branding, design and copy manual

version 1.0 | CREATED 2009

1 1 royal opera House XXX

THe roYAL BALLeT

XXXXX

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2 royal opera House | branding, design and copy manual ROYAL OPERA HOUSe

main Contents

Foreword 4 c copy guidelines 81 introduction 82 copy-writing principles 83 EXTENT of ApPLICATION of THESE GUIDELINES 5 typefaces and fonts 84

referring to our brands and other aspects A Royal opera house communications 6 of the royal opera house within copy 85/86

1 | ROYAL OPERA HOUSE BRANDING 7 opera and ballet titles : language 87

2 | HOW to USE OUR BRANDMARKS 15 opera and ballet titles : 3 | OTHER CORE DESIGN ELEMENTS 33 CAse and font style 88

4 | our DESIGN TEMPLATES 40 other titles 89 5 | COMPLIANCE 70 spelling and word use 90

describing numbers in copy 91

B Royal opera house BRANDS describing dates and times in copy 92 in THIRD-PARTY MATERIALS 71 abbreviations, contractions, introduction 72 acronyms and ampersands 93

WHEN THIRD-PARTIES CAN punctuation: apostrophes 94

USE OUR BRANDS 73/74 punctuation: WHEN THIRD-PARTIES CANNOT Commas, hyphens and en-rules 95

USE OUR BRANDS 75 punctuation: quotations and WHICH MEMBERS of OUR BRAND quotation marks 96 FAMILY SHOULD BE USED 76 punctuation: lists 97

WHETHER BRANDMARKS or BRAND NAMES letters 98 sHOULD BE USED 77 email signatures 99

CORRECT PRESENTATION of BRAND NAMES sources of information in PLAIN TEXT 78 and reference guides 100 cORRECT USE of the BRANDMARKS 79 COMPLIANCE 80

ROYAL OPERA HOUSE | branding, design and copy manual ROYAL OPERA HOUSe

Foreword

We have developed a new approach to branding and design that will, henceforth, be applied to everything we do.

• every aspect of our work will be united under an ‘umbrella’ brand: Royal Opera House. This has a new ‘brandmark’ that will be used across all printed materials and other visual formats (e.g. the web). • A consistent design framework will underpin, and hence unify, all printed materials and other visual formats.

As recognition of our brandmark and design-style grows, our audiences and other stakeholders will immediately recognize our communications. This will make the breadth and depth of our work much more apparent, thus broadening perceptions of our organization from one focused on traditional opera and ballet to one recognized for both traditional and modern opera and ballet and work at the forefront of the development of these art-forms.

The prominent use of our brandmark on all materials will imbue whatever is being communicated with the values associated with the Royal Opera House, ‘excellence without arrogance’. Everything we communicate will benefit from the expectation of high quality that our brand conveys.

This manual describes the new approach to branding and design. By adhering to these guidelines we will develop a brand and visual identity that will be valuable and powerful assets for the future.

Caroline Bailey Director of Marketing April 2009

4 ROYAL OPERA HOUSE | branding, design and copy manual ROYAL OPERA HOUSe

extent of application of these guidelines

These guidelines apply to almost all printed materials and other visual formats that carry one or more of our brands (Royal Opera House, The Royal Ballet, The Royal Opera, ROH2 and Orchestra of the Royal Opera House).

Section A explains how our brands should be used in materials designed to look as if they are from the Royal Opera House, whether produced by us or a third-party. These guidelines explain not only how our brands should be used, but also when and how third-party brands (such as visiting company brands, sponsor brands, funding-partner brands and publisher brands) should be included in these materials.

Second B explains how third-parties can use our brands in their communications, subject to our permission (e.g. a venue wishing to promote a touring performance by ROH2 or The Royal Ballet).

Section C outlines key aspects of our house style for copy. This sets out the main principles that should be applied to everything written that is issued from/on behalf of the Royal Opera House.

The only situations in which these guidelines do not apply are those involving one or more of the Royal Opera House brands and the Opus Arte brand. Because Opus Arte is a wholly-owned subsidiary of the Royal Opera House, a separate set of guidelines has been developed to govern the visual presentation of this relationship. Communications and other materials involving a Royal Opera House brand and the Opus Arte brand must not be considered as examples of what would be acceptable in any other situation involving a third-party brand and one or more of the Royal Opera House brands.

5 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications

contents a | royal opera house communications

1 ROYAL OPERA HOUSE BRANDING 7 3 OTHER CORE DESIGN ELEMENTS 33 primary template versions OUR BRAND VALUES 8 master Typeface 34 SQUARE VERSION 56 OUR UMBRELLA BRAND: ROYAL OPERA HOUSE 9 Secondary typeface 35 LANDSCAPE VERSION 57

OTHER MEMBERS of OUR BRAND FAMILY 10 typographic example: TEXT-RICH VERSION 58 other parts of our organization 11 seASON GUIDE PAGE 36 www.roh.org.uk VERSION 59

THIRD-PARTY BRANDS 12 typographic example: COPY RICH TEMPLATEs HOW THESE BRANDS FIT TOGETHER 13 POSTER 37 MASTER VERSION 60/61

WHERE the ROYAL OPERA HOUSE ALTERNATIVE TYPefACES 38 www.roh.org.uk VERSION 62 BRANDs BELONG 14 Royal Opera House red 39 EMAIL VERSION 63

non-standard applications 2 HOW to USE OUR BRANDMARKS 15 4 OUR DESIGN TEMPLATE 40/41 THIRD-PARTY WEBSITEs 64

ROYAL OPERA HOUSE BRANDMARK 16 PRIMARY TEMPLATE TICKET 65 the BRANDMARK COLOURS 17 MASTER VERSION 42 The umbrella brand alone 66

