Brand Guidelines

Brandmark

Leading our visual identity is our brandmark, it is contemporary, clean and confident.

It is the most recognisable asset of our visual identity and will be visible across almost every touchpoint of our university on a national and international basis.

Our brandmark exists in two formats. A gold version to be used for corporate and ceremonial events. A mono version, which we are transitioning toward, is to be used on more creative outputs. There could be occasions where usage is open to interpretation and discussion.

Primary Brandmark

Corporate Brandmark

The corporate version of the primary brandmark is made up of the U symbol in Pure Gold and lettering in the new Core Blue as opposed to older logos that used the ‘Corporate Blue’. This version of the brandmark is to be used for internal communications, stationery, corporate and ceremonial events.

Corporate Reversed

When the corporate version of the brandmark appears on a dark background, then the U symbol should remain in Pure Gold and the words Ulster University should appear in white.

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Creative Brandmark

Our ambition is to drive towards a strong and confident one colour version of our brandmark. This Core Blue version is to be used across all marketing material such as advertising campaigns, promotional videos and print collateral.

Creative Reversed

The brandmark can appear in white when sitting on certain colours within our colour palette. These tend to be darker colours and ones where the contrast between the logo and colour remains high.

Secondary Brandmark

This option, Core Blue brandmark on a Sky Blue background, is to be used in exceptional circumstances such as on vans, hoardings or t-shirts. The contrast between the two elements remains high and the combination is visually strong, so should be utilised sparingly so as to maintain this prestige.

Mono Brandmark

Black and white versions of the brandmark should be used when colour reproduction is unavailable. A mono version should also be used if the brandmark is appearing on third party collateral and the primary version of the brandmark clashes with the third party colour way.

Portrait Brandmark

A portait version of the brandmark also exists. The landscape version is the preferred option, but in some cases, the format that the brandmark is being used on may dictate that a portrait version is used. The rules and versions of the brandmark established in this section also apply to the portrait version of the brandmark.

Clear Space

A clear space has been established which is the width of thick section of the ‘U’ symbol. No other graphic elements should encroach on this area. In exceptional circumstances, half of this width is permitted.

Minimum Size

To retain the clarity and visual strength of the brandmark, a minimum size has been established for print and digital outputs. If the brandmark is being used for print on promotional items such as pens or key rings, which may require the brandmark to be printed smaller than the stated size, then it should be made as large as possible in the print area.

Brandmark Faculty Lockups

The four Ulster University faculties have a lockup with the brandmark.

• Faculty of Arts, Humanities and Social Sciences
• Faculty of Computing, Engineering and the Built Environment
• Faculty of Life and Health Sciences
• Ulster University Business School

These are the agreed versions of the lockups. No other versions of these lockups should be used or created.

Primary Colours Lockup

The lockup should almost always appear in the Creative Brandmark colours - Core Blue and Ghost White.

Mono Brandmark Lockup

Mono versions of the lockups are available for use when colour reproduction is unavailable. This version of the lockup should also be used on third party collateral and if the primary version of the brandmark clashes with the third party colour way.

Sub-brand Lockups

There are a small number of approved sub-brand logos as illustrated here. At this time there are no other agreed sub-brands. Any proposals for new sub-brands will require approval by the Director of Marketing and Communications.

Like other versions of the brandmark there are different orientations of the sub-brand lockups and they can exist in different colour variations, primary and mono. The rules set out for colour usage on the brandmark apply to these lockups.

Selected Research Institutes have their own sub-brand lockups.

Partner-Sponsor Lockups

Where Ulster University is a sponsored partner and the logo must be placed smaller, alongside other brands, this version of the logo must be used where the wording is larger.

Lockup Examples

The examples here show how the lockups work like the original brandmark, sitting in the corners of the format, with enough contrast with the background image for the lockup to be seen clearly. Different orientation’s of the lockups have been used, according to which one works best on a particular format.

