Lancaster University Students' Union Brand Toolkit

Total Page：16

File Type：pdf, Size：1020Kb

SOCIAL MEDIA LancasterSU @LancasterSU @LancasterSU LUSUSnaps INFORMATION / CONTACT lancastersu.co.uk (formerly lusu.co.uk) BRAND TOOLKIT tel 01524 593 765 email [email protected] LOGO USAGE primary (purple) high contrast (white) high contrast (black) Primary logo to be used. For use on For use on bold or dark colours for For use on black and white printed white or very light coloured back- better contrast. items, or where purple or white version grounds only. Not to be used if docu- does not provide enough contrast. ment is to be printed in black and white. Downloadable assets via : lancastersu.co.uk/branding COLOUR PALETTE PRIMARY SECONDARY PURPLE AQUA RED SAGE SLATE TERRACOTTA PEACH MUSTARD TEAL PLUM CMYK CMYK CMYK CMYK CMYK CMYK CMYK CMYK CMYK CMYK 79, 100, 0, 15 70, 8, 31, 0 0, 97, 100, 0 52, 24, 56, 0 10, 0, 0, 75 9, 74, 65, 0 5, 44, 62, 0 10, 20, 81, 0 92, 51, 47, 22 52, 91, 36, 19 RGB RGB RGB RGB RGB RGB RGB RGB RGB RGB 66, 24, 108 62, 178, 182 205, 46, 41 128, 104, 130 99, 100, 102 225, 77, 84 238, 148, 104 237, 195, 65 0, 95, 106 192, 96, 147 HEX HEX HEX HEX HEX HEX HEX HEX HEX HEX #42186C #71AFB5 #CD2E29 #8CA283 #636466 #C45A56 #D8976B #E2C44C #325D69 #788292 Pantone 2617 /////////// /////////// /////////// /////////// /////////// ////////// /////////// /////////// /////////// BRANDS WITHIN LANCASTER UNIVERSITY STUDENTS’ UNION NTS’ U DE NI U O T N S S U T E P K E R M A R Colours Used: Colours Used: Colours Used: Colours Used: Colours Used: Purple Red & Slate Sage & Slate no set colour scheme Green : C:45,M:0,Y:100,K24 (+Dark Red C-0,M-95,Y-100,K-34) Fonts Used: Fonts Used: Fonts Used: Fonts Used: Fonts Used Rockwell / Helvetica Proxima Nova / Proxima Nova / Helvetica / Proxima Nova / BadDog / Proxima Nova Helvetica / DIN Back to Black Any to suit FONT USAGE Proxima Nova (primary usage) | Helvetica | Arial | DIN | Verdana | Franklin Gothic Bold or Black for headlines / Regular for body copy PREVIOUS BRANDING In a bid to offer more clarity around who we are and what we do, we are moving away from the ‘LUSU’ logomark and ‘swoosh’ design - to be replaced by the new ‘Lancaster University Students’ Union’ logo mark. Additionally the students’ union should no longer be referred to as ‘LUSU’, to be replaced by the full ‘Lancaster University Students’ Union’, or an iteration of this (such as ‘your students’ union’). The ‘LUSU’ logo will be phased out from Summer 2017, and all newly ordered print and materials should adopt the new logo mark and phrasing. v1.2 - Details correct as of 17th November 2017.

Copy Link

Recommended publications

Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
[Show full text]
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs.
[Show full text]
Typestyle Chart.Pub
TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G.