PRINTING the BRANDMARK master version GRId 43 company and production-specific on a RED BACKGROUND 18 The UMBRELLA BRAND 44 MERCHANDISE 67

CLEAR SPACE AROUND the BRANDMARK 19 PERFORMING COMPANY or ROYAL OPERA HOUSE stationery 68 PREFFERED SIZE of the BRANDMARK 20 SERVICE-PROVIDER BRAND NAME 45/46 Business card template 69 MINIMUM SIZE of the BRANDMARK 21 TITLE and KEY INFORMATION REQUIRED 47/48 BACKGROUND CONTROL 22 LOGISTICs INFORMATION 49/50 5 compliance 70

INCORRECT USE of the BRANDMARK 23 COMMERCIAL SPONSOR CREDITS USING the ROYAL OPERA house or CHANNEl BRANDs 51 brandmark in design 24 FUNDING-PARTNER BRANDs 52

the ROYAl OPERA, ROYAL BALLET VENUE INDICATOR 53 and ROH2 BRANDMARKs guidelines 25-32 Positioning the template 54

examples of the primary template 55

6 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications

XXXXXcontents

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7 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 1 | Royal opera house branding

our brand values

‘Excellence without arrogance’

These, our brand values, describe our approach to everything we do. They apply to all aspects of our work, not only to performances by The Royal Opera and The Royal Ballet, but also to visiting company performances at the Royal Opera House, education events, exhibitions, the catering offer, www.roh.org.uk, our box office and our customer service.

These values also underpin all aspects of our communications. Our ‘ e X cellence wit h o u t a r r o g a n c e ’ umbrella brand and its brandmark have been chosen and designed to epitomize and communicate our brand values. The guidelines in this manual have been developed to ensure that every aspect of our communications adheres to these values.

In the context of our communications, ‘excellence’ is easy to understand. It implies communications that attract the attention of those targeted, provide the information required by that target and are clear and accurate. ‘Without arrogance’ refers to the tone and style of language used in our communications. It suggests language that is carefully tailored to meet the needs of its target audience, that takes into account the level of knowledge of its target and that is neither condescending nor aloof and inaccessible.

8 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 1 | Royal opera house branding

our umbrella brand: royal opera house

Our branding strategy involves an overarching ‘umbrella’ brand that is used across all of our printed materials and other visual formats. This umbrella brand unites our work and confers the qualities associated with our brand onto whatever product or service is being communicated.

Following detailed research with members of our audience, donors, sponsors, employees and other stakeholders, we selected Royal Opera House as our umbrella brand. • Many members of our audience and other important stakeholders already recognize it as our brand and believe it perfectly encapsulates our organization and what we do. • Potential audience members who don’t know our organization believe that the word ‘Royal’ and the Royal Coat of Arms signify high quality and create an attractive, aspirational dimension to our organization. • It is unique to us and cannot be copied. • It is unfettered by geography and can be used across different venues, cities, countries and media channels.

Our umbrella brand can be used alone, alongside the other brands in our brand family (The Royal Ballet, The Royal Opera, ROH2 and Orchestra of the Royal Opera House) and alongside third-party brands (e.g. Ballet Black, Music Theatre Wales and Searcys), according to what is appropriate under each set of circumstances.

This is the B r a n dma r k For our umbrella brand

9 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 1 | Royal opera house branding

other members of our brand family

There are four brands in the Royal Opera House brand family that can be used alongside our umbrella brand: The Royal Ballet, The Royal Opera, ROH2 and Orchestra of the Royal Opera House. Orchestra of the Royal Opera House can only be used as a brand if the Orchestra is not accompanying The Royal Ballet, The Royal Opera or ROH2.

Each of these four brands represents a part of our organization that is widely recognized and highly valued by our audience and other stakeholders; each performs and/or produces a large body of work each year.

ORCHESTRA of the ROYAL OPERA HOUSE

The brandmarks for The Royal Ballet, The Royal Opera and ROH2 are shown on the right. Orchestra of the Royal Opera House does not have a brandmark. When used as a brand, it should be written in plain text:

Pages 13 and 14 explain how these brands

can be used in our communications.

10 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 1 | Royal opera house branding

other parts of our organization

There are other parts of our organization with names that are recognized (or will be recognized in the future) by members of our audience and other stakeholders: Royal Opera Chorus, Jette Parker Young Artists, Royal Opera House Production Park, The Friends of Covent Garden and Royal Opera Chorus The Patrons of Covent Garden. These names can be used in titles and in text on relevant communications, but cannot be used as brands alongside the umbrella brand. Jette Parker Young Artists

• Work by the Royal Opera Chorus and Jette Parker Young Artists should be presented under the Royal Opera brand. Royal Opera House Production Park • Events put on by the Friends and the Patrons should be presented under the Royal Opera House umbrella brand. • Events put on by Royal Opera House Production Park should be The Friends of Covent Garden presented under the Royal Opera House umbrella brand.

This aspect of our branding strategy will prevent our umbrella brand from The Patrons of Covent Garden being diluted by the existence of numerous sub-brands, while allowing the four family brands to demonstrate the breadth and quality of our work and to distinguish between different performance types.

Pages 13 and 14 explain how these brands

can be used in our communications.

11 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 1 | Royal opera house branding

third-party brands

There are various third-party brands that can be used • companies that provide a ‘channel’ through which our content alongside our umbrella brand (and Company brands). reaches its audience, for example: * These fall into three main categories. youTube • Visiting companies and artists that perform at Facebook the Royal Opera House (or any other venue bbc managed by us), for example: picture House

music Theatre Wales Any third-party brand must be known by its target audience ballet Black for the service/product it is providing for it to be used alongside shobana Jeyasingh the Royal Opera House umbrella brand on our communications. eddie Ladd

The Opera Group Pages 13 and 14 explain how these brands can be used in our communications.

