Visual Expression Guide - Marketing and Communications

Transcription

Visual Expression
Guide
v2.1
We have the opportunity to build a
memorable university.
Our position has been defined. Our tools and resources are ready
to use. Now it is up to us to bring it all to life and stay true to the
people, programs and services it represents.
As we strive to capture the essence of our university in our
everyday work, it is important to stay true to our brand.
We did not choose the words in our university positioning
statement by combing through a dictionary. Our language is a
natural reflection of what we heard from our people when we
asked them what was special and unique about the U of S.
We did not choose a smattering of green blocks in our
designs based on our personal taste. Those who have soared
over Saskatchewan have surely caught glimpse of the prairie
patchwork of greens. Our signature graphic element is the
product of our pride in where we come from and who we are.
Each and every piece of our brand has been crafted with care to
reinforce our identity. We are responsible for using it consistently
in our communications to support the goals of our university.
Our positioning statement says it best: We are a rising team that
is building the future. We have a key role to play in ensuring that
the U of S is not just a leader of today but also a visionary leader
of tomorrow.
Visual Expression
table of contents
Guide
v2.1
INTRODUCTION
Our brand and visual identity Our position Who should read this Evolution Icons used throughout this guide A note on brand A note on design BRAND IDENTITY
1. Our logo 1.1
Approved versions 3
4
5
5
5
6
8
ELEMENTS
12
2.10
Colour of blocks 24
4.5
13
2.11
Block size 25
4.6
1.2
Logo colours 13
2.12
Oversize block size 25
1.3
Oversize version 14
2.13
Three-square bullet/glyph 25
1.4
Protected space 14
2.14
Real-life example: PSA video 26
1.5
Minimum print size 14
2.15
Real-life example: “A day in the life” ad 27
1.6
Minimum screen size 14
2.16
Real-life example: Convocation design 27
1.7
Usage restrictions 15
2.17
Aboriginal symbols 1.8
Secondary logos 16
1.9
Sub-brands 16
1.10
Edwards School of Business logo 17
1.11 Huskies logo
17
1.12 Logo url signature 18
1.13
Logo usage exceptions 19
3. Typography 28
30
3.1
Preferred typeface: Myriad Pro 31
3.2
Supporting typeface: Minion Pro 31
3.3
Web typeface: Open Sans 31
3.4
Alternate typeface: Calibri/Arial 32
3.5
Combining weights 32
2. Graphic elements 20
3.6
Keep your text legible 32
2.1
Full graphic device 22
3.7
Hang those indents 32
2.2
Full graphic device usage 22
3.8
Creative typefaces 32
2.3
Full graphic device size 22
3.9
Real-life example: Legacy of Leadership 32
2.4
Avoid old variations 22
3.10
2.5
Real-life example: “Dog food for
thought” ad 23
4. Colour palette 2.6
Further graphic elements usage 24
4.1
Green colour palette 2.7
Rearranging the blocks 24
4.2
Grey colour palette 35
2.8
Placing blocks on white 24
4.3
Maintain legible colour contrast 36
2.9
Placing blocks on dark 24
4.4
Fine, be subtle 36
Real-life example: General brochure 33
34
35
Keep it clean 36
Sweet, sweet multiply 36
4.7 Dirty, dirty gradients 36
4.8 Real-life example: Report to the
community 37
4.9 Real-life example: “Us” billboards 37
4.10 Real-life example: University brochure 38
4.11 Using secondary colours 39
4.12 Real-life example: Aboriginal brochure 39
5. Photography Primary photography 5.2 Checklist for primary photography 5.3 Taking a great U of S photo 5.4 Secondary photography 5.5 Be prepared 5.6 Release forms 5.7 Filming on campus 5.1
6. White space Benefits of white space 6.2 White space ≠ white 6.3 Stay organized 6.4 Real-life example: Stationery package 6.5 Real-life example: usask.ca website 6.6 Real-life example: Greystone
Theatre brochure 6.1
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41
41
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43
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FURTHER RESOURCES
Stationery Word and PowerPoint templates Charts and graphs examples InDesign templates U of S web standards University of Saskatchewan
Visual Expression Guide v. 2.1
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1
2
INTRODUCTION
Our brand and visual identity
At the University of Saskatchewan we have an ambitious goal—we want
to be among the most distinguished universities in Canada and the world.
To get there, we all have an important role to play.
As marketing and communications professionals, our responsibility in
achieving this goal is creating a consistent and professional brand and
ensuring all of our materials align both visually and verbally. Everything
we produce represents the university to our audience, and each piece
either enhances or diminishes our brand.
The U of S Visual Expression Guide clarifies and details the expectations
related to our visual identity. Through the correct use of our visual
elements, our marketing and communications materials will always
genuinely reflect our position—this sincerity is a key ingredient in
successful communications.
This guide is not meant to constrain our work but rather to give it purpose
and focus. It will ease the process of producing communications and
marketing materials, inspire creative use of the brand and encourage a
strong, consistent approach to our visual identity.
By using such an approach, we will create a unified brand that will help
us attract the best and brightest, from students, staff and faculty to
partners, donors and supporters. However, our brand is only as strong as
our collective commitment to make it great. We can stand apart from our
competition if we stand together.
University of Saskatchewan
3
INTRODUCTION
Our position
In 2010, we created a positioning statement that is credible, relevant and differentiates us in
the post-secondary market. Now it is up to us to bring this to life through our visual elements
and verbal messaging.
For whom …
Dedicated visionaries who believe innovation is born of collaboration
What we offer …
Support: we provide freedom and support to push the boundaries of knowledge
Connections: we reach across disciplines, into our communities and around the globe
to build life-changing connections and to think differently about the issues of our time
Impact: we work together to experiment, to learn and to make ground-breaking
discoveries that will change Saskatchewan, Canada and the world
Who we are …
We are a rising team that is building the future
Our personality …
Resourceful, Collaborative, Dynamic
Our ambition …
To be among the most distinguished universities in Canada and the world
We will get there using …
Our determined spirit
Our dedicated and flexible support
Our diverse perspectives
Our leading-edge understanding of human and other living systems
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INTRODUCTION
Who should read this
These guidelines are for anyone who has a hand in creating or using the U of S brand, including
both internal staff and external suppliers. Managing and growing a brand is a big job, and we
all have responsibility to make sure everything we’re doing is contributing to our brand in a
positive way.
Evolution
We don’t yet have all the answers, and the evolution of any brand continues over time. To keep
it fresh and creative, we must continually reassess and look for solutions to challenges that
come up. Please feel free to give us feedback and suggestions, or ask questions, by contacting
us at communications@usask.ca or 306-966-6607.
Icons used throughout this guide
Heads-up
A “heads-up” icon alerts you to important design issues and things
to watch out for.
Check this out
Watch for “check this out” icons to point you to more information
and to find who to contact.
Rule of thumb
Design tips and points of emphasis are pointed out with thumbs.
a!
Lingo
Definitions are provided to help you talk the designer talk.
Take their word for it
Throughout these guidelines are excerpts from experts. From
published books to Wikipedia, you’ll find resources to help gain
perspective on our design choices.
5
INTRODUCTION
A note on brand…
The following is an excerpt from:
Strategic Marketing Management by Alexander Chernev
7th ed. 2012. Cerebellum Press.
Marketing is not limited to maximizing monetary outcomes; rather, it can be
defined in broader terms as success that reflects the ability of the marketing
exchange to create value for its participants by fulfilling their goals. Thus, in
addition to defining value and success using financial benchmarks such as net
income, return on investment, and market share, the goal of marketing can be
defined by nonmonetary outcomes that include customer satisfaction, technology
development, and social welfare.
Value is a strategic concept that captures the utility customers receive from
the market exchange. The value of a company’s offering is conveyed though
its tactics: its product and service attributes, its price and price incentives, its
brand image, communication campaigns, and distribution channels. The goal of
marketing, therefore, is to ensure that all tactical aspects of a company’s offering
work together to create customer value in a way that benefits the company and its
collaborators.
The view of marketing as a process of creating and managing value has
important implications for how managers should think about marketing. Because
the role of marketing is to create value for the key participants in the marketing
exchange—customers, the company, and its collaborators—marketing plays a
pivotal role in any organization. Consequently, marketing is not just an activity
managed by a company’s marketing department; it spans all departments. As
David Packard, the cofounder of Hewlett-Packard, succinctly put it, “Marketing
is too important to be left to the marketing department.”
a!
Brand: Name, term, design, symbol
or any other feature of a good or
service that is identified as distinct.
6
Positioning: How a good or service
fits in the marketplace amongst
its competition, as perceived by
consumers, using brand attributes
as the determining influence.
INTRODUCTION
Here is a simple way to think about branding: Brands are like people. It can be helpful to think about the parallels
between human beings and brands to understand what our brand encompasses.
The U of S brand was
born in 1907 and we’ve
nurtured its growth and
development ever since,
to become the world-class
institution we are today.
The U of S brand has
a distinctive identity. Our
personality is resourceful,
collaborative and dynamic.
We strive to stay true to
these traits and who we
aspire to be in the future.
The U of S brand has a
family of 13 colleges, three
graduate schools, seven
libraries, six affiliated
and federated entities, 15
Huskie Athletics teams and
many more. The nature
of our relationships vary
with our immediate and
extended family across
campus and beyond.
The U of S brand has
a reputation—a powerful
but equally fragile asset.
Through our positioning
work we have learned
that we are perceived
as a leader of tomorrow.
We must continue to
strengthen our reputation
with care as we rise to be
among the best.
Our brand should be as sophisticated as the
U of S is prestigious. Graphic design plays a vital
role in building a sophisticated brand—when
it is professionally executed, we are confident;
when it conveys a powerful message, we are
inspired; when it is true, we are proud. When
creating any type of material at the U of S,
whether it’s a brochure, a presentation or even
an email, be mindful of our brand and be as
proud of your work as we are of our university.
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INTRODUCTION
A note on design…
Cutting Edge Advertising by Jim Aitchison
2008. Prentice Hall.
Lee Strasberg’s advice for actors holds true for creative people everywhere:
“Neither life nor talent stands still. Standing still leads inevitably to retrogression.
The actor does things that he has done before, perhaps more easily, but without
the electrifying spark that usually arises in young people when they do their
first productions. We then see the terrifying struggle that almost always begins
with success, when the actor begins to repeat and to imitate, if not someone else,
what is even worse, to imitate himself and thus pay a terrible price in his most
important commodity, the very thing that singled him out at the beginning, his
talent.”
If creativity is a destructive process, if it means tearing down what has gone
before and rebuilding afresh, what better place to start than with ourselves?
a!
Visual identity: The visible
elements of a brand such as the
logos, colours, graphics and photos
unified into a systematic whole
to aid a company’s recognition,
competitor differentiation and
internal cohesion.
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Creative: The concept, strategy,
design and artwork used in
advertising material to bring
the message to the audience;
Characterized by originality and
expressiveness.
INTRODUCTION
Designing for a brand in the post-secondary education market can be arduous. To differentiate externally, designs
must be consistent with the university’s positioning statement and brand guidelines. To differentiate internally,
within such a large organization with numerous departments, colleges and units vying for their own visual
personality, a design must rely on creative solutions that set it apart from the bombardment of daily messages
people see, while still staying true to the brand. It’s a delicate dance, and here are the steps:
good design
Our designs will
meet the highest of
industry standards.
modern + fresh
strong + meaningful creative
proofed + revised + polished
Every detail will be polished and
perfected, every letter of copy will be
proofread and correct, and the creative
behind the message will be aligned
with the visuals in an intriguing and
thought-provoking way.
quality execution
branded
strategic
follows guidelines
honest + respectful of
the positioning statement
shows our spirit + personality
relevant + credible + different
suits the client’s need
targeted to intended audience
measurable success to track
+ perfect for future projects
As designers, hitting this mark of success
may involve a compromise between what
is being requested and what the brand
requires. It cannot be branded and be well
designed if it’s not strategic; it cannot be
strategic and well designed if it’s not hitting
the brand; just as it cannot be branded and
strategic if it’s not well designed.
Our designs will
be effective.
They will successfully serve
their intended purpose and
reach its intended audience.
Our designs will follow
these visual identity
guidelines and reflect
the U of S positioning
statement.
Visuals will show our innovative and
supportive personality and the
correct logo will be displayed clearly
and proudly.