[Show full text]
Requirements and Suggestions for Typography in Briefs and Other
REQUIREMENTS AND SUGGESTIONS FOR TYPOGRAPHY IN BRIEFS AND OTHER PAPERS Federal Rule of Appellate Procedure 32 contains detailed requirements for the production of briefs, motions, appendices, and other papers that will be presented to the judges. Rule 32 is designed not only to make documents more readable but also to ensure that different methods of reproduction (and different levels of technological sophistication among lawyers) do not affect the length of a brief. The following information may help you better under- stand Rule 32 and associated local rules. The Committee Note to Rule 32 pro- vides additional helpful information. This section of the handbook also includes some suggestions to help you make your submissions more legible—and thus more likely to be grasped and retained. In days gone past lawyers would send their work to printers, who knew the tricks of that trade. Now composition is in-house, done by people with no education in printing. Some of the printer’s toolkit is simple to use, however. Subsection 5, below, contains these hints. 1. Rule 32(a)(1)(B) requires text to be reproduced with “a clarity that equals or exceeds the output of a laser printer.” The resolution of a laser printer is expressed in dots per inch. First generation laser printers broke each inch into 300 dots vertically and horizontally, creating characters from this 90,000-dot matrix. Second generation laser printers use 600 or 1200 dots per inch in each direction and thus produce a sharper, more easily readable output; commercial typesetters use 2400 dots per inch. Any means of producing text that yields 300 dots per inch or more is ac- ceptable.
[Show full text]
Standard Fonts List Used for Poster Creation
Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. These are the standard fonts. Failure to comply with using a standard font, will result in your poster not printing correctly. 13 Misa Arial Rounded MT Bold Bodoni MT 2 Tech Arial Unicode MS Bodoni MT Black 39 Smooth Arno Pro Bodoni MT Condensed 4 My Lover Arno Pro Caption Bodoni Poster MT Poster Compressed Abadi Condensed Light Arno Pro Display Book Antiqua ABCTech Bodoni Cactus Arno Pro Light Display Bookman Old Style ABSOLOM Arno Pro Smdb Bookshelf Symbol 7 Adobe Calson Pro Arno Pro Smdb Caption Bradley Hand ITC Adobe Calson Pro Bold Arno Pro Smdb Display Britannic Bold Adobe Fangsong Std R Arno Pro Smdb SmText Broadway Adobe Garamond Pro Arno Pro Smdb Subhead Brush Script MT Adobe Garamond Pro Bold Arno Pro SmTest Brush Script Std Adobe Heiti Std R Arno Pro Subhead Calibri Adobe Kaiti Std R Baskerville Old Face Californian FB Adobe Ming Std L Bauhous 93 Calisto MT Adobe Myungjo Std M Bell Gothic Std Black Cambria Adobe Song Std L Bell Gothic Std Light Cambria Math Agency FB Bell MT Candara Albertus Extra Bold Berlin Sans FB Castellar Albertus Medium Berlin Sans FB Demi Centaur Algerian Bernard MT Condensed Century AlphabetTrain Bickham Script Pro Regular Century Gothic Antique Olive Bickham Script Pro Semibold Century Schoolbook Arial Birch Std CG Omega Arial Black Blackadder ITC CG Times Arial Narrow Blackoak Std 1 Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster.
[Show full text]
Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2017 Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication Michael Peterson Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Language Description and Documentation Commons, Technical and Professional Writing Commons, and the Typological Linguistics and Linguistic Diversity Commons Recommended Citation Peterson, M. (2017). Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/672/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication By Michael E. Peterson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Technical Communication At Minnesota State University, Mankato Mankato, Minnesota April 2017 Rhetoric of Typography: Cross-Cultural Perceptions of Typefaces for Technical and Visual Communication Michael E. Peterson This thesis has been examined and approved by the following members of the student’s committee.