• companies that provide customer-facing services at Note the Royal Opera House (or any other venue managed by us), * The only exception to this channel brand usage is Opus Arte, which for example: is a wholly owned subsidiary of the Royal Opera House and therefore has its own guidelines. searcys

12 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications 1 | roYAL oPerA HoUse BrAnDinG

2

1 How tHese brands fit togetHer

We have a set of design templates that unify our communications, 7 ensuring that our brands (and other elements) are always positioned in a consistent way. The primary template, illustrated here, demonstrates the underlying framework.

1 umbrella brand: royal opera House 2 performing company brand name (whether royal opera House company or visiting company)

or service-provider brand name (e.g. searcys)

3 title and key information reQuired (e.g. performers, composer, choreographer…)

4 logistics information (e.g. dates, times, prices, …) 3

5 commercial sponsor credits or cHan n e l b r an ds (see note below) 6 funding-partner brands 7 venue indicator

These elements will not all be required on every communication; only 1 and 3 will always be present.

noTe different guidelines govern the use of the opus arte brand on royal opera House communications, as opus arte is a wholly-owned subsidiary of the royal opera House. These are described in a separate manual. all other channel brands must be used in accordance with 5 4 6 the guidelines in this manual.

THe TeMPLATes AnD eACH oF THese eLeMenTs Are DesCriBeD in DeTAiL on PAGes 40 – 69.

13 royal opera House | branding, design and copy manual section a royal opera House communications 1 | roYAL oPerA HoUse BrAnDinG

2

1 wHere the r o y a l o p e r a H o u s e brands belong

on this template, the royal opera House brands and 7 other royal opera House names are positioned as follows.

1 royal opera House – in brandmark format

2 tHe royal opera, tHe royal ballet, roH2 or orcHestra of the royal opera House (see note below) – written in plain text

3 royal opera cHorus, royal opera House production park, Jette parker young artists, tHe friends of cove nt gar d e n , 3

tHe patrons of covent garden or roH2 (see note below) – written in plain text

noTe roH2 is used at position 2 if it is the performing company or if there is no performing company and it is the producing company (e.g. Wind in the Willows). roH2 is used at position 3 if it is the presenting company or if it is the producing company for a performance with a performing company (e.g. a co-production with music Theatre Wales that is performed by music Theatre Wales).

orchestra of the royal opera House can only be used at position 2 if none of The royal opera, The royal ballet and roH2 are used. 5 4 6

THis is eXPLAineD More FULLY on PAGe 45.

14 royal opera House | branding, design and copy manual section A Royal opera house communications

conXXXXXtents

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PREFFERED SIZE of the BRANDMARK 20 Preferred size of the royal opera, MINIMUM SIZE of the BRANDMARK 21 royal ballet and ROH2 brandmarks 29

BACKGROUND CONTROL 22 minimum size of the royal opera, INCORRECT USE of the BRANDMARK 23 royal ballet and roh2 brandmarks 30

USING the ROYAL OPERA house Incorrect use of the royal opera, brandmark in design 24 royal ballet and ROH2 brandmarks 31

The ROYAl OPERA, ROYAL BALLET using the royal opera, royal ballet and ROH2 BRANDMARKs 25 and roh2 brandmarks in design 32

the Royal opera, royal ballet and ROH2 brandmark colours 26

15 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

royal opera house brandmark

The Royal Opera House brandmark has two elements: the Royal Opera House wordmark and a bespoke Royal Coat of Arms.

The Royal Coat of Arms has both a positive and a negative cut to maximize standout of the brandmark. The positive version must be used on pale backgrounds, the negative on dark backgrounds Positive version (as illustrated).

The brandmark must always be reproduced as a single entity from original artwork or files. If it has to be scaled to a different size, it must be scaled proportionately so that its height:width ratio is unchanged. Neither the Royal Coat of Arms not the wordmark can be used on its own.

The brandmark must always be used horizontally.

The brandmark must not be used within text. In such phrases as ‘Produced for the Royal Opera House’, ‘Royal Opera House’ must be written in plain text, in the same font as the rest of the phrase.

negative version

Note The black box is not part of the brandmark; it is used here to illustrate a dark background.

16 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

The brandmark colours

Our brandmark can only be printed/ shown in black, white, grey, silver and silver foil. These colours must be in the shades illustrated.

The Pantone® colours are used when printing with one or two colours. Grey 35% black is used when printing with four colours. The four colour break down for rich black is: 20%, 20%, 20%, 100% RICH BLACK WHITE silver foil

Note The black box surrounding the white brandmark is not part of the brandmark; it is used here to illustrate a dark background.

Pantone® Pantone® grey silver 877 cool grey 6 35% black

17 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

Positive version negative version

Printing the b r a n d m a r k on a r e d b a c k g r o u n d

When printing the brandmark on a background of our iconic red, the following versions of the brandmark must be used:

Black brandmark: positive version

White brandmark: negative version

RICH BLACK WHITE Silver or grey brandmark: negative version

SEE PAGE 39 FOR DETAILS OF OUR ICONIC RED.

negative version negative version

® silver foil Pantone cool grey 6

18 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

Minimum clear space

c l e a r s p a c e a r o u n d the brandmark

To ensure the brandmark stands out, it must be e positioned within a minimum amount of clear space. pac r s r

The only text allowed within this clear space is a e

the venue indicator. cl

The amount of clear space required is directly mum Mini proportional to the size of the brandmark. The width Mini

of this space is equivalent to twice the width of the mum letter R from the word ‘ROYAL’ in the wordmark.

cl e

The space is required on all four sides of the a r s brandmark, as illustrated. pac e

x =

When the brandmark is used on such formats as books and red programmes, which – once opened – Minimum clear space have a ‘crease-line’ close to their left-hand edge, the clear space should not include the space to the left of the crease-line, but should be measured from the crease-line (see page 54).

the venue indicator is described on page 53

19 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

preferred size of the royal opera house brandmark

The table below shows the preferred sizes of the Royal Opera House brandmark in print applications.