Co-Branding Lockups

The Ulster University brand will have to co-exist with other brands on a regular basis. There are a set of rules in place, ensuring that the legibility of the Ulster University brandmark isn’t compromised and to control how other brandmarks work in unison with it.

Partner Lockups

If the Ulster University brandmark needs to sit with the another brandmark, then it should always appear first, with a clear space twice the size of the standard brandmark safe space being employed. The partnership brandmark should be centre aligned against the Ulster University brandmark and scaled to balance against it.

When the brandmark is part of a multiple lockup,  the partner sponsor version must be used to ensure legibility of the wording and emphasis.

Multiple Partners

When using the Ulster University brandmark with multiple brandmarks, they can be aligned horizontally and spaced with the same clear space between them. In this instance, the partner sponsor version of the brandmark must be used to ensure legibility of the wording.

If Ulster University is to be the primary brand in a group, then our original brandmark can be set at a larger size, with the other brandmarks set in a group underneath it. A descriptor line such as ‘Delivered in Partnership with:” can also be included to place the accompanying brandmarks in context.

Clear Space

The clear space around the lockup is exactly the same as the rule established for the brandmark, the width of thick section of the ‘U’ symbol. No other graphic elements should encroach on this area. In exceptional circumstances, half of this width is permitted.

Minimum Size

With the faculty name being of different lengths and heights when sitting with the brandmark, the best way to ensure a consistent use and sizing, is to maintain the 25mm minimum width for the brandmark for print collateral and 95 pixels for digital outputs. When the brandmark is sized to this width, the faculty name will be sized correctly in proportion.

Brandmark Specifications

The brandmark can also be used to sit on top of an image, as long as there is a suitable location that is light enough for the primary brandmark to be seen clearly, or dark enough for the secondary brandmark to be used.

Brandmark Positioning

There are a range of directions for the placement of the brandmark depending on the format that it is being used on. When placing the brandmark, ensure that it does not sit beyond the safe zone which is the outer line of the grid (marked with the cyan line).

Brandmark positioning can vary depending on the communication as needed.

Top-left aligned

Digital applications, such as the website, will have the brandmark set in the top-left of the format.

Top-right aligned

For brochureware, case studies and other internal and external literature including letterheads, maximising the visibility of the brandmark.

Bottom-left aligned or Bottom-right aligned

For advertising, promotional and select communications where the proposition leads.

Centre aligned

Where the brandmark is the primary communication such as end-frames.

Brandmark Positioning

Secondary brandmarks or logos don’t necessarily have to sit as part of a lockup with the Ulster University brandmark. They can sit seperately, depending on the design purpose and brief. In this case, the logo can sit in one of the corners and the Ulster University brandmark can sit in an alternate corner. The examples shown here, don’t cover all possible outcomes but rather show some suggestions as to where brandmarks and logos can sit when not used in a lockup format.

Brandmark Positioning Examples

The positioning of our brandmark can be flexible depending on the communication platform in use.

Incorrect Brandmark Usage

Below are examples of how the brandmark should not be used. Maintaining the brandmark’s clarity and not tampering with the graphic elements or colour of it are key points.

• The brandmark should never be stretched or distorted.
• The colour of the brandmark should not be changed to colours outside the agreed versions.
• Do not reproduce the primary brandmark on a dark or complex background, making it illegible.
• The brandmark is not used with additional graphic elements or holding devices.
• The relationship between elements should not be altered.
• Do not attempt to recreate the brandmark.
• Do not alter the colour placement within the brandmark.
• Do not create sub-brand lockups that have not been approved by Ulster University.

University Crest

A heraldic crest representing the university also exists.

The usage of the crest will be extremely limited mainly at ceremonial events, where it would appear on certificates, lecterns and ceremonial dress.

Please refer to the marketing department if you have any queries about a situation that you feel that the crest could be used.