9
Universal Principles of Design by William Lidwell, Kritina Holden and Jill Butler
2003. Rockport Publishers.
The aesthetic-usability effect describes a phenomenon in which people perceive
more-aesthetic designs as easier to use that less-aesthetic designs—whether
they are or not. The effect has been observed in several experiments, and has
significant implications regarding the acceptance, use, and performance of a
design.1
Aesthetics play an important role in the way a design is used. Aesthetic
designs are more effective at fostering positive attitudes than unaesthetic
designs, and make people more tolerant of design problems. For example, it
is common for people to name and develop feelings toward designs that have
fostered positive attitudes (e.g., naming a car), and rare for people to do the same
with designs that have fostered negative attitudes. Such personal and positive
relationships with a design evoke feelings of affection, loyalty, and patience—all
significant factors in the long-term usability and overall success of a design. These
positive relationships have implications for how effectively people interact with
designs. Positive relationships with a design result in an interaction that helps
catalyze creative thinking and problem solving. Negative relationships result
in an interaction that narrows thinking and stifles creativity. This is especially
important in stressful environments, since stress increases fatigue and reduces
cognitive performance.2
Always aspire to create aesthetic designs. Aesthetic designs are perceived as
easier to use, are more readily accepted and used over time, and promote creative
thinking and problem solving. Aesthetic designs also foster positive relationships
with people.
1. The seminal work on the aesthetic-usability effect is “Apparent Usability vs. Inherent Usability: Experimental Analysis on the Determinants of the Apparent Usability” by Masaaki Kurosu
and Kaori Kashimura, CHI ‘95 Conference Companion, 1995, p. 292-293.
2. “Emotion & Design: Attractive Things Work Better” by Donald Norman, www.jnd.org, 2002.
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BRAND IDENTITY
elements
Our logo
Graphic elements
Typography
Colour palette
Photography
White space
Our slogan
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Our logo is the face of our university,
and so we must keep it clean and
brush its teeth daily. Dental hygiene
is very, very important.
Logo Design Workbook by Sean Adams, Noreen Morioka and Terry Stone
2004. Rockport Publishers, Inc.
Let us begin with motive. Man’s desire to claim ownership is inherent. Whether
this is a result of pride, greed, or hope of immortality is personal. We mark our
names on childhood drawings. We develop a signature, unique to each of us, to
protect our identity. We carve initials into tree trunks with a heart, hoping to
make a union permanent.
The U of S logo is available for
download in various formats at
communications.usask.ca/logo
For more information on
commercial and non-commercial
use of the university logo, please
see communications.usask.ca/logo
The logo is an extension of these acts. It redefines these motives from the
individual to the collective.
…
Here is the bad news: A logo is not a magic lantern. It can’t make a bad
product successful or save a poorly managed corporation.
This is the good news: A well-designed logo will always help a good product
realize its full potential.
Smart design, along with the power of repetition, can make an enormous
impact. The logo gives direction and attitude, while the product informs
the meaning.
12
The three wheat sheaves set
inside of a green heraldic shield
dates back to when the university
was founded in 1907. The above
image was used on the cover
of the first issue of the student
newspaper The Sheaf in 1912.
1. OUR LOGO
logo
crest
wordmark
The U of S logo has been in existence for over 100 years. It has
evolved considerably since our university was founded in 1907, but
people have come to recognize it as a visual symbol of our strong
heritage and reputation. This makes it a solid foundation on which
to build the credibility of your college, unit, program or service.
1.1 APPROVED VERSIONS
Full colour
Black and white
Alternate
Some designs can take advantage of this
alternate version of the logo. A 70 per
cent screen lightens the look of the logo
to assist with a good use of white space
and result in a clean design.
Only use the alternate version on a
white background.
1.2 LOGO COLOURS
(alternate)
PANTONE:
349
CMYK:
100 / 0 / 91 / 42
RGB:
PANTONE:
PANTONE:
Black
116
CMYK:
0 / 16 / 100 / 0
CMYK:
0 / 0 / 0 / 100
RGB:
RGB:
PANTONE:
White
CMYK:
0/0/0/0
RGB:
PANTONE:
cool grey 11
CMYK:
0 / 0 / 0 / 70
RGB:
0 / 105 / 62
255 / 203 / 0
0/0/0
255 / 255 / 255
77 / 78 / 83
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
#00693E
#FFCB00
#000000
#FFFFFF
#4D4E53
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1. OUR LOGO
An oversize version of the logo is available when
placements of the U of S logo will be large and highly visible. This
version includes detailed wheat sheaves and etching in the book of
knowledge with the Latin phrase Deo et Patrie (For God and Country).
This oversize version is available in all colour versions.
1.3 OVERSIZE VERSION
The U of S logo must be
surrounded by a buffer zone of protected
clear space to ensure it is not confused with
other logos or identifiers, and that it maintains
the greatest visual effect. This space should
be equal to or greater than the height of one
wheat sheaf within the crest.
1.4 PROTECTED SPACE
0.75” or
1.91cm
This version is recommended when:
of the logo exceeds at least 0.75” (1.91cm)
placement
in height
banners and other large material can benefit
signage,
from this added detail
To preserve the legibility of the U of S logo, it must
never be reproduced smaller than 0.125” (0.32cm) in height. Always
ensure that the legibility of all elements are maintained.
1.5 MINIMUM PRINT SIZE
0.125” or 0.32cm
The resolution of on-screen use demands the
minimum size be larger than in print. The logos must be no smaller than
30 pixels tall on-screen.
1.6 MINIMUM SCREEN SIZE
30 pixels
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1. OUR LOGO
1.7 USAGE RESTIRCTIONS
Follow these restrictions to ensure consistent use of the U of S logo.
Don’t use old versions
Don’t change the colour of elements
Don’t violate the protected space
Don’t use the wordmark without the crest
Don’t use the crest without the wordmark *
Don’t use on a background that impairs readability
Don’t use low quality
* See page 19 for exceptions.
Don’t condense, expand, or distort
Don’t change type-styles
University of
Saskatchewan
Don’t angle
Don’t add elements or graphic effects
15
1. OUR LOGO
The secondary logo is for use by any
college, department, school, centre, etc. that belongs
wholly to the university, is funded by the university
and/or reports to the university.
1.8 SECONDARY LOGOS
The official primary university logo should also be the first
choice when using a logo to represent the U of S. When
there is a need to be more specific in the use of a logo,
there is a variation of the primary university logo—the
secondary logo—that should be used. This approved
system specifies a unit, college, department or centre
while also maintaining the relationship with the university
and its brand.
same usage rules apply to secondary logos, such as
The
protected space shown in the image to the right.
Don’t use old versions of combined logos
Download secondary logo files at
communications.usask.ca/logo. If you don’t
see a secondary logo you need, please contact
Marketing and Communications at 306-966-6607
or communications@usask.ca
School of Environment
and Sustainability
All approved secondary logos will be created and
provided by Marketing and Communications in
Advancement and Community Engagement.
For more information on the regulated use of university logos, please see the U of S Policy on Logo and Secondary
Logo Use at policies.usask.ca/policies/operations-and-general-administration/logo-and-secondary-logo-use.php
Maintaining a consistent brand is key to
our success, both as marketing and communications
professionals and as a university. With an organization
as complex as ours, we know some entities on campus
may require a distinct identity that does not use the U of S
verbal and visual identity exclusively; however, there are
aspects of the U of S brand that can always be incorporated
to help keep our impressions consistent for our audiences,
and keep our brand strong.
1.9 SUB-BRANDS
Please contact Marketing and Communications at
306-966-6607 or communications@usask.ca to discuss
sub-branding opportunities. We can help find a creative
solution and help navigate approval systems such as
President’s Executive Council and university policy. Logos
that have not been approved through this process cannot
be used on university materials of any kind.
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1. OUR LOGO
In 2007, the University
of Saskatchewan acknowledged Mr. Edwards’ continued
relationship with our business school by transforming the
College of Commerce to the N. Murray Edwards School of
Business. The following outlines their logo.
1.10 EDWARDS SCHOOL OF BUSINESS LOGO
The happy huskie has represented our 15
athletic teams, the Huskies, for over 25 years. The following
outlines their logo.
1.11 HUSKIES LOGO
Full colour
Black and white
Full colour
Black and white
Reverse
Reverse
Please contact Marketing and Communications at
communications@usask.ca or call 306-966-6607 for more
information or to obtain official logo files.
If you wish to use the Huskie Athletics logo, complete the
form at huskies.usask.ca/logo_usage.php and a Huskie
Athletics representative will contact you.
Visit edwards.usask.ca for more information about the
Edwards School of Business.
Anything with an official university logo (whether primary
or secondary) that is produced on behalf of the university
must use the correct, current logo. Due to their own
special circumstances and historic foundations, sections
1.11 and 1.12 are exceptions to our Logo and Secondary
Logo Use Policy, found at policy.usask.ca.
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1. OUR LOGO
The combination of the U of S
logo and url creates a signature that can be used in the
footers of documents, ads, posters, etc. Careful attention
has been paid to the design of this signature to create
a consistent design that is balanced, visually appealing
and clean.
1.12 LOGO URL SIGNATURE
usask.ca
usask.ca
stroke between the logo and url is placed one wheat
The
sheaf from each element.
stroke is the same width as the i in university, and begins
The
at the top of the logo’s crest and ends at the bottom of the
logo’s wordmark.
url is vertically centred to the stroke, creating a space
The
that is equal from the bottom of the logo’s crest to the
bottom of the stroke, the bottom of the stroke to the bottom
of the url, and the top of the url to the top of the stroke.
Throughout this guide, some examples show a “www.”
in a url. To comply with trending practices, url’s should
now be typed without the “www.” as outlined in the
signature above.
The url can be customized to any usask.ca url, for
example “agbio.usask.ca” for the College of Agriculture
and Bioresources.
It is not recommended to use this signature with a
secondary logo.
Please contact Marketing and Communications at 306-966-6607
or communications@usask.ca to obtain a template containing
this logo url signature.
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X
X
X
1. OUR LOGO
There may be some exceptions to the rules,
with approval from Marketing and Communications.
1.13 LOGO USAGE EXCEPTIONS
A)
In some circumstances, the shading in the book of knowledge within
the crest can be changed to a solid. These special circumstances may
include embroidery, embossing, varnish, etc.
B)
In some very specific instances it may be appropriate to use the crest
alone without the wordmark.
the crest alone may be acceptable when it is used in an
Using
obvious U of S context, such as a Twitter icon with the words
“U of S”, “usask”, or “University of Saskatchewan” appearing next to
the crest in the handle name.
The main U of S Twitter account, @usask, uses its profile icon
with the crest alone on a white background. Other U of S
accounts should find an alternate design that still maintains a
good use of the visual identity.
Before using the crest alone without the wordmark, please contact
Marketing and Communications at communications@usask.ca or
306-966-6607 to review and approve the usage.
19
Graphic elements are the shiny shoes
we wear for fancy times with fancy
folks. Thing is, every day is a fancy day
and every folk is a fancy folk.
Designing Brand Identity by Alina Wheeler
3rd ed. 2009. John Wiley & Sons, Inc.
Design is an iterative process that seeks to integrate meaning with form. The
best designers work at the intersection of strategic imagination, intuition, design
excellence, and experience.
Reducing a complex idea to its visual essence requires skill, focus, patience,
and unending discipline. A designer may examine hundreds of ideas before
focusing on a final choice. Even after a final idea emerges, testing its viability
begins yet another round of exploration. It is an enormous responsibility
to design something that in all probability will be reproduced hundreds of
thousands, if not millions of times …
Creativity takes many roads. In some offices numerous designers work on
the same idea, whereas in other offices each designer might develop a different
idea or positioning strategy. Routinely hundreds of sketches are put up on the
wall for a group discussion. Each preliminary approach can be a catalyst to a
new approach. It is difficult to create a simple form that is bold, memorable, and
appropriate because we live in an oversaturated visual environment, making it
critical to ensure that the solution is unique and differentiated. In addition, an
identity will need to be a workhorse across various media and applications.
Graphic elements are visual
features that convey a big idea
or a brand attribute—in the case
of the U of S they signify our
prairie landscape. This design
strategy is an effective tactic for
large companies with numerous
and unrelated divisions, helping
bring visual consistency in a
subtle and unobtrusive manner.
Sometimes, even a string of
blocks can make a difference
between a U of S branded design
and a generic design.
a!
Graphic elements: Dynamic
graphics used to aid recognition
and to attract the eye of the viewer.
They are a subtle tool to help
differentiate ourselves from our
competition.
Blocks: We refer to our graphic
elements as ‘blocks’; a series of
bright green squares representative
of our prairie landscape.
Bullet or glyph: A regularly used
element consisting of three squares
in a shape similar to a pixellated
arrow. Used to highlight headlines
and other important text.
Please contact Marketing and
Communications at 306-966-6607
or communications@usask.ca for
graphic files and templates.
20
2. GRAPHIC ELEMENTS
Those who have soared over
Saskatchewan have surely
caught glimpse of the prairie
patchwork of greens.
Our signature
graphic element is the
product of our pride in
where we come from
and who we are.
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2. GRAPHIC ELEMENTS
2.1 FULL GRAPHIC DEVICE
The full graphic device contains two green bars and a collection of green blocks on the left.
When using design programs that support the ‘multiply’ effect such as
InDesign, Photoshop and Illustrator, place photos behind the top green bar as shown below.
2.2 FULL GRAPHIC DEVICE USAGE
The ‘multiply’ effect of the green bar creates a distinct look
and adds visual interest to the design.