[Show full text]
Design Principles and Context
MODULE CM 2004 / STAGE 2 / SEMESTER 2 / SESSION 06-07 Module title Design Principles and Context Typography Fonts are classified under the following headings. • Old Face fonts make use of contrasting wide and narrow strokes reminiscent of marks made with a pen. Eg Garamond - http://www.myfonts.com/fonts/itc/garamond Palatino - http://www.myfonts.com/search?search%5Btext%5D=palatino • Script fonts are based upon hand drawn calligraphic shapes Eg Palace Script - http://www.myfonts.com/search?search%5Btext%5D=palace+script • Transitional/Neo Grotesque fonts have highly contrasting wide and narrow strokes and an almost vertical axis. Eg Baskerville - http://www.myfonts.com/search?search%5Btext%5D=baskerville Century - http://www.myfonts.com/search?search%5Btext%5D=century • Modern fonts have contrasting thick and thin strokes. They have a vertical feel and thin serifs. Eg Bodoni - http://www.myfonts.com/search?search%5Btext%5D=bodoni • Slab Serif fonts have heavy and even stroke weights Eg Rockwell - http://www.myfonts.com/search?search%5Btext%5D=rockwell • Humanist fonts originated in the 15th Century and have different stroke thicknesses. Eg Verona - http://www.myfonts.com/search?search%5Btext%5D=verona • Sans Serif fonts have fairly even stroke weights and no serifs (the name “Sans” comes from the French word “Sans” meaning “without” Eg Helvetica - http://www.myfonts.com/search?search%5Btext%5D=helvetica Futura - http://www.myfonts.com/search?search%5Btext%5D=futura Sometimes you may find that a font falls under more than one classification. eg Gill Sans is regarded as a Humanist Sans Serif font Gill Sans - http://www.myfonts.com/search?search%5Btext%5D=gill+sans Style Commonly available type style variations – • Roman • Italic • Condensed • Extended • Thin • Light • Bold • Extrabold Size When discussing the size of font we refer to its Point Size.
[Show full text]
Typography Evolved from Handwriting, Which Is Created By
PARTS OF THE LETTER Typography evolved from handwriting, which is created by making a series of marks by hand; therefore, the fundamen- tal element constructing a letterform is the linear stroke (stem). Each letter of our alphabet developed as a simple mark whose visual characteristics clearly sepa- rated it from all others. PARTS OF THE LETTER By learning the vocabulary designers and typographers can develop a greater understanding and sensitivity to the visual harmony and complexity of the alphabet. PARTS OF THE LETTER As with any craft that has evolved over 500 years, typography employs a number of technical terms. We will be learning these terms throughout the semester. The following describes specific parts of letterforms. Knowing the letterform component parts will make it much easier to identify specific typeface in the future. serif: the short strokes that finish off the major strokes of the letterform. bracket: a curving joint between the serif and the stroke bracket A baskerville bodoni rockwell Atransitional Amodern slab serif extreme thick and thins nearly mono-weight stroke width A baskerville bodoni rockwell Atransitional Amodern slab serif extreme thick and thins nearly mono-weight baseline: the imaginary line defining the visual base of the letterform. all letterforms sit on the baseline. baseline xAapdeCGgQk cap height: the height of the upper case in a font, taken from the base- line to the top of the character. cap height baseline xAapdeCGgQk x-height: the height lowercase x. if you compare typefaces of the same point size they may not have the same x-height. all of the lowercase x’s are the same point size.
[Show full text]
Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress.
[Show full text]
A Type Specimen Booklet by Alex Morales
SS P A A C EE a type Specimen bookletP by Alex Morales C Palatino 4 Mrs Eaves 6 Didot 8 Rockwell 10 gill sans 12 univers 14 Futura 16 snell roundhand 18 expletus sans 20 Inknut Antiqua 22 exo 2 24 Averia Sans Libre 26 Tillana 28 ubuntu mono 30 Palatino {Old style Serif} Herman Zapf created Palatino at the start of his type designing career- the typeface was re- leased in 1948 by the Linotype foundry. The typeface grew popular very rapidly, finding usage in hundreds of American newspapers, as well as in high profile publications in Zapf’s native Germany. The harmonious forms of the design are reminiscent of the Renaissance and, combined with Zapf’s economical fit, make the typeface well-suited for anything rang- ing from headlines and advertisements to newspaper body text and instruction manuals. Halley [Palatino LT Std Light] Encke [Palatino LT Std Roman] Biela [Palatino LT Std Medium] Faye [Palatino LT Std Bold] Brorsen [Palatino LT Std Black] d’Arrest [Palatino LT Std Light Italic] Pons-Winecke [Palatino LT Std Italic] Finlay [Palatino LT Std Medium Italic] Westphal [Palatino LT Std Bold Italic] [Palatino LT Std Black Italic] Kopff Periodic Comets 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 1 2 3 4 5 6 7 8 9 0 # ( ) { } [ ] % & ! ? .