Brand Architecture Overview

This is Ulster University’s approved brand architecture showing the entire suite of brand lockups.

Brandmark Downloads

• Master Logo Suite (1.3 MB)

• Partner Sponsor Logo (Restricted Use) (217.5 KB)

  Only to be used when the Ulster brand-mark is part of a multiple lockup,

• Stacked (not used unless space is restricted) (14.7 KB)

  Not used unless space is restricted

Colour

Colour is a powerful tool that helps increase awareness and recognition, whilst leaving a lasting impression on our audience.

Taking ownership of a blue palette in our sector will make our communications more instantly recognisable and consistent across all remits of our outputs.

Primary Colours

Our palette provides continuity with the Blue heritage of Ulster University, whilst strengthening our palette for the future.

As such, blue forms the basis of our primary colour palette and should be central to the communications released.

Primary Colour Values

The colour values for the blue palette should not be deviated from.

Only solid tones of colour should be used.

Tints can be used, but only in exceptional circumstances and should be used sparingly.

Consideration should be given to what version of the brandmark is placed on the a solid colour to ensure a high level of contrast between the two elements.

Using Colour

CMYK (printing) and RGB or HEX (screen) are the preferred reproduction methods. Pantone (PMS or Spot colour) should be used where full colour printing is not available e.g. screen printing and one colour printing.

Tip: Hover over each of the colours to get their values.

Secondary Colours

We employ a secondary colour palette to support our primary palette.

It consists of black and a range of greys.

This lends stability and flexibility to our colour scheme.

Secondary colours can be used as the dominant colour in a piece of design, however a primary colour blue should also appear in unison with it, to keep our brand visual consistent.

Tip: Hover over each of the colours to get their values.

Complementary Colours

The complementary colour palette is used as a way of bringing a layer of differentiation to our communications.

The colours are not aligned to any Faculty or department and are to be used freely as complementary colours.

Careful consideration should be given to when these colours are used, as they should not be used in a way that dilutes the visual recognition that our blues bring to the brand.

Tip: Hover over each of the colours to get their values.

Complementary Colour Usage

Accents of colour can be bought into our design communications by using the complementary colour palette.

They should be used sparingly and should not replace the blue colour palette in an overall piece of work.

Here you can see examples of how accents of colour can be used to add another level to our design work, enabling key information to stand out and to keep our outputs looking fresh, relevant and interesting.

Proportional Colour Usage

When using colours for Ulster University brand collateral, careful consideration should be given when using colour to ensure that blue remains as our lead colour, with the secondary and complementary colours providing support and definition to design outputs.

The colour wheel represents a proportional guide to using colour and in what quantities, while taking into account the rules laid out previously. We haven’t put an exact percentage on what amount of colour should be used, as this will be almost impossible to implement and enforce. Rather this wheel is to give you a visual sense of how to apply colour when designing with our brand.

Primary Colours

Our primary colours should be the dominant colours in all our communications. If a brochure, digital presentation or video animation is being designed, blue doesn’t need to appear at all times, on every page, slide or frame, but should still be the dominant colour throughout our overall brand outputs.

Secondary Colours

This colour palette can be the dominant colour on a single page or graphic as long as a primary blue is also present. It can be used to add contrast to the primary colour palette.

Complementary Colours

When a piece of information needs highlighted, like a graphic, headline or call text, a dash of colour from the Complementary palette can be used. By using these colours in moderation, their effectiveness is increased.

Primary Colour Combinations

Here are some examples of how the primary colours can be used to produce a range of combinations that conform to guidelines but also possess a strong visual presence.

You will see further examples of how colours can be used, which will be useful for idea generation.

Consideration should be given to how many colours should be used together at any one time and if this looks visually correct.

Secondary and Primary Colour Combinations

Secondary colours can be used as the main background colour.

However a blue from the primary palette has to be present to ensure that the connection between Ulster University and our blue heritage remains.

These simple advertisements, show how combining the two colour palettes can work as an effective design strategy.