Placing photos up against or near the top bar as opposed
to behind creates an inconsistent use of the device, often
appearing as a mistake.
When designing for print at regular size, the
height of the squares should be equal to a 15pt letter ‘A’ in Myriad
Pro Regular font, and the height of the top green bar should be
equal to the height of the lower green bar. Scale larger or smaller as
appropriate.
Note the mis-sized top
green bar and the harsh cut-off of green blocks
in the lower green bar. For the most up-to-date
files contact Marketing and Communications at
communications@usask.ca or 306-966-6607.
2.3 FULL GRAPHIC DEVICE SIZE
2.4 AVOID OLD VARIATIONS
X
X
A
Do not use old variations of the
graphic device.
22
2. GRAPHIC ELEMENTS
This example shows how the device should
span across the entire width of the design. The top green bar is set to ‘multiply’ over the
photo of the three researchers, whereas the remainder of the device is to be placed on
white. This full device is suggested as a footer with the university’s logo url or slogan
signature in the bottom right (see 1.10 on page 17).
2.5 REAL-LIFE EXAMPLE: “DOG FOOD FOR THOUGHT” AD
23
2. GRAPHIC ELEMENTS
Beyond the full graphic device, U of S designs can
utilize a subtle use of green blocks. Adding them throughout your design can help
bring consistency in look and style, and aligning them to your design’s grid can help
maintain an orderly, clean design (see White space on page 42).
2.6 FURTHER GRAPHIC ELEMENTS USAGE
The
blocks are best used on a white
background. They were designed
to appear as though they are fading
into white, to work with a very clean
and subtle appearance.
2.8 PLACING BLOCKS ON WHITE
2.7 REARRANGING THE BLOCKS The blocks
can be arranged in different shapes,
to be placed in corners and other
tight spaces.
To maintain the appearance of the blocks fading into the
background colour (preferably white), when placing on a dark background, replace
the lightest blocks with the darker greens.
2.9 PLACING BLOCKS ON DARK
Use the darker blocks only on dark
backgrounds, to maintain a clean and
subtle appearance.
Avoid stark contrast of the lighter
blocks against a dark background.
Because the blocks are representative of Saskatchewan’s
prairie landscape and our province’s signature summer greenscapes, use the
blocks in their intended green colour palette only (see Colour palette on page 32).
If necessary, the blocks can be converted to greyscale.
2.10 COLOUR OF BLOCKS
Use the blocks in their
intended bright green
palette.
24
If needed, the blocks can be
converted to grayscale for black and
white printing, or to be used as a
subtle pattern or detail in a design
that requires more of our graphic
elements but has limitations of the
bright greens because of a clash in
secondary colour, or if the creative
suits a classic, elegant greyscale
appearance.
Do not change the colours
of the blocks.
2. GRAPHIC ELEMENTS
Keep blocks the same size within your design, with the exception of
the three-square bullet (see 2.13 below). When designing for print at regular size,
the height of the squares should be equal to a 15pt letter ‘A’ in Myriad Pro Regular
font, and the height of the top green bar should be equal to the height of the lower
green bar. Scale larger or smaller as appropriate.
2.11 BLOCK SIZE
A
For the most part, leaving the blocks as outlined in 2.11 is
preferred. However, for oversize designs that will be seen from a distance, such as
banners and billboards, the blocks will have to be larger to be legible. Use your
discretion when enlarging the blocks, but keep in mind the proportions of your
text to the blocks and keep both legible.
2.12 OVERSIZE BLOCK SIZE
When designing billboards, keep text large in size
and short in wordcount. Myriad Pro Bold upwards of
1000pt for the headline, sizing the blocks to a 600pt
letter ‘A’, and the U of S logo at 14” tall is a good rule of
thumb for minimum sizes.
Please contact Marketing and Communications at 306-966-6607 or
communications@usask.ca for a billboard InDesign template.
To highlight a
headline or other important element of your
piece, point a three-square bullet at it.
2.13 THREE-SQUARE BULLET/GLYPH
Text
Text
Size the three-square
bullet to the height of your
headline, and space one
square from the text.
Use an all-white threesquare bullet on dark
backgrounds to maintain
a clean appearance.
Mil maion prat fugia.
Use a solid single colour
bullet, the same colour
of your text, when text is
less than 10pt to ensure
legibility of all three blocks.
25
2. GRAPHIC ELEMENTS
A 30-second video required
for a public service announcement in the summer of 2012
was a unique opportunity to utilize our graphic elements
in motion.
2.14 REAL-LIFE EXAMPLE: PSA VIDEO
A subtle use of the square graphic elements were used
in the transitions.
A satellite image of Saskatchewan transforming
into a full screen design of our graphic elements
strengthened the creative symbolism of the green
square pattern.
Additional to the creative use of the graphic elements,
special attention was paid to clean typography, a
creative animated closing with the “us” slogan, and the
production value overall being of a high quality and
professional standard.
See the full video on the U of S YouTube
channel at youtube.com/usask
26
2. GRAPHIC ELEMENTS
This advertisement
spanned across two pages of a 2012 issue of Maclean’s
magazine. The creative concept called for a busier design,
but our graphic elements were incorporated successfully
despite the full background photo and intricate copy
placement.
A subtle use of the square graphic elements were used in the
location identifiers at the end of each dotted line.
2.15 REAL-LIFE EXAMPLE: “A DAY IN THE LIFE” AD
Fading the green square pattern into the upper left corner created
both a cleaner, more legible background for the copy and logo, as
well as a more identifiable depiction of the graphic elements.
For more information,
please visit
usask.ca
A day in the life
with us.
6 - 6:30 am
Went
for a run
along the
riverbank
9 - 10 am
Chem
class in the
“Airplane
Room”
6:45 - 7:45 am
Worked out in
the Fit Centre
in the Physical
Activity
Complex
10 - 10:15 am
Played frisbee
in the Bowl
10:30 - 11 am
Played a
quick game of
tennis with a
classmate
11:30 am - 12 pm
Ran into President
Busch-Vishniac
and had a nice
chat
12 - 12:50 pm
Enjoyed
all-you-can-eat
lunch in
Marquis Hall
with friends
12:50 - 1 pm
Bought a
new Huskies
bunnyhug at
the University
Bookstore
1 - 2 pm
Picked up
Starbucks coffee
for my study
group in the
Murray Library
2 - 3 pm
Intro to
Cree class
(super
interesting)
3 - 3:30 pm
Read The
Sheaf
between
classes in the
Sculpture
Garden
3:45 - 4:45 pm
Human
anatomy class
(my favourite)
5 - 5:30 pm
Couldn’t decide
what to eat for
dinner in Lower
Place Riel—
way too many
choices
5:45 - 6:30 pm
Nap at
home in the
new res
7 - 9 pm
Cheered for the
Huskies at the
Homecoming
game—huge
crowd!
9 - 11 pm
Watched my
favourite
band play a
show at Louis’
after the
game
A cause
for celebration, designs involving convocation
have a special use of the square graphic
elements turning into confetti.
2.16 REAL-LIFE EXAMPLE: CONVOCATION DESIGN
Because of the intricacy of the confetti pieces,
the convocation program features the design
in the upper left with a heavy use of white
space. Foil is used for the titling, making for a
very clean and elegant design.
The inner pages of the convocation booklet
use minimal graphic elements, but they are
included strategically as seen on the past
president’s page as part of the corresponding
photo legend.
Similar treatments of the confetti are used
across all designs for convocation, including
ads and the homepage on convocation day.
9
1
2
3
4
-
Introducing
Ilene Busch-Vishniac
President Busch-Vishniac received her
President Busch-Vishniac’s research focuses on
undergraduate degrees in physics and
aspects of acoustics and on diversity issues as
mathematics from the University of rochester,
they relate to engineering education. She is best
and Master of Science and PhD degrees in
known for her work to control noise in hospitals
mechanical engineering from MIT. She worked as
and for her efforts to revise engineering curricula
a postdoctoral fellow in the Acoustics research
to suit a more diverse population. She has
Department of Bell Laboratories immediately
authored over 60 technical articles, a monograph,
following completion of her PhD. In 1981, Dr.
and a number of popular papers. She also holds
Busch-Vishniac joined the faculty of The University
of Texas at Austin as an Assistant Professor in
the Mechanical Engineering Department. She
remained there until 1998, rising through the ranks
and holding an endowed chair as well as serving
5
6
7
as the associate chair of the department. She then
8
joined Johns Hopkins University as the Dean of
the Whiting School of Engineering, where she
remained until joining McMaster University in 2007.
Our past presidents
1
Walter C. Murray
1908 – 1937
W. Begg
5 Robert
1975 – 1980
2
James S. Thomson
1937 – 1949
F. Kristjanson
6 Leo
1980 – 1989
3
Walter P. Thompson
1949 – 1959
George Ivany
7 J.W.
1989 – 1999
University Archives photos – 1: A-5537; 2: A-3237; 3: A-3259; 4: A-8516; 5: A-4807; 6: A-10467; 7: A-2599; 8: A-9113
U N I V E R S I T Y O F S A S K AT C H E WA N
4
4
John W.T. Spinks
1959 – 1974
nine US patents on electromechanical sensors.
She has served as the lead supervisor for 18
PhD students, 34 MS students, and a host of
undergraduate students engaged in research
project and has received many teaching and
research awards, including the Curtis Mcgraw
research Award of the American Society for
Engineering Education, the Silver Medal in
Engineering Acoustics of the Acoustical Society
As provost, she was instrumental in technology
of America and the Achievement Award of the
systems renewal, the development of a new
Society of Women Engineers. She has also served
budget model, improving the student experience,
in a variety of leadership roles, including President
faculty renewal, strategic enrolment planning,
of the Acoustical Society of America and Chair of
advancing the scholarship of teaching and learning
the ontario Council of Academic Vice-Presidents.
on campus, and modeling a highly successful
MacKinnnon
8 R.1999Peter
– 2012
F a l l C o n v o c a t i o n 2 01 2
and collaborative college-university partnership.
Dr. Busch-Vishniac is married to Dr. Ethan Vishniac, a
She also worked to enhance diversity initiatives
renowned astrophysicist and the Editor-in-Chief of
at McMaster, particularly focusing on ties to First
the Astrophysical Journal. Together they have two
Nations communities nearby.
children: Cady and Miriam.
U N I V E R S I T Y O F S A S K AT C H E WA N
5
F a l l C o n v o c a t i o n 2 01 2
The convocation confetti design can only be used on convocation
related material. Please contact Marketing and Communications at
306-966-6607 or communications@usask.ca for more information.
27
2. GRAPHIC ELEMENTS
Symbols representing Aboriginal cultures from across Saskatchewan
have been developed to help promote Aboriginal initiatives. Use of the Aboriginal symbols
should align with the following:
2.17 ABORIGINAL SYMBOLS
Use only for the promotion or communication
of Aboriginal initiatives. Each symbol has
special meaning in Aboriginal culture and
misuse of the symbols may be interpreted as
a sign of disrespect.
Use in conjunction with the University of
Saskatchewan visual guidelines. The symbols
are not meant to replace our standard visual
elements but rather to enhance them in
marketing and communications pieces where
their use is appropriate.
Tipi
Hide With Willow Hoop
The tipi is a dwelling for First Nations people.
Being nomadic people and always on the
move, the tipi was designed for easy transport.
Secure, mobile and providing shelter, the tipi
symbolized the Good Mother sheltering and
protecting her children.
All First Nations believe that their values and
traditions are gifts from the Creator, including
the land, plants and animals. Hides are believed
to be offered by the animal as the Creator
wished and, therefore, as the animal died the
hunter would thank the animal for its offering.
Inukshuk
Rainbow
An extension of an inuk (a human being), the
inukshuk were left as messages fixed in time and
space. They may represent personal notes or a
grief marking where a loved one perished. They
act as markers to indicate people who knew how
to survive on the land living in a traditional way.
The rainbow is a sign of the great mystery, the
Creator’s grace reminding all to respect, love
and live in harmony. Rainbow colours are seen
as stages in life and they follow individual belief
systems of various First Nations.
Eagle Feather
The eagle feather is a symbol of truth, power
and freedom. The dark and light colours
represent balance. It is a very high honour to
receive an eagle feather, and usually marks a
milestone. When one holds the eagle feather,
one must speak the truth in a positive way,
showing respect at all times.
Buffalo
The buffalo symbolizes subsistence, strength
and the ability to survive. The buffalo is a
spiritual animal as it provided many things such
as food, clothing, shelter and tools.
Medicine Wheel
The medicine wheel contains four quadrants of
life each representing a certain aspect of holistic
make-up: intellectual, spiritual, physical and
emotional self. The four colours represent the
four directions: red, yellow, white and blue (or
black, green or darker colours depending on
the Aboriginal group). Four is a very significant
number in Aboriginal culture.
Métis Sash
The sash is a symbol of present-day Métis
identity but had many uses in the early days,
often functioning as a rope or a belt. The infinity
sign (∞) on the sash symbolizes two cultures
together and the continuity of the Métis culture.