For each paper size, the width of the brandmark must never be smaller than that specified.

brandmark width Paper Size 20.6mm A5 31.08mm A4 43.93mm A3 62.1mm A2 87.8mm A1 124.1mm A0

62.1mm

A2

20 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

m i n i m u m s i z e of the brandmark

The brandmark must have a minimum width of 10mm whenever it is used in small environments (e.g. business cards). MINIMUM BRANDMARK width

10mm 10mm

Note The black box is not part of the brandmark; it is used here to illustrate a dark background.

21 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

background control

Whenever the brandmark is used on a photographic or other varying background, there must be sufficient contrast between the background and the brandmark to ensure that the brandmark has a high level of standout.

Ensure that the correct version, positive or negative, is used.

Negative negative positive

correct placement incorrect placement incorrect placement

22 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

incorrect use of the brandmark DO NOT alter the weight of the DO NOT alter the spacing between DO NOT alter the spacing between DO NOT use the brandmark letters in the Royal Opera House the words in the wordmark. the Royal Coat of Arms and the in any other colours than those The brandmark must always be wordmark. wordmark. specified in the guidelines. used correctly. These examples illustrate how the brandmark MUST NOT be used.

ROYAL OPERA HOUSE

DO NOT replace Royal Opera House DO NOT alter the proportions DO NOT use the brandmark DO NOT use the old version with an alternative typeface. of the elements that make up at an angle. of the Royal Coat of Arms the brandmark. with the new wordmark.

DO NOT make the positive version DO NOT make the negative of the Royal Coat of Arms into a version of the Royal Coat of Arms negative version. into a positive version. 23 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications 2 | HoW To Use oUr BrAnDMArKs

using the royal opera House brandmark in design

The royal coat of arms can be used as a design device on merchandise and communications, but the wordmark and the complete brandmark cannot.

When using the royal coat of arms as a design device, it must not be used to create a repeating pattern.

When using the royal coat of arms as a design device, the full brandmark must also be present and must be used in accordance with the guidelines in this manual.

24 royal opera House | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

negative version Positive version

The royal opera, royal ballet and r0h2 brandmarks

These three brandmarks have both positive and negative versions, as illustrated. The positive versions must be used on pale backgrounds, the negative on dark backgrounds. Whenever one of these brandmarks is used on a photographic or other varying background, there must be sufficient contrast between the background and the brandmark to ensure that the brandmark has a high level of standout.

Each of these brandmarks must always be reproduced as a single entity from original artwork or files. If it has to be scaled to a different size, it must be scaled proportionately so that its height:width ratio is unchanged.

Neither the Royal Coat of Arms nor the Royal Opera and Royal Ballet wordmarks can be used on their own.

These brandmarks must always be used horizontally.

These brandmarks must not be used within text. In such phrases as ‘performed by The Royal Ballet’, ‘The Royal Ballet’ must be written in plain text, in the same font as the rest of the phrase.

negative version

Note The black boxes surrounding the white brandmarks are not part of the brandmarks; they are used here to illustrate dark backgrounds.

Positive version

25 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

the royal opera, royal ballet and r o H 2 brandmark colours

These brandmarks can only be printed/ shown in black, white, grey, silver and silver foil. These colours must be in the shades illustrated.

The Pantone® colours are used when printing with one or two colours. Grey 35% black is used when printing with four colours.

The four colour breakdown for rich black is 20%, 20%, 20%, 100%.

Note The black boxes surrounding the white brandmarks are not part of the brandmarks; they are used here to illustrate dark backgrounds.

Pantone® grey Pantone® RICH BLACK WHITE silver foil silver 877 35% black cool grey 6

26 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

Positive version negative version negative version negative version

Printing the R o y a l O p e r a , Royal Ballet and Roh2 brandmarks on a red background

When printing these brandmarks on a background of our iconic red, the following versions of the brandmark must be used:

Black brandmark: positive version

White brandmark: negative version

Silver or grey brandmark: negative version

SEE PAGE 39 FOR DETAILS OF OUR ICONIC RED

Pantone® RICH BLACK WHITE silver foil silver 877

27 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

Minimum clear space Minimum clear space

c l e a r s p a c e a r o u n d the r o y a l o p e r a , r o y a l e e ballet and r o H 2 b r a n d m a r k s pac pac r s r s r a a Mini e e To ensure the brandmarks stand out, they Mini cl cl

mum must be positioned within a minimum mum mum mum

amount of clear space. cl cl e Mini Mini e a a r s The amount of clear space required is r s pac pac directly proportional to the size of the e e brandmarks. For the Royal Opera and Royal Ballet brandmarks, the width of the space is equivalent to twice the width of the letter R from the word ‘ROYAL’ in the wordmarks. Minimum clear space Minimum clear space

x =

For the ROH2 brandmark, the width of this space is equivalent to the width of the letter R from ROH2 Minimum clear space

For all three brandmarks, this clear space is required on all four sides, as illustrated.

Minimum clear space

28 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

preferred size of the royal opera, royal ballet and ROH2 brandmarks

The table below shows the preferred sizes of the Royal Opera, Royal Ballet and ROH2 brandmarks in print applications.

For each paper size, the width of the brandmark must never be smaller than that specified.