[Show full text]
Aution of Serif Type
evolutionevolution of ofserif serif type type e p y t if r se of on ti u aol evolution of serif type For Katherine evolution of serif type contents history of old-style serif type history of transitional serif type history of modern serif type history of slab serif type § evolution of serif type timeline old-style serif transitional serif modern serif slab serif 1540 1757 1798 1815 evolution of serif type introduction to serif type Serif fonts are a category of typeface characterized by small details in the form of tiny lines or hooks at the tops and bottoms of certain letters. These details are called serifs. One of the most commonly recognized serif fonts is Times New Roman. The four types of serif fonts are old style, transitional, modern and slab serif. Serif fonts are often recognized as easier to read than sans serif fonts; the term for the kind of font that does not have serifs. Therefore, serif fonts are considered somewhat better than sans serif fonts for body text. A common rule of thumb when selecting typography is to use a sans serif font for the header text and a serif font for the body text. evolution of serif type an introduction to old style serif type evolution of serif type Old style serif fonts are the oldest type of serif font. Old style serif fonts are charac- terized by only moderate transitions between the thinner and thicker parts of the stroke with a diagonal stress, meaning that the thinnest parts of strokes are on a diagonal.
[Show full text]
Download Typetalkdec2017.Pdf
Found Type / Part 1 research 1 / 12 / 2018 Serif Aa Garamond Regular Sans serif Aa Franklin Gothic Book cap height ascender height x-height Aaxtg baseline Helvetica / 190pt cap height ascender height x-height Aaxtg baseline Baskerville / 190pt regular semibold bold Baskerville light regular ultra bold Gill sans 1928-32 condensed medium extended Futura 1927 Helvetica Neue Ultra Light Helvetica Neue Thin Helvetica Neue Light Helvetica Neue Regular Helvetica Neue Medium Helvetica Neue Bold Helvetica 1957 apex ascender counter ear stem AatgkQ horizontal stroke arm or crossbar leg terminal loop tail Baskerville Key characters a a single storey double storey Futura Gill Key characters e e oblique cross bar horizontal cross bar Centaur Garamond Key characters g g g single storey double storey double storey Futura open loop closed loop Meta Gill Key characters A A A pointed apex flat apex concave apex Futura Bembo Garamond Spur A spur only appears at the end of a curved letter-form G G G without spur horizontal spur vertical spur Meta bold Albertus Serifa Key characters Q Q Q Tail dissecting bowl long tail short tail Futura Baskerville Albertus Key characters R R straight leg curved leg Futura Didot Fraktur Gutemberg Bible, Germany,1455 2014 Humanist Garamond 15th century The Fleuron Beatrice Warde 1926 Garamond Brighten the corners 2015 Garamond Rational Didot 1784 - 1811 Reid Miles, Blue Note Records 1964 Inscribed & Engraved Trajan 1989 Jonathan Barnbrook, 2013 Albertus 1940 Pentagram 2011 Albertus / Gill Sans Humanist Sans Gill Sans 1928 Ministry of Food, 1945 Gill Sans Peter Saville, 1981 Gill Sans Gill Sans Extra Bold Neo-Grotesque Sans Helvetica 1957 Emil Ruder, 1960 Univers 1957 McCann Erickson Helvetica 1969 / 1971 Mark Farrow, 1997 Helvetica Aa Aa Aa Garamond Regular Didot Regular Cooper black Aa Aa Aa Baskerville Regular American typewriter Rockwell Q K rDidot Gill sans Rockwell O A J Cooper Black Garamond Bodoni.
[Show full text]