The sash uses traditional woven patterns
and colours to represent their individual
communities.
Drum
Traditionally given to men for ceremony and
prayer, the drum is the heartbeat of the Earth,
and feeds our spirit. The drum has the spirit of
the deer and the tree that were offered as a gift
from the Creator for the drum, and it guides
people home.
Turtle
Symbolizing Mother Earth, the turtle is depicted
with 13 inner markings, each representing a
cycle of the Earth around the sun. There are 28
smaller outer markings of the shell representing
the days of each cycle.
Star/Star Blanket
Red River Cart
The primary means of travel and transportation
of goods for Métis people, the Red River cart has
become synonymous with the Métis.
28
The star symbol on star blankets ends with
eight outer points to represent one’s travels
from grandmother, to daughter/son and then to
grandchild and to Mother Earth. Eight diamond
quilted shapes form the centre and pieces are
added to each row to increase the size of the
star pattern.
2. GRAPHIC ELEMENTS
These symbols are designed from light,
shadow and negative space. Thus, the
symbols must be white and placed on a
shaded background.
A seamless pattern of the symbols has been
developed to help you easily incorporate the
design into a faded background, as seen on
page 28.
It is not necessary for all symbols to be visible
in your designs, as long as there are enough
of them to widely represent Saskatchewan’s
Aboriginal cultures. Fading the symbols
gradually to white helps reinforce the
concept that there are numerous symbols
and cultures illustrated.
Download easy
to use Word and
PowerPoint templates at
communications.usask.ca
Do not place on a busy background, as it
will interfere with the negative space in the
symbols.
Do not change the colours of the symbols.
2.18 REAL-LIFE EXAMPLE: ABORIGINAL
DAY AD This ad was used in a
Maclean’s magazine feature for
National Aboriginal Day. The
overall design follows U of S
visual standards, with the
Aboriginal symbols placed in
the background of the footer in
a subtle manner.
Additional to the use of the
graphic elements, special
attention was paid to clean
typography and great
photography from the 2013
U of S Graduation Powwow.
The logo signature in
the bottom left was
customized to direct traffic
to aboriginal.usask.ca
A university for
all people
The University of Saskatchewan is
special because of its people. The
different cultures that intersect
on our campuses enrich our
community and create an inclusive
environment that benefits us all.
We have one of the largest
Aboriginal student populations in
Canada and we’re making great
strides to ensure we’re doing all
we can to help our students reach
their full potential.
From our long-standing Indian
Teacher Education Program
to the welcoming space in the
Aboriginal Students’ Centre,
the U of S has a strong history
of connecting with Aboriginal
communities.
As we continue to grow in this
area, we will create opportunities
for more Aboriginal students to
shape our community, our country
and our world.
PHOTO: The 2013 U of S Graduation Powwow.
aboriginal.usask.ca
Please contact Marketing and Communications at 306-966-6607 or
communications@usask.ca for InDesign templates and graphic files.
29
Typography is the snappiest dresser.
Her garb is always pertinent to the
soiree, with every crease creased
and fluff fluffed.
The Elements of Typographic Style by Robert Bringhurst
3rd ed. 2008. Hartley and Marks Publishers.
The typographer’s one essential task is to interpret and communicate the
text. Its tone, its tempo, its logical structure, its physical size, all determine
the possibilities of its typographic form. The typographer is to the text as the
theatrical director to the script or the musician to the score.
A novel often purports to be a seamless river of words from beginning to end,
or a series of unnamed scenes. Research papers, textbooks, cookbooks and other
works of nonfiction rarely look so smooth. They are often layered with chapter
heads, section heads, subheads, block quotations, footnotes, endnotes, lists and
illustrative examples. Such features may be obscure in the manuscript, even if
they are clear in the author’s mind. For the sake of the reader, each requires its
own typographic identity and form. Every layer and level of the text must be
consistent, distinct, yet (usually) harmonious in form.
The first task of the typographer is therefore to read and understand the
text; the second task is to analyze and map it. Only then can typographic
interpretation begin.
If the text has many layers or sections, it may need not only heads and
subheads but running heads as well, reappearing on every page or two-page
spread, to remind readers which intellectual neighborhood they happen to
be visiting.
The typographer must analyze and reveal the inner order of the text, as a
musician must reveal the inner order of the music he performs. But the reader,
like the listener, should in retrospect be able to close her eyes and see what lies
inside the words she has been reading. The typographic performance must
reveal, not replace, the inner composition. Typographers, like other artists and
craftsmen—musicians, composers and authors as well—must as a rule do their
work and disappear.
Many fonts have additional
hidden characters called
glyphs. The glyphs panel found
in Illustrator and InDesign
allows you to access a font’s full
character set.
How a print project appears on
screen is very different to how it
looks on paper. Seeing a printout
will help identify the adjustments
that may be needed.
Lines of type that are too long
or too short can be tiring and
distracting. A line of type that
spans the entire width of a page
disrupts readability because
the reader has a hard time
locating the next line of type. For
optimum readability aim to keep
lines between 40-80 characters,
including spaces.
Use typestyles consistently
throughout your project—font
size, weight, spacing—to aid
the reader’s understanding of
the copy.
Avoid widows and orphans. A
widow is a short line or single
word at the end of a paragraph.
An orphan is a word or short line
at the beginning or end of
a column.
a!
Leading: The space between lines
of type.
Kerning: The adjustment of space
between pairs of letters.
Tracking: Adjusting the overall
spacing between characters.
Refer to the Editorial Style Guide for
many of the university’s preferred
style and layout preferences in
type, grammar, spelling, etc. Visit
communications.usask.ca/editorial
30
3. TYPOGRAPHY
We strive to make our pieces comfortable
to read for our target audiences by choosing clean and precise fonts. The
main font for U of S material is Myriad Pro. There are varying weights to
choose from to suit your design, such as light, semi bold and black. These
can be used effectively to emphasize a point within a body of text or to fit
within the tight spaces of a small ad.
3.1 PREFERRED TYPEFACE: MYRIAD PRO
a b c d e f g h i j k l m n o p q r s t u v w x y z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
0
1
2
3
4
5
6
7
8
9
regular
italic / semibold / bold / black / light
semicondensed
condensed
To use Myriad Pro, you must obtain a copy of
the font that complies with Adobe Systems
Incorporated font licensing. The font is included in
the Adobe Creative Suite software packages, or can
be purchased online at various font retailers, such
as myfonts.com/fonts/adobe/myriad
The recommended weights of Myriad Pro are light,
regular and bold. Light can highlight short copy set
to a large font size, while bold is more suitable for
headlines.
The SemiCondensed and Condensed versions
should be used sparingly. They are suitable in
circumstances such as tables, graphs and fineprint,
but are not suitable for regular copy.
Longer documents
that require increased reading such as newspapers,
magazine articles and books can utilize the serif font
Minion Pro.
To comply with web standards
but still maintain the look and style of Myriad Pro,
programmers and web designers can use the Google web
font Open Sans.
3.2 SUPPORTING TYPEFACE: MINION PRO
3.3 WEB TYPEFACE: OPEN SANS
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
0
0
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
Download Open Sans at google.com/webfonts
31
3. TYPOGRAPHY
Although Myriad Pro should be used for
all high-end reputational publications with major profile and exposure
among external audiences, it is not necessary for all employees to
purchase. In the case of Word documents, PowerPoint presentations and
email, the preinstalled sans serif font Calibri may be substituted. The font
family Arial is also an acceptable alternative.
3.4 ALTERNATE TYPEFACE: CALIBRI/ARIAL
0
1
2
3
An effective technique for headlines
and wordmarks is to match a heavy weight of Myriad Pro
with a lighter one, in a place that makes sense for the copy.
3.5 COMBINING WEIGHTS
Fish
or cut bait
At all times, maintain a clean and
legible use of text. Keep font sizes for body text at around
9pt, fine print can be smaller but preferably no smaller
than 6pt, and keep a strong weight and contrasting colour
on darker backgrounds (see page 34 for more colour
information).
3.6 KEEP YOUR TEXT LEGIBLE
A 9.5pt font is great for regular copy.
For reverse type, use a thicker weight to keep
text nice and legible.
Avoid using a light font for reverse type, as it is
more difficult to both read and print.
A 6pt font is about as small as you’d want to go for fine print.
For bulleted or numbered lists, use
hanging indents to keep the text nicely aligned.
3.7 HANG THOSE INDENTS
Notice how the text on the second line is aligned with
the text on the first line.
The second line does not push back to align itself with
the bullet.
Keep the bullet at a distance from the text that is not
too far nor too cramped. In this case, the hanging
indent is set to 0.125”.
32
4
5
6
7
8
9
You can, in special cases, use fonts
other than the preferred if your design calls for it. Maintain
use of the preferred fonts for the majority of your design
to stay within the university’s visual identity, but use a
creative font for headlines or other features that suits your
audience and tactic.
3.8 CREATIVE TYPEFACES
The Legacy
of Leadership material for former president Peter
MacKinnon’s farewell in June 2012 required a very elegant
and classy look, and utilized a font other than Myriad Pro
to do so.
3.9 REAL-LIFE EXAMPLE: LEGACY OF LEADERSHIP
A wordmark was created to ensure consistency across
all Legacy of Leadership material, using the script font
Bickham Script Pro.
The university’s logo was blind embossed on a high-end
paper stock to finish off the elegant design.
3. TYPOGRAPHY
The U of S
general brochure, redesigned in 2012, provides
many examples of our visual identity in action.
With its multi-page format, simply placing the text
in the same layout on each page would’ve risked a
boring and generic design. Instead, a variance in
layout throughout the brochure with a smart use
of clean typography provides for an easy and more
entertaining read.
3.10 REAL-LIFE EXAMPLE: GENERAL BROCHURE
As opposed to bleeding the ink off the page,
an even white border was maintained around
each two-page spread. This effect created a
consistent detail throughout the book, to bring
harmony despite its multi-page format with
varying layouts.
The first two-page spread (top image) kept a
very clean inside front cover. The placement of
the “us” slogan is flush-right to the inner margin,
and across from the dominant element in the
adjacent photo (the student’s leg) to anchor it for
a balanced look. Reader comprehension is key
so the photo was manipulated and the overlying
text was bolded for maximum readability.
The “by the numbers” page (middle image)
required a busy layout by nature, but a balance
was struck through a consistent and orderly
layout. Each photo is placed the same distance
apart vertically and horizontally, creating an
orderly grid. The portions of copy are laid out
consistently with the highlighted numbers
adding interest and calling attention to the text.
Each portion of text is also distributed evenly
between one another on each page.
The remainder of the brochure maintained the
same layout for three more spreads. A large
photo was placed on the right, with the copy
centred vertically on the left. The headline is a
light grey Myriad Light set at a large size, with
a stroke matching in colour and weight placed
evenly above and below the copy.
Where possible, subtle cues were taken from the
photo to help aid the clean layout. For example,
the horizon line on the aerial photo seen here
was positioned at the same level as the body
copy on the left, balancing the overall look of
the page.
33
Colour palette said to his buddies, “It’s
easy being green when I have such
great buddies.” So let’s be buddies
with colour palette, because he’s nice.
Entrepreneur.com, “Your Brand’s True Colors” by John Williams
entrepreneur.com/article/175428
Have you ever considered the importance of color in branding? Coke is red. UPS
is brown. IBM is blue. These corporations understand the proper use of color is
vital to creating a positive image among consumers. Furthermore, color plays
a huge role in memory recall. It stimulates all the senses, instantly conveying a
message like no other communication method.
Choosing the right dominant color for your brand is crucial. This color should
appear on all your promotional materials, including your logo and product
packaging. As much as possible, the color you choose should set you apart, work
with your industry and image, and tie to your brand promise. It should also take
into account color psychology, which is fairly complex. Colors can mean different
things depending on the culture, situation and industry. However, in U.S.
advertising at least, studies suggest some universal meanings.
…
Green: In general, green connotes health, freshness and serenity. However, green’s
meaning varies with its many shades. Deeper greens are associated with wealth or
prestige, while light greens are calming.
…
(Colors) can be categorized into two basic categories: warm and cold. In
general, warm colors, like red and yellow, send an outgoing, energetic message,
while cool colors, like blue, are calmer and more reserved. However, brightening
a cool color increases its vibrancy and reduces its reserve.
34
There are more green-sensitive
cone cell photoreceptors in the
retina than for the other colours,
which means the human eye sees
more green(s) than any other
colour.
“Color increases brand
recognition by up to 80 per cent.”
- University of Loyola, Maryland study
a!
Hue: The colour (blue, green, red,
purple, etc.).
Saturation: How vibrant or dull a
colour is.
Value: How light or dark a colour
is (low value is dark, high value is
light).
Shades: Darker value of a hue,
caused by adding black.
Tints: Lighter value of a hue,
caused by adding white.