43.93mm 43.93mm the royal opera and the royal ballet

brandmark width Paper Size A3 A3 20.6mm A5 31.08mm A4 43.93mm A3 62.1mm A2 87.8mm A1 124.1mm A0

ROH2

brandmark width Paper Size 8.5mm A5 12mm A4 34mm 17mm A3 A1 24mm A2 34mm A1 48mm A0

29 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

MINIMUM BRANDMARK width minimum size of the royal opera, royal ballet and ROH2 brandmarks

The Royal Opera and Royal Ballet brandmarks must have a minimum width of 10mm whenever they are 10mm 10mm used in small environments.

The ROH2 brandmark must have a minimum width of 8.5mm whenever it is used in small environments.

Note

The black boxes surrounding the 10mm 10mm white brandmarks are not part of the brandmarks; they are used here to illustrate dark backgrounds.

8.5mm 8.5mm

30 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 2 | how to use our brandmarks

incorrect use DO NOT alter the weight DO NOT alter the spacing DO NOT alter the spacing DO NOT use the DO NOT replace the of the r o y a l o p e r a , of the letters in the between the words in the between the Royal Coat of brandmark in any wordmark with an royal ballet and wordmark. wordmark. Arms and the wordmark. other colours than alternative typeface. those specified in the ROH2 brandmarks guidelines.

The brandmarks must always be used correctly. These examples illustrate how the Royal Opera and Royal Ballet brandmarks must not be used (using the Royal Opera brandmark as an example).

DO NOT alter the DO NOT use the DO NOT use the old DO NOT make the DO NOT make the proportions of the brandmark at an angle. version of the Royal Coat positive version of the negative version of the elements that make of Arms with the new Royal Coat of Arms into Royal Coat of Arms into up the brandmark. wordmark. a negative version. a positive version.

These examples illustrate how the ROH2 ROH2 brandmark MUST NOT be used. DO NOT alter the weight DO NOT replace the wordmark DO NOT use the brandmark of the letters in the wordmark. with an alternative typeface. in any other colours than those specified in the guidelines.

DO NOT alter the proportions DO NOT use the brandmark DO NOT change the of the brandmark. at an angle. spacing of the letters.

31 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications 2 | HoW To Use oUr BrAnDMArKs

using the r o y a l o p e r a , royal ballet and r o H 2 brandmarks in d e s i g n

The royal coat of arms can be used as a design device on merchandise and communications, but the wordmarks and the complete brandmarks cannot.

When using the royal coat of arms as a design device, it must not be used to create a repeating pattern.

When using the royal coat of arms as a design device, the full brandmark must also be present and must be used in accordance with the guidelines in this manual.

The royal coat of arms cannot be used as a design device on merchandise and other materials that are branded roH2, as it does not form part of the roH2 brandmark.

32 royal opera House | branding, design and copy manual section A Royal opera house communications 3 | other core design elements

conXXXXXtents

3 oNa, thC. Go eretiorav cocavempore linam, d confinesi telusg ncontiem el iame telam ents veriaectus, niam pro vir la ad inem ompraris firmil hosteriorum maio, culvit, omnimul arbemus, tem aurs ca et? Pali publici enihingulius maximmaster conequamTypeface oraesse nducenirioc, 34faut pl. Habusus ipiontem inequeSeconda ignortemusry typeface iam publiuscit, noruntrum35 mus C. Sp. Evilis conit

firtumtypogr aphmo icconsiliqua example: coret gra rena, P. Opimus vit intra? Uretilictum fir seA isSON essum GUIDE iniciisque PAGE cridi, que patarim36 ilicientis.

typographic example: POSTER 37 ALTERNATIVE TYPefACES 38 Royal Opera House red 39

33 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 3 | other core design elements

master typeface

GOTHAM by Tobias Frere–Jones ballet la bayadere

Gotham is our master typeface. It is a contemporary and elegant, romeo and Julietw orld class sans serif typeface. It reproduces well at small font sizes. jewels the nutcrack- It should be used for all display text stag e (e.g. poster titles and text, brochures er dance theatre pi- headings); it can also be used for body-copy. nocchio operaiphigballet- | opera It can be bought from Hoefler & Frere-Jones www.typography.com. enie en tauride the

‘Gotham Bundle’ should be bought; it has 16 cuts from thin to ultra, shops julie l’elisird anc e theatre each in roman and italic. d’eamore la ceneren- tola seating plan

34 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 3 | other core design elements

secondary typeface SABON NEXT Giselle is a gentle peasant girl who by Jean Francois Porchez iwhen she discovers that her youth- Sabon Next is our secondary typeface. It is a classical serif typeface which ful lover ‘Loys’ is not only merelyopera singer supports all of the Latin-based languages of Europe, including the Baltic States toying not free to marry heIn death and Turkey. she is transported to a moonlitworld land stage It should only be used for body-copy, not as a display font. where spirits of women rise awhwhen she discovers that her youthful lover ‘Loys’ is not only mere It can be bought from www.linotype.com. ly toying with her but, as Count Albrecht, is not free to marry her.ö dance ballet In death she is transported to a moonlit land where spirits of women rise to seek vengeance on the men who betrayed them. But as Albrecht ers that her youthful lover ‘Loys’ is not only merely toying with her but, as Count Albrecht, is not free to marry her. In death she is transported to a moonlit land where spirits of women rise to seek vengeance on the men who betrayed them. But as Albrechtt heatre center