Colour Combination Examples

Brochures

Samples of brochure covers, using primary and secondary colours, to make dynamic and visually appealing design options.

Screens

On this example, the two colour palettes are used in combination with an image.

Posters

Incorrect Colour Usage

Below are examples of how the colour should not be used. Maintaining the brandmark’s clarity and not tampering with the graphic elements or colour are key points.

• Do not use colours outside of the agreed colour palette
• Do not use gradients
• Do not use the old colour palette
• Do not use the secondary colour palette by itself
• Do not use colours that don’t contrast against each other

Typography

Futura is our font. It is a unique, versatile and highly recognisable typeface that is bold and progressive in some formats; refined and professional in others.

Typographic Principles

Futura is our chosen typeface, with the Futura PT version to be used on all materials. It is at the core of our visual identity and synonymous with our brand. We only use the five weights of extra bold, bold, heavy, book and light. Ulster University is bold and strong in our communications, however, by choosing Futura PT, we can also be more refined, restrained and corporate when needed.

When typesetting using Futura PT, kerning, which refers to the spacing between pairs of letters should be set to optical. Tracking, which refers to the spacing between blocks of letters should be set at 0.

Leading, which is the spacing between lines of text, should be set at 2 points higher than your point size. For example, if your point size for a piece of text is 12 point, then your leading should be set to 14 point.

Typographic Specifications

To ensure that our typography remains consistent across all media, these rules should be followed.

Primary typeface weights

Five weights, extra bold, bold, heavy, book and light are used to create a clear hierarchy in a tone that is distinctly our own.

Primary Typeface Specifications

Italics

Italics are available for each weight, in an oblique style, when formatting legal text and on footnotes. Never use italics in headlines, in body copy or to convey a concept, such as speed or momentum. Italics can be used on the headlines on infographics.

Licensing

You can download Futura PT for free from Type Kit with an Adobe CC license. Futura PT is the version to be used on all materials. For internal licensing requirements, contact Ulster University ICT Customer Services.

Alternate typeface

Arial is used as an alternate typeface for digital applications such as email or where Futura is not available.

Typographic Examples

These examples show a range of approaches to the use of typography. Creative and interesting approaches are encouraged. Text running off the page, using opacities, being slightly obscured, being placed on their side, elevates our brand visuals beyond the ordinary and mundane that you see everyday.

Outline typeface

It is possible to use an outline version of the Futura typeface (primarily in extra bold, bold and heavy) as part of a creative execution, however this should not be overused and should be a subtle creative feature.

Overarching Headline Copy

Main creative headline copy is always punctuated at the end with a full stop to give added weight and prominence to the text. Note that the same rule does not apply to functional headings, titles and sub-headings.

• Image 1 - Headline copy sits over the top of the background imagery. Opacity and hard light effect used to enable the background imagery to show through. Headline copy runs off the format. This creates a point of interest, where the audience have to think, interpret and fill in the gaps.
• Image 2 - Headline copy sits on its side, lining up within the grid. There is enough contrast between the text and background for it to be legible but also look visually interesting within the rest of the piece.
• Image 3 - Headline copy in capitals. Sits simply within the overall design piece. Sub copy sits within the space created by the line breaks in the headline.

Incorrect Typographic Usage

Below are examples of bad typographic practices that should be avoided.

Example 1

• Image 1 - Do not use kerning, tracking or leading that is incorrect, making your text hard to read
• Image 2 - Italics should not be used to convey motion or speed
• Image 3 -  Do not use small caps
• Image 4 - Do not allow widow words and uncomfortable rags

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Example 2

• Image 1 - Do not use colours on your text which clash with background colours
• Image 2 - Do not lay text on overly busy backgrounds that fully compromise the legibility of headlines and body copy
• Image 3 -  Do not use complex or poorly designed headlines
• Image 4 - Do not use more than two colours to set headlines in