4. COLOUR PALETTE
Next to our logo, colour is the most recognizable element of our visual system. Consistent
use of colour will strengthen people’s recollection of the U of S visual elements. The U of S primary colour palette
contains varying shades of green, which are representative of our vast prairie landscape. Here is a selection of
the main greens, though some fluctuation is acceptable as long as the same family of green is maintained.
4.1 GREEN COLOUR PALETTE
PANTONE:
coated 364 C
uncoated 370 U
CMYK:
65 / 0 / 100 / 42
PANTONE:
coated 377 C
uncoated 390 U
CMYK:
45 / 0 / 100 / 24
RGB:
RGB:
PANTONE:
coated 376 C
uncoated 382 U
CMYK:
50 / 0 / 100 / 0
RGB:
PANTONE:
coated 382 C
uncoated 396 U
CMYK:
29 / 0 / 100 / 0
RGB:
PANTONE:
coated 585 C
uncoated 585 U
CMYK:
11 / 0 / 66 / 2
RGB:
PANTONE:
coated 587 C
uncoated 587 U
CMYK:
5 / 0 / 40 / 0
RGB:
65 / 118 / 48
113 / 149 / 0
119 / 184 / 0
190 / 214 / 0
219 / 223 / 114
228 / 229 / 151
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
#417630
#719500
#77B800
#BED600
#DBDF72
#E4E597
To complement our use of clean whites, grey can be used
as a means of creating an elegant look for our designs and maintaining the clean,
professional look we strive for. Where pure black can be seen as harsh, a grey can
lighten the look of a design in a complementary way to our greens and whites.
4.2 GREY COLOUR PALETTE
PANTONE:
cool grey 11
CMYK:
0 / 0 / 0 / 70
RGB:
PANTONE:
cool grey 7
CMYK:
0 / 0 / 0 / 50
RGB:
PANTONE:
cool grey 4
CMYK:
0 / 0 / 0 / 30
RGB:
PANTONE:
cool grey 2
CMYK:
0 / 0 / 0 / 15
RGB:
77 / 78 / 83
154 / 155 / 157
189 / 189 / 189
214 / 214 / 212
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
HEXADECIMAL:
#4D4E53
#9A9B9D
#BDBDBD
#D6D6D4
For best colour results, match the colour code most appropriate to your process and needs. For example,
if you’re working in Microsoft Word or the web use the RGB or Hexidecimal values; when printing digitally
use the CMYK values; when printing single colours on a press on an uncoated paper stock use the uncoated
pantone value, etc. Please note that colour may fluctuate depending on monitor calibration, printer, paper
stock, etc. Whenever possible, use the Pantone Matching System (PMS) and match to a swatch book.
35
4. COLOUR PALETTE
Use colours for type that have
adequate contrast to the background or photograph.
4.3 MAINTAIN LEGIBLE COLOUR CONTRAST
On a solid green
background such as
this, keep your text bold
and white to maintain
maximum legibility.
On a solid green background such as
this, keep your text bold and white to
maintain maximum legibility.
Using a low contrast font
colour with a thin weight
and small font size makes for
a very hard to read text.
Using a low contrast font colour with
a thin weight and small font size
makes for a very hard to read text.
In certain circumstances, a
design can use a low contrast colour option
if the creative lends itself to it. See the
inside front and back covers of this guide
for examples—the text is large and still
legible, but the purpose of the design is
to maintain a subtle effect so low contrast
colour combinations are utilized. In cases
like this, the text is used as more of a design
element than the main body copy.
4.4 FINE, BE SUBTLE
The purpose of the grey palette is to complement the use
of white backgrounds and maintain our signature clean look. Thus, use
the grey palette on white backgrounds only.
4.5 KEEP IT CLEAN
Grey type on green backgrounds
is not as clean as solid white.
But grey type on white backgrounds
is awesome.
Design programs that support the
‘multiply’ effect such as InDesign, Photoshop and Illustrator
create a helpful technique in changing a low contrast
background to a more legible one. Text can also be set to
multiply over a light photo or texture for easier legibility.
4.6 SWEET, SWEET MULTIPLY
36
Avoid the use of a harsh gradient
background. A dark to white gradient will rarely work
as effectively as leaving your design clean and white, or
simply using a solid-coloured background. If you are going
to use a gradient, maintain a subtle colour transition.
4.7 DIRTY, DIRTY GRADIENTS
This photo doesn’t have
enough contrast.
A straight white to dark
gradient is a dirty old trick.
But adding a green box
set to ‘multiply’ helps.
It maintains the texture
of the photo, and adds
our green palette.
Instead, be creative with
gradients and remember
subtlety is key in creating a
clean gradient design.
4. COLOUR PALETTE
4.8 REAL-LIFE EXAMPLE: REPORT TO THE
COMMUNITY A large ad placement in
newspapers throughout Saskatchewan,
the 2012 Report to the Community used
many of the visual identity greens with
plenty of white.
A subtle combination of green
squares and gradient was created in
the header, setting off an attention
grabbing start to the ad.
Different shades of the green palette
were utilized in headlines and charts
to highlight certain words and help
differentiate sections of the charts.
While using contrasting colours would
have also highlighted different areas
of the charts, the strong use of the
green colour palette solidified the
presence of the university and helped
ingrain the visual identity for the
broad audience that was the general
public of Saskatchewan.
See more of the Report to the
Community at usask.ca/gettoknowus
4.9 REAL-LIFE EXAMPLE: “US”
BILLBOARDS Placed within the
same block, these billboards
dominated downtown
Saskatoon in June 2012.
usask.ca
usask.ca
usask.ca
usask.ca
Because of the rich colours
of the photos in this series,
a dark green set to multiply
over the photos provided
a harmonious transition in
all four designs. A glow was
added behind the green “us”
word for legibility.
Green squares were included
in the design to reinforce
the brand along the bottom
of each billboard, with
just a hint of the photo
underneath.
37
4. COLOUR PALETTE
A
special brochure developed for a college, this
piece features many uses of the U of S visual
identity in action.
4.10 REAL-LIFE EXAMPLE: UNIVERSITY BROCHURE
The cover (top image) uses the greens of
the graphic elements, the grey version of
the logo and url, plus a colour-manipulated
image to enhance the U of S palette and
darken the area needed for overlaid type.
The first inside spread (middle image) uses
green set to multiply over photos, adding
interest to the design as well as helping
lead the reader’s eye to the introduction
and table of contents.
Lorem ipsum
Consectetur adipisicing
The remainder of the brochure uses the
grey palette, fading effects added to the
photos and smart typography to help
emphasize the clean white space.
www.usask.ca
Ficaectota praepellut acero tecatatem
sum faccatur samus dolorepro doluptam
quatisin ea de maio ist, errunt, officillata
velitem alibus, sum il maxim rerum et
aceaqui ini re, voloratus, inihilluptae
nectem nosapici voloreius rerem veni re
niae perum volum lamenis res net acearcit
des evellupta dellace pudita de voluptatat.
Lorem ipsum dolor sit amet
Ut oditate molupta eat quo estinihil intio
volorit atiatur sent aut magnihi llaceatis
derrumet fuga. Latur?
Udanditi ut omnitame acculla cepratiscia
volumqu iatium esciisc itaeper cipientiis
quatur, tent ut a consequas modit estis dit
hiciis cus pre, qui cum rehendandam eum
iumque pratur, nissi in et volupta temquat
exceprore poreici tatatque rem res presenis
ulpa arum et volorepta ipsamet quatium,
quisitios ipsum harcil maximpo ritatem
voluptiature lant.
Urepudamet eatiumquod est, sequatur
maximus nissim aut mi, volluptam exerspe
litempo reribusandia aut idis.t
2
TABLE OF CONTENTS
2 / 3.................................................... Elitatem que laut
4 / 5.................................Quo explat harum eserfero
6 / 7 ..........Quaest faceaquas dipsant ad maximil
8 / 9 .....................................Ipsam imet estrum quia
10 / 11 ........................................... Venet volore volo
12 / 13 .................................... Beribus ne eatiorecte
esenimp oribeatur
14 / 15 ................................................. Eiciisque natin
16 / 17 ........................................ Nimusae sum sequi
conserempos aut quistib
18 / 19 ..........................................................Uscitatium
3
5
Lorem ipsum dolor sit amet, consectetur
adipisicing elit, sed do eiusmod tempor
incididunt ut labore et dolore magna aliqua.
Ut enim ad minim veniam, quis nostrud
exercitation ullamco laboris nisi ut aliquip
ex ea commodo consequat.
Firstname Lastname, position
Sed ut perspiciatis
Unde omnis iste natus error sit voluptatem accusantium doloremque
laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore
veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo
enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut
fugit, sed.
Quia consequuntur magni dolores eos qui ratione voluptatem sequi
nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor
sit amet, consectetur, adipisci velit, sed quia non numquam eius
modi tempora incidunt ut labore et dolore magnam aliquam quaerat
voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem
ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi
consequatur? Quis autem vel eum iure reprehenderit.
At a Glance
Student Enrolment:
(including XXX graduate students)
Alumni worldwide:
21,000
138,000
Operating Revenues:
$453,000,000
Other (awards, grants, research funding, etc.)
U of S land within Saskatoon
1,865 acres
President Ilene Busch-Vishniac
4
38
4. COLOUR PALETTE
Secondary colours should
be used in a very limited manner, primarily to delineate
navigation or to highlight primary typographical messages
in communications, including headers, subtitles and
secondary messages.
4.11 USING SECONDARY COLOURS
Secondary colours should not be applied as large fields
of colour. The green palette should accentuate secondary
colours throughout your design.
One use of secondary colours may be in charts and graphs
where a broader range of colours are needed.
We are mindful that many colleges and units across campus
have their own traditional colour palettes and we can work
together to ensure that both identities are well represented.
Please contact Marketing and Communications at 306-9666607 or communications@usask.ca for more information
and to discuss design possibilities.
An Aboriginal student recruitment
brochure, the design of this piece utilized Aboriginal imagery. Secondary
colours were selected from such imagery to aid in the design, while
maintaining the U of S visual identity.
LIVING IN SASKATOON
explore.usask.ca/programs
STUDY AT THE U OF S
10 explore.usask.ca
Some spreads (bottom image) use a
colour taken from Aboriginal imagery on
the left of the page and use the colour
throughout the two pages. Creatively, the
spread’s topic stays relevant to the colour.
In this case, Saskatoon is highlighted with
the blue river and bright skies. With the
majority of the book green, the U of S
visual identity is maintained.
Guide for Aboriginal Students 2013-2014
The cover and inside spreads (top
images) use the green palette as the main
dominant colour scheme, providing a
strong U of S piece as a whole.
Explore
4.12 REAL-LIFE EXAMPLE: ABORIGINAL VIEWBOOK
What do you want to study?
The U of S is the only English-speaking university in Canada with such a broad
combination of human, animal and plant studies on one campus. With nearly 200
undergraduate program options, you are sure to discover your passion at the U of S!
AGRICULTURE AND
BIORESOURCES
DEGREES:
A
t the U of S, you will learn in a culturally aware and academically
stimulating environment. Find out more about the following
programs at explore.usask.ca/aboriginal/programs:
¡
DIPLOMAS:
Agribusiness
Agronomy
CERTIFICATES:
Certificate in Agriculture
Indigenous Peoples Resource Management
Prairie Horticulture
Indigenous Peoples Resource Management Certificate
¡
Aboriginal Justice and Criminology
ARTS AND SCIENCE
¡
Aboriginal Public Administration
DEGREES:
¡
Native Studies
¡
Aboriginal Business Administration Certificate
¡
Indian Teacher Education Program (ITEP)
¡
Saskatchewan Urban Native Teacher Education Program (SUNTEP)
¡
Northern Saskatchewan Teacher Education Program (NORTEP)
¡
Aurora College Teacher Education Program (ACTEP)
OUR
ALUMNI
INCLUDE:
1 71 2 1
OSCAR
WINNER
RHODES
SCHOLARS
NOBEL
PRIZE
WINNERS
Aboriginal Public Administration
Anatomy and Cell Biology
Anthropology
Archaeology
Art History
Biochemistry
Biochemistry and Biotechnology
Bioinformatics
Biology
Biology and Biotechnology
Biomolecular Structure Studies
Biotechnology, Microbiology and Immunology
Business Economics
Chemistry
Classical, Medieval and Renaissance Studies
Community Planning and Native Studies
PRIME
MINISTER
OF CANADA
7
OLYMPIC
GOLD
MEDALISTS
Computer Science
Computing
Drama
Economics
English
Environment and Society
Environmental Biology
Environmental Earth Sciences
Fine Arts
Food Science
French
Geography
Geology
Geophysics
History
Interactive System Designs
International Studies
Linguistics
Mathematical Physics
Mathematics
Microbiology and Immunology
Modern Languages
Music
Music Education
Native Studies
Northern Studies
Palaeobiology
Philosophy
Physics
Physiology and Pharmacology
Political Studies
Psychology
Public Administration
Regional and Urban Planning
Sociology
Statistics
Studies in Religion and Culture
Studies in Religious Traditions
Studio Art
Toxicology
Women’s and Gender Studies
BUSINESS
DEGREES:
Accounting
Finance
Human Resources
Management
Marketing
Operations Management
CERTIFICATES:
EDUCATION
DEGREES: (Direct Entry)
Aurora College Teacher Education Program
Home Economics
Industrial Arts
Indian Teacher Education Program (ITEP)
Northern Teacher Education Program (NORTEP)
Saskatchewan Urban Native Teacher Education
Program (SUNTEP)
DEGREES: (Non-Direct Entry)
Combined Kinesiology/Education
Elementary/Middle Years
Secondary
CERTIFICATES:
Adult and Continuing Education
Special Education
Secondary Technical Vocational Education
Teaching English as a Foreign Language
Teaching English as a Second Language
ENGINEERING
DEGREES:
Biological Engineering
Chemical Engineering
Civil Engineering
Computer Engineering
Electrical Engineering
Engineering Physics
Environmental Engineering
Geological Engineering
Mechanical Engineering
KINESIOLOGY
DEGREES:
Combined Kinesiology/Education
Exercise & Sport Studies
Physical Education Studies
NON-DIRECT ENTRY DEGREES:
Dentistry
Law
Medicine
Nursing
Nutrition
Pharmacy
Veterinary Medicine
Business Administration
Aboriginal Business Administration
Executive Business Administration
International Business Administration
Housing
There are many benefits to living
in one of our U of S residences,
including being part of a diverse
and global community and
developing life‑long friendships
and lasting memories. Students
living in residence receive
continuous support from our
trained residence life staff and
appreciate the close proximity of
their home to their classes and
university facilities.