35 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications 3 | oTHer Core DesiGn eLeMenTs

typograpHic eXample: seAson GUiDe PAGe 1 ‘ouTsTanding’DAiLY TeLeGrAPH

This page illustrates how different weights of both gotham and 2 sabon next could be combined. giselle This is only an example and is not intended to be a typographic template. Giselle, the most famous ballet of the Roman- as Albrecht, repenting, visits her moonlit grave, tic era, lays bare the transcendental power of Giselle protects him from the deathly touch of 1 GoTHAM LiGHT a woman’s love in the face of betrayal. her phantom sisters until the dawn sees him safe 2 GoTHAM LiGHT once more.The title role encompasses innocence, 3 sABon iTALiC 3 Giselle is a gentle peasant girl who is driven to pain, madness and boundless compassion and kill herself when she discovers that her youth- both a daunting technical test and unique acting 4 sABon CAPs 4 ful lover ‘Loys’ is not only merely toying with challenge. In this production for THE RoyAL 5 GoTHAM BooK her but also, as Count Albrecht, is not free BALLET, Peter Wright’s sensitive staging, with 6 GoTHAM BoLD to marry her. In death she is transported to a atmospheric designs by John F.Macfarlane, moonlit land where spirits of women rise to seek heightens the contrast between the human and vengeance on the men who betrayed them. But supernatural worlds.

5 3 | 6 | 11 | 14 | 16 noveMBer 2008 6 mAIN STAGe | royAL operA HoUSe | CovenT GArDen dArCey BUSSeLL as GISeLLe | PHoToGrAPH by AnTHonY CriCKMAY

TiCKeT PriCes evening £77 | £67 | £62 | £57 | £52 | £41 | £36 | £28 | £13 | £10 | £7 | £4 matinee £57 | £46 | £41 | £31 | £28 | £23 | £16 | £10 | £7 | £6 | £4 BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

36 royal opera House | branding, design and copy manual section a royal opera House communications 3 | oTHer Core DesiGn eLeMenTs

1 tHe royal ballet

typograpHic eXample: PosTer LoNdoN

This page illustrates how different 2 KeNNeTH mACmILLAN’S weights of gotham could be utalized. 3 anasTasia This is only an example and is not 4 AN IdeNTITy IN CrISIS intended to be a typographic template.

1 GoTHAM MeDiUM 2 GoTHAM BoLD 3 GoTHAM LiGHT 4 GoTHAM BoLD 5 GoTHAM BooK 6 GoTHAM BoLD 7 GoTHAM BooK 8 GoTHAM BoLD / GoTHAM BooK 9 GoTHAM BooK 10 GoTHAM BooK / GoTHAM BoLD

3 | 6 | 11 | 14 | 16 MAY 2008 5 mAIN STAGe | royAL operA HoUSe | CovenT GArDen 6/7 LeANNe BeNJAmIN as ANNA ANderSoN | PHoToGrAPH by HiLArY sHeDeL 8 DesiGn and PrinTeD by DeWYnTers sUPPorTeD (2004) by 9 THe BeNeFACTorS’ TiCKeTs £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 10 CIrCLe BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

37 royal opera House | branding, design and copy manual section A Royal opera house communications 3 | other core design elements

Giselle is a gentle peasant girl who is when she discovers that her youthful lover ‘Loys’ is not only merely operatoy- singer Alternative typefaces ing not free to marry her. In death she TIMES NEW ROMAN is transported to a moonlit land Giselle is a by Stanley Morison stage ballet gentle peasant girl who is driven to kill herself when VERDANA she discovers that her youthful lover ‘Loys’ is not only merely by Matthew Carter toying with her but, as Count Albrecht, is not free to marry her. In death she is transported to a moonlit land where spirits worldof women dance rise to seek vengeance on the men who betrayed them. When Gotham is unavailable, Verdana But as Albrecht ers that her youthful lover ‘Loys’ is can be used. When Sabon Next is not only merely toying with her but, as Count Albrech unavailable, Times New Roman can ö theatre st be used. Giselle is a gentle peasant If both the master typeface and secondary typeface are required, but girl who is driven to kill her- only one of Gotham and Sabon Next self when she discovers that is available, replace only the unavailable opera singer typeface with its alternative. Do not replace the available typeface with her youthful lover ‘Loys’ is not its alternative. only merely toying not freest age Both Verdana and Times New Roman ballet to marry her. In death she is are widely available, electronic fonts. transported to a moonlit l awhGiselle is a gentle peasant girl who is driven to kill herself when she discovers that her youthful lover ‘Loys’ is not only merelyworld toying dance with her but, as Count Albrecht, is not free to marry her. In death she is transported to a moonlit land where spirits of women rise to seek vengeance on the men who betrayed them. But as Albrecht ers that her youthful lover ‘Loys’ is not only merely toying with her ö theatre st

38 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 3 | other core design elements

R o y a l O p e r a H o u s e r e d

Red is an iconic colour, associated with our brand because of the main house auditorium and main house programmes.

Whenever a communication uses red to evoke these associations, the red used must be as shown.

The red cannot be used for our brandmarks.

When printing any of our brandmarks c m y k r g b on a background of this red, the correct Pantone® 186 2 100 82 6 198 12 48 version (positive or negative) must be used. See page 18.

39 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 4 | our design templates

conXXXXXtents

4 oNa, uC. Gro etioravdesi ocavempgn linam, t confinemplat telus contiemes iam tela veriaectus, niam pro vir la ad inem ompraris firmil hosteriorum maio, culvit, omnimul arbemus, tem aurs ca et? Pali publici enihingulius

omaximur desi conequamgn templat oraessees nducenirioc, 41faut pl. Habusus ipiontem PRIMARY TEMPLATE VERSIONS

PRIMARYineque ignortemus TEMPLATE iam publiuscit, noruntrum mus C. Sp. Evilis SQconitUARE version 56 MAfirtumSTER VERSION mo consiliqua coret gra rena, P. O42pimus vit intra? Uretilictum LANDS CAPE version 57 mafirs ister essum version iniciisque GRId cridi, que patarim43 ilicientis. TEXT-RICH version 58 the UMBRELLA BRAND 44 www.roh.org.uk VERSION 59

