
bring movement and form
in tone or colour and provides good
to supporting elements.
contrast to the logo colour and tone.
In order to further express this
b) lighten or darken the area of the
approach, curves can also be used
photograph behind the logo
in conjunction with the cream/stone
c) blur the area of the photo behind
colour as shown on this background.
the logo to remove distracting sharp
K
Relative size, gradation, overlapping and translucency creating an illusion of layering and 3D space.
edges and reduce tonal variation d) place a translucent box over the photo or part of the photo for the logo to sit on, this box can then be
a
blurred/gradiated at the edges to a avoid a hard edge, if preferred. Drop shadow and inner shadow respectively, again creating a 3D effect
Help If you feel unsure about any aspects of the identity, please contact the marketing department for advice (marketing@kesw.org), or to request samples of recently produced work for reference. © Dowie June 2014