S
askatoon has a vibrant Aboriginal arts community, and
numerous events celebrating Aboriginal culture take place
in the city each year. At the U of S, an annual Graduation
Powwow honours graduating Aboriginal students from the
university and from high schools across the province.
In Saskatoon and surrounding area, there
are numerous Aboriginal organizations,
First Nations and has one of the largest
proportions of Aboriginal Peoples
gathering places and destination centres,
such as the Saskatchewan Indian Cultural
among the Canadian provinces. In fact,
Saskatchewan takes its name from the
Centre and Wanuskewin Heritage Park.
Saskatchewan is home to more than 70
Plains Cree word kisiskatchewan, meaning
swiftly flowing river.
COLLEGE QUARTER RESIDENCE – College Quarter
is home to brand-new, modern residence buildings.
At College Quarter, international and Canadian
students live together in fully furnished four-, three-,
two- and one-bedroom apartments, participate in a
variety of activities and have access to tutoring and
a faculty-in-residence program. A limited number of
accessible apartments are also available for students
with a disability.
VOYAGEUR PLACE – Voyageur Place is a great
choice for students who want to live at the heart of
campus. Voyageur Place includes four residence halls:
Athabasca Hall, Saskatchewan Hall, Qu’Appelle Hall
and Qu’Appelle Hall Addition. Students are usually
paired with a roommate and enjoy the convenience
of a comprehensive meal plan. They also have access
to tutoring and a faculty-in-residence program.
1,700
students who self-identify
Aboriginal ancestry
2
explore.usask.ca
Agribusiness
Agricultural Biology
Agricultural Economics
Agronomy
Animal Bioscience
Animal Science
Applied Plant Ecology
Crop Science
Environmental Science
Food and Bioproduct Sciences
Horticultural Science
Renewable Resource Management
Soil Science
McEOWN PARK – McEown Park is a group of four
high-rise buildings located just south of the main
U of S campus. These buildings include Assiniboine
College Quarter is a new modern residence building.
Hall and Wollaston Hall (one- and two-bedroom
apartments for upper-year students), Souris Hall
(two-bedroom apartments for students with
children) and Seager Wheeler Hall (six-bedroom
apartments).
Students are encouraged to apply early to residence. To learn more about U of S residences, affiliated
residences and off‑campus housing options in Saskatoon, visit explore.usask.ca/housing.
39
Photography likes to party, because
she is the life of it. She steals the
spotlight, turns it into a strobe light,
and dances her face off.
Photography.com, “Five Elements of a Great Photograph” by Nancy Hill
photography.com/articles/taking-photos/five-elements-of-a-great-photograph
Nearly everyone who picks up a camera wants to take a great photograph that
makes people say, “Wow! That’s incredible!” But alas, few people manage to get
much more than, “That’s really nice.”
Why? Perhaps it’s because not many people know what makes a photograph
incredible.
“The great pictures just stop
time. They capture something
that did not continue. It just was
then, and that was the perfect
moment. It wasn’t the moment
before. It wasn’t the moment
after. It was that moment.”
- National Geographic
So let’s take a look at five elements that make a photograph great.
1. Good photographs are well composed. There have been entire books written
about composition, and you should certainly spend some time seeing what
they have to offer. In the meantime, though, here are a few simple things to
keep in mind: move in close to a subject; frame your subject; use the rule of
thirds; use diagonals.
2. Good photographs are well exposed. A poorly exposed photograph will
never make a great photograph. Even enhancing your photograph with
software won’t give you an image that is as good as one that was correctly
exposed to begin with. Take the time to learn how to use your camera’s meter.
3. Good photographs evoke feelings. A good photograph stirs up emotions and
should make the viewer feel something strongly. So before you release your
shutter, ask yourself what emotion you want your image to evoke.
4. Good photographs tell stories. This might be a little hard to believe at first,
but a good photograph always tells a story. If it’s a photograph of a person, a
good photograph is about “who” the person is. A landscape tells a story about
the land. Just like you should know the feeling you want to evoke, know the
story you want to tell.
5. Good photographs say something about life. Memorable photographs
tell the viewer something more than just how something looks. They show
more than the subject you are photographing. A truly good photograph says
something about life itself. It makes the viewer stop and think. Use your
photographs to communicate things you know about life to be true.
Any one of the five elements above will move your photographs a step away
from “That’s nice.” The more of the elements you use in one image, the closer you
are to getting a “Wow! That’s beautiful!” Use all five and you will be able to create
a masterpiece.
If the photos you need are
beyond your ability, hire a
professional photographer with
an impressive portfolio.
A photo package with 10 popular
U of S photos is available at
Many searchable high resolution
U of S photos are on our Flickr
gallery. Visit flickr.com/usask
a!
Depth of Field: Refers to how much
of the photo is in focus. A deep
depth of field will have everything
in focus, whereas a shallow depth
of field will focus on a very small
portion of the photo, keeping the
foreground and background blurry.
Exposure: The amount of light that
is collected by the camera’s sensor.
A photo that is very light with
blown-out white areas has lots of
exposure, whereas a dark photo has
little exposure.
RAW: An unprocessed image
allowing a broad range of flexibility
in a photo’s colour balance,
exposure, sharpness, etc. Images
captured in JPG format have
been processed by the camera
automatically, and generally aren’t
as easy to manipulate later.
40
5. PHOTOGRAPHY
Photos used for brochure or report covers,
presentation title pages, website homepages and advertising should
showcase the best, most ambitious professional photography available.
5.1 PRIMARY PHOTOGRAPHY
Primary photography should:
Be representative of our diversity in both gender and race.
Be reflective of our positioning statement by showcasing our
resourceful, collaborative and dynamic personality:
Resourceful – Use an unconventional subject matter, clever
nuances and interesting angles.
Collaborative – Show groups of people working together. Project
warmth and authenticity.
Dynamic – Show a bold, energetic, optimistic, vibrant style. Use
photos with saturated colour and a sense of depth.
5.2 CHECKLIST FOR PRIMARY PHOTOGRAPHY
High quality, high resolution, colour-corrected
and in focus.
Unexpected or unique subject or action to
grasp the audience’s attention.
Interesting composition, subject or angle.
The photograph tells a story and/or emits
emotion.
Dynamic (demonstrates action and progress),
not static (posed, non-action shots).
Demonstrate our differentiating attributes by showing that we
provide:
the opportunity for people to make an impact,
the support necessary to push the boundaries of knowledge, and
life-changing connections for outcomes with impact.
The collage effect used
here has been utilized in
many recent marketing
and communications
pieces and has become
part of our signature look.
The block configuration
complements the U of S
graphic device and a subtle
use of green blocks can be
used as accents.
41
5. PHOTOGRAPHY
Follow these tips and your photography can fall
more in line with the U of S style:
5.3 TAKING A GREAT U OF S PHOTO
Find a dramatic focal point to draw the viewer in, experiment with an interesting angle by laying down or standing on
a stool, and utilize a wide-angle or telephoto lens to attract attention through an unexpected viewpoint.
Aim to take photos of areas when they are heavily
populated to promote our active campus.
Attempt more candid and “in
the moment” shots with gesture
and emotion—keep models
focussed on a task relating to
the purpose of the photo.
42
Avoid portrait-style
photographs and
eye contact with the
camera for feature
images.
Do not take photos of empty areas, as
they give a misleading interpretation of
a boring campus.
Look for, or create, dynamic lighting and control the
shadows to add interest to your subject.
5. PHOTOGRAPHY
Images in the interior pages of
brochures or reports, in the body of presentations, secondary
locations of a website, etc. are considered secondary
photography. These can include more traditional portraits of
the subject being discussed.
5.4 SECONDARY PHOTOGRAPHY
Secondary photography should still match the
professional quality expected in primary photography.
When taking photos for a specific purpose,
consider their placement and inform the photographer
of your needs. For example, do you need a horizontal or
vertical orientation? Will there be text placed on or near
the photo? These considerations can effect the composition
of a photo, and being prepared can help produce more
successful photo options and even reduce a freelance
photographer’s billing time. You don’t have to set up every
detail of a shot for a professional photographer, but often
if you can explain to them what you’re looking for, they can
do the rest.
5.5 BE PREPARED
If you are planning a photo shoot and
the photos will be used in University of Saskatchewan
online or print material, you must have a photo release
form signed by each person. This does not apply to
public events or large spaces with crowds.
5.6 RELEASE FORMS
Our beautiful campus is a popular
backdrop for filmmakers. Anyone wishing to film on
campus must complete and submit a request form and a
certificate of general liability insurance for a minimum of
$2 million; issued by the insurer and showing the U of S
as an additional insured part.
5.7 FILMING ON CAMPUS
Download the photo release and film request forms at
communications.usask.ca/photography
Place text on photos in an unobstructed location to
maintain good photo quality, as in this homepage feature
photo example.
Do not place text overtop faces or other key elements
in the photo.
Please contact Marketing and Communications at 306-966-6607 or communications@
usask.ca for recommendations on photographers we have used in the past.
43
White space is a neat freak, a neat
freak who sits in a comfy chair right
between cluttered and boring.
White space knows what’s up.
Wikipedia, “White space (visual arts)”
en.wikipedia.org/wiki/White_space_(visual_arts)
In page layout, illustration and sculpture, white space is often referred to as
negative space. It is that portion of a page left unmarked: the space between
graphics, margins, gutters, space between columns, space between lines of type or
figures and objects drawn or depicted.
The term arises from graphic design practice, where printing processes
generally use white paper. White space should not be considered merely ‘blank’
space—it is an important element of design which enables the objects in it to
exist at all, the balance between positive (or non-white) and the use of negative
spaces is key to aesthetic composition.
When space is at a premium, such as some types of magazine, newspaper,
and yellow pages advertising, white space is limited in order to get as much vital
information on to the page as possible. A page crammed full of text or graphics
with very little white space runs the risk of appearing busy, cluttered, and is
typically difficult to read. Some designs compensate for this problem through the
careful use of leading and typeface.
Judicious use of white space can give a page a classic, elegant, or rich
appearance. For example, upscale brands often use ad layouts with little text
and a lot of white space. Inexpert use of white space can make a page appear
incomplete. For publication designers, white space is very important.
Publications can be printed on many different papers with a variety of colours,
textures, etc. In these cases, white space is used for good presentation and
showcasing the different stocks used.
Add extra space to margins,
between paragraphs and
columns, and around photos.
Maintain consistency throughout
your design.
Distribute and align elements
on your page evenly—most
programs have built-in tools to
do this automatically.
Pay close attention to the
typography in headlines,
subheads, bulleted lists, footers
and other elements that will
stand out on the page. Adjust
kerning and tracking as needed.
Keep the design simple. Focus
on clarity by doing the minimum
necessary to convey the
information. Avoid anything that
doesn’t serve a function—don’t
decorate a page; design it.
a!
Active white space: Space
intentionally left blank for a better
structure and layout. It also gives
emphasis to specific content and
important elements. It creates a
path to lead the reader from one
area to next.
Passive white space: The empty
space around the outside of the
page or blank areas inside the
content based on the designer’s
layout decisions; ideally this creates
breathing room and balance.
44
6. WHITE SPACE
White space attracts the eye,
and creates a clean and relaxing visual effect. It is an
effective design tool found in visual identities of the most
professional, sophisticated and luxurious brands. Two main
benefits are:
6.1 BENEFITS OF WHITE SPACE
Simplicity: Leaving room around your content helps it
stand out. It also makes the piece easier to scan and digest.