PERFORMING COMPANY or COPY RICH TEMPLATE SERVICE-PROVIDER BRAND NAME 45/46 MASTER VERSION 60/61 TITLE and KEY INFORMATION REQUIRED 47/48 www.roh.org.uk VERSION 62 LOGISTICs INFORMATION 49/50 EMAIL VERSION 63

COMMERCIAL SPONSOR CREDITS non-standard applications or CHANNEl BRANDs 51 third-party websites 64 FUNDING-PARTNER BRANDs 52 TICKETs 65 VENUE INDICATOR 53 The umbrella brand alone 66

positioning the template 54 company and production-specific examples of the primary template 55 MERCHANDISE 67 ROYAL OPERA HOUSE stationery 68 BUSINESS CARD TEMPLATE 69

40 ROYAL OPERA HOUSE | branding, design and copy manual section A Royal opera house communications 4 | our design templates

OUR DESIGN TEMPLATES

The templates described in this section must be used when • The copy-rich template should be used for printed materials designing all Royal Opera House communications/materials. that have a large amount of body-copy, such as, the backs of flyers and content-rich web pages. • The primary template should be used for posters and other There are three versions of this: advertisements, brochure covers, annual report covers, programme covers and all other printed materials that do not • master have lots of body-copy. There are five versions of this: • www.roh.org.uk • email • master • square There are a few non-standard applications, each of which has • landscape its own, unique set of guidelines: • text-rich (titles and lists rather than body-copy) • www.roh.org.uk • third-party websites (such as YouTube) • Tickets • UMBrella brand alone • Company and production-specific merchandise • sTATionery

41 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

tHe royal opera 2

1 p r i m a r y t e m p l a t e : MAsTer version

7 LoNdoN The primary template, illustrated here, should be used for posters and other advertisements, season guide covers, annual report covers, other business-to-business publication covers, programme covers and all other printed materials that do not have lots of body-copy.

every piece of information has a designated place on this template. ‘The greatest rigoletto London has seen in 30 years’ THe sunday Times dAVId mCVICAr’S ACCLAImed prodUCTIoN of

1 umbrella brand: royal opera House 3 2 performing company (whether royal opera House company or visiting rigoleTTo company) or service-provider brand name (e.g. searcys) GIUSeppe VerdI

3 t i t l e and any key information reQuired ConDUCTor antonio pappano

(e.g. performers, composer, …) seT DesiGns micHael vale | CosTUMe DesiGns tanya mccallin

4 logistics information (e.g. dates, times, prices, …) LiGHTinG paule constable | CHoreoGrAPHY leaH Hausman 5 commercial sponsor credits or cHannel brands 6 funding-partner brands 7 venue indicator

The template itself and each of these seven elements are described in detail in the following pages. all other templates are variations on the primary template.

5 25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM mAIN STAGe | royAL operA HoUSe | CovenT GArDen 4 mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY ProDUCTion GeneroUsLY sUPPorTeD by THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 6 CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

42 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

p r i m a r y t e m p l a t e : MAsTer version GriD

The primary template master uses a 31-column grid without gutters.

This grid provides the underlying structure of the template, but is always invisible.

although this grid can be used in a number of different ways, the 5-column version shown is the most commonly used.

When setting up margins and columns, the following settings must be used.

template setup

31-CoLUMn GriD 5-CoLUMn version

43 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

1:1 sCALe

tHe royal opera

primary template: THe UMBreLLA BrAnD

The royal opera House brandmark must always be used and must be in position 1 on the template.

The outside edge of the clear space surrounding the brandmark should be aligned with the top edge and left-hand edge of the template and with the right- LoNdoN‘The greatest rigoletto London has seen in 30 years’ THe sunday Times dAVId mCVICAr’S ACCLAImed prodUCTIoN of hand edge of the 7th column. This will position the brandmark itself across the 2nd to 6th columns (inclusive) of rigoleTTo the 31-column grid. GIUSeppe VerdI

ConDUCTor antonio pappano

The brandmark should be scaled seT DesiGns micHael vale | CosTUMe DesiGns tanya mccallin proportionately to fi t this space. LiGHTinG paule constable | CHoreoGrAPHY leaH Hausman

25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM mAIN STAGe | royAL operA HoUSe | CovenT GArDen mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY ProDUCTion GeneroUsLY sUPPorTeD by THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

1:2 sCALe

44 royal opera House | branding, design and copy manual section A Royal opera house communications 4 | our design templates

P r i m a r y t e m p l a t e : performing company or service-provider brand name

Position 2 is used for the brand name of the performing company If the communication covers productions from several companies or service-provider (e.g. Searcys), when relevant. If there is not (e.g. a Season guide), position 2 can be left blank. a recognized performing company (e.g. because a group of artists has been formed solely for the show or because the show consists If the artist’s/company’s name is also part of the name of the show, of several different companies/artists each performing a short piece), it should be shown in position 3, not in position 2. the brand name of the producing company can sometimes be used instead; this is only permitted if the producing company has had a The only Royal Opera House brand names that can be included in significant involvement in the artistic content of the show. If there position 2 are The Royal Ballet, The Royal Opera, ROH2 and Orchestra is not an appropriate company name, position 2 must be left blank. of the Royal Opera House. Orchestra of the Royal Opera House can only be used if the Orchestra is performing alone and is not accompanying Position 2 cannot be used for anything else: it cannot be used for the The Royal Opera, The Royal Ballet or ROH2. For performances by the brand names of presenting companies or producing companies whose Royal Opera Chorus or Jette Parker Young Artists, the performing main roles are to book the artists into the venue and/or provide the company brand name should be The Royal Opera. financial investment for the show; it cannot be used for sponsor brand

names or channel brand names (e.g.BBC). See the illustration and examples on the next page.