Content that is too congested is difficult to understand.
Imagine reading a page in a book without spaces between
the letters and the lines.
Leaveroomaroundyourcontenttohelpitstandout.Italso
makesthepieceeasiertoscananddigest.Contentthatistoo
congestedisdifficulttounderstand.Imaginereadingapagein
abookwithoutspacesbetweenthelettersandthelines.
The best way to maintain good white space
usage is to be organized. Here are a few tips to help you
achieve a clean layout:
6.3 STAY ORGANIZED
Create a grid based on the size of your project, minus
an appropriate margin, then divided into columns. The
amount of columns will depend on your copy. Maintain a
fractional division of your working space and it’ll be easier
to balance your layout, as opposed to randomly placing
your pieces.
margin
column
Sample headline
Prestige: Advertisements for expensive brands often use
extensive white space. It depicts their products as being
high quality. Ads containing cheap products are often
packed full of text, garish colours and little white space. Be
creative with white space—don’t simply make the logo or
font larger to take up the space.
usask.ca
A List Apart, “Whitespace” by Mark Boulton
alistapart.com/articles/whitespace
Align elements vertically and horizontally, and distribute
evenly. Many programs have features to help you do this at
the click of a button or a snap of a guide.
The content is the same on both designs, as are the other elements, such
as photography. Yet the two designs stand at opposite ends of the brand
spectrum. Less whitespace = cheap; more whitespace = luxury.
Remember that not all white space
is white in colour. White space refers to any spaces not
occupied with text, images or other visual elements. And
remember to find a balance. Excessive white space can make
your design look boring. Proper use of white space will make
it look impressive. In effective design, less is more.
6.2 WHITE SPACE ≠ WHITE
Separate sections and subsections evenly and sensibly.
Keep more space between sections as you do between
subsections, add a little room between bullet points in
a list, etc. Your audience should be able to glance at the
layout and understand the organization without having to
read every word.
This is section one. This is section one. This is section one.
This
This
is section
is section
one.
one.
This
This
is section
is section
one. This is section one. This is
one. This is section one.
one. This is section one.
TITLE FOR SECTION TWO
This is section two. This is section two. This is section two. This is
two. This is section two.
This is section two. This is section two. This is section two. This is section two. This is section
two. This is section two.
two. This is section two. This is section two. This is section two. Th
This is section two. This is section two. This is section two.
This istwo.
section
This istwo.
section
section
Thistwo.
is section
This is section two.
two. This is section two. This is section two. This is section two. This is section two. This is
• This is a bulleted list. This is a bulleted list. This is a bulleted li
section two. This is section two. This is section two.
• This is a bulleted list. This is a list.
• This is a bulleted list. This is a bulleted list. This is a bulleted
• This list.
is a bulleted list. This is a bulleted list.
TITLE FOR SECTION TWO
• This is a bulleted list. This is a list.
• This is a bulleted list. This is a bulleted list.
two. This is section two. This is section two. This is section two. Th
This is section two. This is section two. This is section two. This is section two. This is section
two. This is section two. This is section two. This is section two. This is section two. This is
45
6. WHITE SPACE
The U of S business card, letterhead
and general folder use a predominantly white design to maintain
simplicity, extend usability across such a broad and diverse campus, all
while maintaining a prestigious look and feel.
6.4 REAL-LIFE EXAMPLE: STATIONERY PACKAGE
With a simple design using plenty of
white space, these folders feature the
U of S logo in a very light grey screen
with a clear foil. Take advantage of
interesting paper stocks and printing
features such as varnishes, foils,
embossing, etc. to make your designs
stand out.
A noticeable detail of the folder design is
a bright green interior. If the background
would’ve been white, the design would
risk being too boring and white papers in
the pockets could blend in and not stand
out. Had the background contained a
photo, it could clash when papers were
placed in the pockets. Instead, the bright
green helps highlight the contents of the
folder and create a pleasingly noticeable
look.
The grey colour palette was used in the
folder design to match the clean white
space and set off the vibrancy of the
graphic elements and green interior.
A simple string of the graphic element’s
green boxes keeps the design elegant
and clean. Having them bleed off the
top-left edge of the page adds a touch
of intrigue, and creates a consistent
visual link between the letterhead and
business card.
Please contact Printing Services at
306-966-6639 or visit usask.ca/printing_
services for stationery information and
requests.
The usask.ca website
design uses ample white space to create an easy to read
and navigate site.
6.5 REAL-LIFE EXAMPLE: USASK.CA WEBSITE
White space is used effectively to draw the users
attention to a particular screen element.
Space around the margins, padding around the images
and increased line height creates readability.
Small chunks of text make for easy to scan copy, as
opposed to excess verbiage. Studies show that this
method increases comprehension by almost 20 per cent.
White space around major elements on the site,
including the logo, reinforce the importance of our
brand by drawing attention to it.
46
6. WHITE SPACE
The
Greystone Theatre brochure includes many photos
highlighting the productions but balances it with a
grid system and sensible white space.
6.6 REAL-LIFE EXAMPLE: GREYSTONE THEATRE BROCHURE
With added white space, the colourful photos
jump out of the page and grab the reader’s
attention.
The cover (top image) utilizes a large feature
image with smart typography and placement of
logos to maintain a clean look.
The inside spread (bottom image) is organized
neatly with copy on the outside panels and photos
down the middle panel.
The photos are laid out with a simple grid pattern
with each of them distributed evenly horizontally
and vertically, with a subtle use of the graphic
elements to drive home the U of S visual identity.
The text is organized throughout in a sensible
manner for easy scanning and comprehension.
47
Universal Principles of Design by William Lidwell, Kritina Holden and Jill Butler
2003. Rockport Publishers.
According to the principle of consistency, systems are more usable and learnable
when similar parts are expressed in similar ways. Consistency enables people
to efficiently transfer knowledge to new contexts, learn new things quickly,
and focus attention on the relevant aspects of a task. There are four kinds of
consistency: aesthetic, functional, internal, and external.
Aesthetic consistency refers to consistency of style and appearance (e.g.,
a company logo that uses a consistent font, colour, and graphic). Aesthetic
consistency enhances recognition, communicates membership, and sets
emotional expectations. For example, Mercedes-Benz vehicles are instantly
recognizable because the company consistently features its logo prominently
on the hood or grill of its vehicles. The logo has become associated with quality
and prestige, and informs people how they should feel about the vehicle—i.e.,
respected and admired.
Functional consistency refers to consistency of meaning and action (e.g., a
traffic light that shows a yellow light before going to red). Functional consistency
improves usability and learnability by enabling people to leverage existing
knowledge about how the design functions. For example, videocassette recorder
control symbols, such as for rewind, play, forward, are now used on devices
ranging from slide projectors to MP3 music players. The consistent use of these
symbols on new devices enables people to leverage existing knowledge about how
the controls function, which makes the new devices easier to use and learn.
Internal consistency refers to consistency with other elements in the system
(e.g., signs within a park are consistent with one another). Internal consistency
cultivates trust with people; it is an indicator that a system has been designed,
and not cobbled together. Within any logical grouping elements should be
aesthetically and functionally consistent with one another.
External consistency refers to consistency with other elements in the
environment (e.g., emergency alarms are consistent across different systems in a
control room). External consistency extends the benefits of internal consistency
across multiple, independent systems. It is more difficult to achieve because
different systems rarely observe common design standards.
Consider aesthetic and functional consistency in all aspects of design. Use
aesthetic consistency to establish unique identities that can be easily recognized.
Use functional consistency to simplify usability and ease of learning. Ensure that
systems are always internally consistent, and externally consistent to the greatest
degree possible. When common design standards exist, observe them.
48
further resources
Stationery
Word and PowerPoint templates
U of S website standards
Charts and graphs examples
InDesign templates
49
STATIONERY
Stationery
Dear [Recipient]:
Fusce neque mi, consectetuer gravida, convallis ac, varius a, pede. Fusce pellentesque pretium quam. Ut
luctus, justo id volutpat iaculis, est diam pulvinar sem, quis bibendum turpis dui eget mauris. Sed in mauris.
Ut massa. Pellentesque condimentum felis nec sapien. Integer posuere elit at turpis. Nulla facilisi. Sed sapien
ipsum, commodo ut, facilisis vitae, ultrices non, metus. Aenean non nulla. Curabitur molestie volutpat magna.
Vestibulum tempor faucibus nisi. Pellentesque vitae enim.
Department of Pediatrics
For our prospective students, faculty and
Aliquam rhoncus volutpat mauris. Sed auctor. Donec tincidunt velit et tellus. Donec sed augue eget lacus
placerat adipiscing. Ut convallis suscipit nulla. Morbi posuere ullamcorper ligula. Duis sit amet odio nec lorem
staff, the first contact they have with the
ornare gravida. Suspendisse
ante nulla, gravida quis, eleifend sit amet, placerat eget, purus. Sed egestas magna
[Recipient]
U of S may involve receiving a letter or businessut erat. Vivamus euismod,
[Title]
odio id mattis porttitor, tellus nisl consectetuer turpis, ut auctor enim justo euismod
massa tempor tempor.
[Company]
card. Consistent use of our stationery package nulla. Fusce eget diam vulputate
[Address 1]
[Address 2]
[Address 3]
will not only help our people make a positive In ante. Phasellus convallis,
nisl in vestibulum facilisis, lacus pede bibendum urna, dapibus pellentesque eros
Date: [Insert
Date] porta nec, laoreet quis, mollis in, libero. Aenean dapibus est a metus. In
magna
sed
nibh.
Etiam
tortor
arcu,
first impression, but will also ensure that our
sit amet elit. Pellentesque luctus lacus scelerisque arcu. Cras mattis diam. Sed molestie, lectus id bibendum
prospects recognize the U of S the next time luctus, magna orci luctus quam, et auctor urna diam sit amet ligula. Sed purus dui, suscipit et, malesuada non,
in, augue. Proin
et sapien. Maecenas aliquam, nibh id aliquet tincidunt, ante neque pulvinar
Dear [Recipient]:
they see us. Showcasing our distinctive visual consectetuer
mauris, sit amet fermentum nibh augue mollis risus. Mauris porttitor varius mauris. Vivamus in urna et sem
Fusce neque mi, consectetuer gravida, convallis ac, varius a, pede. Fusce pellentesque pretium quam. Ut
identity from day one will help the U of S buildaccumsan
a
imperdiet. Aenean
fringilla,
erosest tincidunt
gravida
elementum,
justo
pharetra felis, in rhoncus
luctus, justo
id volutpat iaculis,
diam pulvinar sem,
quis bibendum
turpis dui eget mauris.
Sederos
in mauris.
Ut massa. Pellentesque condimentum felis nec sapien. Integer posuere elit at turpis. Nulla facilisi. Sed sapien
arcu lectus non enim. Phasellus
odio
tortor,
mattis
ut,
mattis
elementum,
luctus
at, magna.
orci.
nulla.
Curabitur
molestie
volutpat
ipsum,
commodo
ut,
facilisis
vitae,
ultrices
non,
metus.
Aenean
non
memorable brand over time.
Vestibulum tempor faucibus nisi. Pellentesque vitae enim.
College of Medicine
Sincerely,
Customization
[Your Name]
Stationery can be personalized with the name of
[Your Title]
the individual user and their contact information.
Customization of the U of S logo (beyond a secondary
logo), green square graphic element, font and spacing is
not permitted.
Royal University Hospital 103 Hospital Drive, Saskatoon SK S7N 0W8 Canada
Telephone: (306) 966-8117 Fax Administrative: (306) 975-3767 Fax Clinical: (306) 966-8640
Email: department@usask.ca Web: www.usask.ca/department
Aliquam rhoncus volutpat mauris. Sed auctor. Donec tincidunt velit et tellus. Donec sed augue eget lacus
placerat adipiscing. Ut convallis suscipit nulla. Morbi posuere ullamcorper ligula. Duis sit amet odio nec lorem
ornare gravida. Suspendisse ante nulla, gravida quis, eleifend sit amet, placerat eget, purus. Sed egestas magna
ut erat. Vivamus euismod, odio id mattis porttitor, tellus nisl consectetuer turpis, ut auctor enim justo euismod
nulla. Fusce eget diam vulputate massa tempor tempor.
In ante. Phasellus convallis, nisl in vestibulum facilisis, lacus pede bibendum urna, dapibus pellentesque eros
magna sed nibh. Etiam tortor arcu, porta nec, laoreet quis, mollis in, libero. Aenean dapibus est a metus. In
sit amet elit. Pellentesque luctus lacus scelerisque arcu. Cras mattis diam. Sed molestie, lectus id bibendum
luctus, magna orci luctus quam, et auctor urna diam sit amet ligula. Sed purus dui, suscipit et, malesuada non,
consectetuer in, augue. Proin et sapien. Maecenas aliquam, nibh id aliquet tincidunt, ante neque pulvinar
mauris, sit amet fermentum nibh augue mollis risus. Mauris porttitor varius mauris. Vivamus in urna et sem
accumsan imperdiet. Aenean fringilla, eros tincidunt gravida elementum, justo eros pharetra felis, in rhoncus
arcu lectus non enim. Phasellus odio tortor, mattis ut, mattis elementum, luctus at, orci.
Sincerely,
[Your Name]
[Your Title]
Paper stock
To align with our university’s commitment to sustainability,
the paper used for the stationery is made with 100 per cent
recycled material. Letterhead is watermarked for security
purposes, thus digital versions of the official letterhead is
not recommended for certified documentation. Paper stock
substitutions are not permitted for these items.
Jonathan Smitherson
B.Ed. B.Sc.(R.R.M.)
Jonathan Smitherson’s title
Jonathan Smitherson
B.Ed. B.Sc.(R.R.M.)
Jonathan Smitherson’s title
College of Medicine
College of Medicine
Department of Pediatrics, Royal University Hospital
Ordering stationery
All components of the University of Saskatchewan
stationery system are exclusively produced by U of S
Printing Services. This will ensure that official standards are
maintained and will help to minimize administrative costs.
Hospital Drive Royal
SaskatoonUniversity
SK S7N 0W8 Canada
Department of 103
Pediatrics,
Hospital
Telephone: (306) 966-8117 Email: jonathan.smitherson@usask.ca
103 Hospital Drive
Saskatoon
SK S7N
0W8(306)Canada
Fax Administrative:
(306) 975-3767
Fax Clinical:
966-8640
Web: www.usask.ca/department
Telephone: (306)
966-8117 Email: jonathan.smitherson@usask.ca
Fax Administrative: (306) 975-3767 Fax Clinical: (306) 966-8640
Web: www.usask.ca/department
The letterhead and business card design displays the contact
information in an orderly fashion in the top header, maximizing the
imprintable area for official university correspondence.
Email signatures
The U of S visual identity is equally important in our online
communications. U of S students, faculty and staff are
welcome to contact us for assistance with creating an email
signature that is well-aligned with the U of S visual identity.
Please contact Printing Services for your stationery needs
at 306-966-6639 or printing.services@usask.ca. An online
ordering form is available at usask.ca/printing_services
For further information about stationery please visit
communications.usask.ca/guides/stationery
50
WORD AND POWERPOINT TEMPLATES
Word and PowerPoint Templates
Communicators and designers across campus
have created a variety of templates that will
help you maintain visual consistency across
all mediums. Built-in elements make it easy to
customize the pieces for your purpose while still
adhering to the visual standards of the University
of Saskatchewan.
Using the templates gives you a great starting
point for almost any project. However, if you
need something more specific than a template,
or have questions about how best to make
use of the templates, contact Marketing and
Communications for assistance.
Word templates
These templates can be used for a variety of pieces, from
internal memos to posters to newsletters. When working
in Word, choose fonts that are sans serif (example: Lucida
Sans, Arial, Calibri) and maintain consistency in the font
throughout the document. Alternatively, copy and paste
elements from these templates to create your own.
PowerPoint templates
These templates give you the basic format for a PowerPoint
presentation. Depending on the content, one version may
work better than another for your purpose. Alternatively,
copy and paste elements from these templates to create
your own.
Remember that photographs and visuals lend interest to a
presentation, but slides shouldn’t be so cluttered that the
audience can’t take it all in at once. In the same way, limit
content to a maximum of about six lines per slide and use
bullet points. You don’t need to include your presentation
word for word on the slides themselves.
Download .doc and .ppt packages at communications.
usask.ca/guides/template
More template options are available to members of the
Campus Communicator’s Network (CCN). Log in through
PAWS to access the CCN Resource Centre.
51
College and unit enga
+
Regional Advisory Councils
+
Senate Round Table
President
Community
Service
Learning
(advisory role)
Provost and Vice-Provost
Teaching and Learning
Off-campus
and distance
learning
Lines that connect pieces of a
diagram should be simple and
legible. These arrows were created
in Illustrator using a 3.5pt stroke
with arrowhead #10, with the
corners rounded at 0.1”.
+
Special Advisor,
Experiential Learning
Senate Round
Table
Learning
Experiential
Vice-President
University Advancement
Alumni Relations Communicat
External
Relation
C
Board
Outreach and Enga
+
Special Advisor,
Senate Round Table
(advisory role)
Charts and graphs are often used to help
explain complex information in a visual way and
should take advantage of the visual identity to
maintain a consistent and professional look.
When creating charts or graphs, use elements
of our visual identity wherever possible: take
the dominant colours from our primary colour
palette, using greyscale and secondary colours
as needed for clarity; use small graphic elements
such as blocks for markers; keep fonts consistent
with our standards; and ensure lines or arrows
used are simple, legible and consistent with our
visual identity.
Senate
+
Regional Advisory Co
+
Senate Round Table
Vice-President
University Adva
Charts and graphs examples
Senate
Presid
Boar
Outreach and
CHARTS AND GRAPHS EXAMPLES
Green large section
Dark grey section
Secondary colour section
Light grey
3 4.5
22.5
%
70
40
30
20
10
%
U of S
This pie chart highlights the main portion a bright U of S
green, while the rest of the chart is in greyscale. One small
piece has been highlighted with a secondary colour for
referral in the accompanying text.
Dalhousie
McGill
McMaster
U of O
Outreach and Engagement
U of T
Senate
Board
Council
U of WO
Queen’s
Government
Relations
President
Senate Round Table
(advisory role)
Waterloo
U of M
+
Special Advisor,
U of A
U of C
Vice-President
University Advancement
+
Regional Advisory Councils
+
Senate Round Table
2010
2009
2008
2007
U of BC
Median
This bar graph highlights the U of S portion in green with
the median line in a bright red secondary colour to help
call attention to the most important pieces.
Experiential Off-campus
Learning
and distance
learning
Community
Service
Learning
External
Relations
Alumni Relations Communications
Vice-President
Research
+
Advisor on Enhancement
of External Partnerships
+
Special Advisor
on International Initiatives
Industry
Liason
Office
International
Relations
Community
based
research
Development
College and unit engagement strategies
Organizational diagrams can become very complex. Use simple
and legible lines with colour coding to simplify the intricate
arrangement. This diagram was created in Illustrator using a
12pt font and 3.5pt stroke.
52
INDESIGN TEMPLATES
InDesign templates
There are many InDesign templates and files that
can help you or your supplier in your professional
U of S designs. With consistency being key to a
strong visual identity, right down to the smallest
detail, it is encouraged to take advantage
of existing artwork as opposed to trying to
recreate and risk variance in our work. Use these
templates as a starting point for your project and
borrow elements for your own creations.
Some of the templates available to you:
Headline one
Advertisements
headline two
Invitations
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acepe alit as diores ratis sae ped
unt faccum nes aditisit, odis inum
sit aut es est poribus. Duntor
optas utempor eiciunto quiant
que pora con nonesed.
Fact sheets
Brochures
maximagnihil ipsum es serit
voloratem quatur sum quiam
exceaquo es ipici peratem
endelitae volenime voluptatia
num resequo.
Debitios aliqui beratem olorro
blaborro et aborerum ut as sint ut
porist lamusci psandit doluptium
ducia voleni core nonsequ ut as
psandit aecaepe.
Banners
Billboards
www.usask.ca
Cutline for staff members, cutline for staff members, cutline for staff
members, cutline for staff members cutline.
and more …
Fact sheet title here
Headline one
Topic header goes here
Please contact Marketing and Communications
at 306-966-6607 or communications@usask.
ca to discuss your project and see if a suitable
template can help you.
headline two
Mi, sum, sam et que qui illateceria quibusandem aut et, seditet, quidernam,
simus maximporerum exceation eatur secepti oreium ad experovit res
maximporro volorrumquia volupta simi, quia di blaccatem simi, nonsenes
aut omnis ma alia quibus descipsa iliquas dolupti atemque volectem.
Namenis pel idemped experat iorenem es dolor aut et autecto tassiti
atenimin ratum, sa doluptassum ipiciae peroribus explab inusam ipsa
porupta tempos doluptae. Nam, nonse essunt ulluptatur modis ius.
www.usask.ca
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fuga. Modigna tiumet perempos peles dis moluptas eum nonse am volorae
ssitasperum aut voluptatis il ipiciendam explisqui officia dunt, si rem a
cupicie nditas sit ma que provit pa inctore, officia tiatem sed et is quideliate
consequae volo occus poreped que consediciae conectio venimusdam,
nectis audandae que eum veles.
More template options are available to
members of the Campus Communicators’
Network (CCN). Log in through PAWS to access
the CCN Resource Centre.
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quo intiunt ut voloris quatur? Ant excea con eos aliquia nobit, sitatem ex et,
auda sitius doluptam quunt vel idempor resed que corae dolo tem.
Ciendam explisqui officia dunt, si rem a cupicie nditas sit ma que:
1. Numbered points can go like this
es maximporro volorrumquia volupta simi, quia di blaccatem simi, nonsenes
aut omnis ma alia quibus descipsa iliquas dolupti atemque volectem.
Namenis pel idemped experat iorenem es dolor aut et autecto tassiti
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porupta tempos doluptae. Nam, nonse essunt ulluptatur modis ius.
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pel idemped experat iorenem es dolor aut et autecto tassiti atenimin ratum,
sa doluptassum ipiciae per.
uas dolupti atemque volectem. Namenis pel idemped expamenis pel
idemped experat iorenem es.
2. Numbered points can go like this
icid est, offictur, que consequam quam,
totassi dios audit quiatur.
Figure 1
Sidebar information
Topic oNe: Accus sequis quunt quam voluptae
porpost es arciet volupti aut quas et fuga. Modigna
tiumet perempos peles dis moluptas eum nonse am
volorae ssitasperum aut.
Topic Two: Accus sequis quunt quam voluptae
porpost es arciet volupti aut quas et fuga. Modigna
tiumet perempos peles dis moluptas eum nonse
am volorae ssitasperum aut voluptatis il ipiciendam
explisqui officia dunt, si rem a cupicie nditas sit
ma que provit pa inctore, officia tiatem sed et is
quideliate consequae volo.
Facts sheet title here
|
Month 2011
|
Headline one
headline two
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faccum nes aditisit, odis inum sit aut es est poribus. Duntor optas
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exceaquo es ipici peratem endelitae volenime voluptatia num
resequo.
Heading 1 style
Debitios aliqui beratem olorro blaborro et aborerum ut as sint ut
porist lamusci psandit doluptium ducia voleni core nonsequ ut
as psandit aecaepe.Nem el ium re, sed ullo optatem voloreserae
dolutae voleni aut omnit provitibus sequias rem que sequo
minctemquat quibus ellaborrundi assimaion restotam ipsantis est
mil illam ent eius.
Heading 2 style
www.usask.ca
www.usask.ca/typeyoururl
53
U OF S WEBSITE STANDARDS
U of S website standards
University of Saskatchewan websites are
important institutional assets. As the first point
of contact for many stakeholders, our online
presence represents a major opportunity to
further the strategic directions of the university
while engaging stakeholders and improving
institutional reputation, all while staying on
brand.
For information on the U of S website framework
visit web.usask.ca or contact Information and
Communications Technology at web@usask.ca or
306-966-2222.
Learn everything you need for building great websites using the
Web Content Management System.
54
U OF S WEBSITE STANDARDS
55
Many of the icons in this guide have been provided by The Noun Project at thenounproject.com, a website empowering the community to build a global visual language that everyone
can understand. Artists used throughout this guide are Anna Weiss and Sergi Delgado, with other icons under Creative Commons licensing with no rights reserved.
56
Institutional Positioning
Statement
for whom
dedicated visionaries who believe innovation is born of collaboration
what we offer
support
connections
impact
we provide freedom
and support to push the
boundaries of knowledge
we reach across disciplines, into our
communities and around the globe to build
life-changing connections and to think
differently about the issues of our time
we work together to experiment,
to learn and to make groundbreaking discoveries that will change
Saskatchewan, Canada and the world
who we are
we are a rising
team that is
building the
future
our personality
our ambition
we will get there using
resourceful
collaborative
dynamic
to be among the most
distinguished universities
in Canada and the world
our determined spirit
our dedicated and flexible support
our diverse perspectives
our leading-edge understanding of human
and other living systems
Approved June, 2010 by the
President’s Executive Committee
57
The Visual Expression Guide has been developed for
those responsible for the creation of communication
materials at the University of Saskatchewan. The
responsibility of Marketing and Communications
is to assist individuals and departments to ensure
their communications are on strategy, use the correct
communication medium, and meet high quality and
professional standards.
For enquiries, please contact:
Marketing and Communications
Advancement and Community Engagement
G16 Thorvaldson Building
110 Science Place
Saskatoon, SK S7N 5C9
306-966-6607
communications@usask.ca
014-15 / AUG 2015

Visual Expression Guide - Marketing and Communications

Transcription

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