If there are two relevant companies, these can both be included separated by ‘/’; e.g. ‘The ROYAL BALLET / The ROYAL OPERA’ for a gala performance, ‘The ROYAL OPERA / BIRKBECK COLLEGE’ for an opera workshop.

45 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

P e r F o r M i n G CoMPAnY or THe roYAL oPerA s e r v i C e - P r o v i D e r THe roYAL oPerA BrAnD nAMe PosiTion

p r i m a r y t e m p l a t e : PerForMinG CoMPAnY or

serviCe-ProviDer BrAnD LoNdoN nAMe sPeCiFiCATion

The performing company/service-provider brand names must be written out in gotham medium capitals, tracking value 200.

They must be centred on the line between eXAMPLe the 17th and 18th column. THe roYAL BALLeT (see the red arrow)

There should be clear space above these brand names equivalent to the margin plus the height of the letters in the brand names london (see the red text in the top illustration).

The table below shows the point size of the letters in the brand name for each eXAMPLe paper size. MUsiC THeATre WALes

point size paper size 7pt a5 10pt a4 1 5 p t a 3 london 20pt a2 28pt a1 40pt a0

46 royal opera House | branding, design and copy manual section A Royal opera house communications 4 | our design templates

Primary template: title and any key information required

The ‘information block’ in position 3 must include the title of the If there are several commercial sponsors, their credits will be stacked performance, event or other activity. vertically and may extend upwards into the space that would otherwise be available for the ‘information block’. When this occurs, enough clear It should also include any other important/necessary information about space must be allowed between the sponsor credits and the text in the performance, e.g. composer, choreographer, producer, designers, the information block to ensure that these two areas remain distinct. performers, conductor, orchestra, quotes from reviews, producing or presenting company, artist’s management company, information about All brand names included in this block must be in plain text; language and surtitles, whether it is a new production/premiere, etc. brandmarks/logos cannot be used. The title should be the most How much information is provided, exactly what is included and prominent text on the communication. how this is prioritized should be chosen to meet the requirements of the target audience for the situation concerned, rather than being Gotham should be used for all of the text in the information block; all standardized. combinations of the master typeface cuts, and of capitals and lower case are allowed. The title should be the most prominent text on the If the artist’s/company’s name is also (part of) the title of the show, communication. Any brand names included in this block must be in it should be included in position 3 rather than in position 2. A work by plain text; brandmarks/logos cannot be used.” Shobana Jeyasingh that did not have a separate title, would not have

a performing brand in position 2, but would have ‘Shobana Jeyasingh’ section C, Page 87, explains whether original-language titles or English-language

as its title in position 3. translations should be used for operas and ballets with foreign-language titles.

The shape and position of this information block is flexible.As shown on the following page, it can move horizontally and/or vertically within the light grey area. This will allow it to be positioned in the way that best fits with any image used. If logistics information, sponsor details and/ or funding-partner brands are not required, the information block can also extend into the spaces that would otherwise be occupied by these (positions 4, 5 and 6).”

47 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications

4 | oUr DesiGn TeMPLATes TiTLe and K e Y i n F o r M A T i o n tHe royal opera position

LoNdoN

p r i m a r y t e m p l a t e : TiTLe AnD KeY inForMATion continued

‘The greatest rigoletto London has seen in 30 years’ THe sunday Times dAVId mCVICAr’S ACCLAImed prodUCTIoN of rigoleTTo GIUSeppe VerdI

ConDUCTor antonio pappano

seT DesiGns micHael vale | CosTUMe DesiGns tanya mccallin

LiGHTinG paule constable | CHoreoGrAPHY leaH Hausman

dAVId mcVICAr’S New prodUCTIoN oF

25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM mAIN STAGe | royAL operA HoUSe | CovenT GArDen mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY salome ProDUCTion GeneroUsLY sUPPorTeD by rICHArd STrAUSS THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

TiTLe and K e Y i n F o r M A T i o n eXAMPLe

48 royal opera House | branding, design and copy manual section A Royal opera house communications 4 | our design templates

Primary template: logistics information

The block of text in position 4 gives all of the ‘logistics’ information The web address must be written as: that is likely to be required by the target audience: www.roh.org.uk

• dates and times of performances The telephone number must be written as: • venue address +44 (0)20 7304 4000 • booking information The image description and photography credit should It can also include details of the image on the poster and be in the format: photography credit, if required. forename surname as character | Photograph by Forename Surname

The information included is not standardized and should be All of this information must be in plain text, in Gotham, in chosen to meet the requirements of the target audience. capitals, except the web address which must be in lower case, and the image description and photography credit which must For performances at the Royal Opera House, Covent Garden, be as described above. it must be clear which theatre/space the performance is in.

The correct descriptions of the three main spaces are: See example and illustration on the next page.

MAIN STAGE / ROYAL OPERA HOUSE / COVENT GARDEN

CLORE STUDIO UPSTAIRS / ROYAL OPERA HOUSE / COVENT GARDEN

LINBURY STUDIO THEATRE / ROYAL OPERA HOUSE / COVENT GARDEN

49 ROYAL OPERA HOUSE | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

primary template: LoGisTiCs inForMATion PosiTion LoGisTiCs inForMATion PosiTion The logistics information should be left-aligned with the left-hand edge of 25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM the 8th column of the 31-column grid. mAIN STAGe | royAL operA HoUSe | CovenT GArDen mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY ProDUCTion GeneroUsLY sUPPorTeD by THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 it can extend to the right as far as the CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 right-hand edge of the 24th column.

The bottom line of text should sit on the bottom margin, as shown. eXAMPLe

3 | 6 | 11 | 14 | 16 MAY 2008 mAIN STAGe | royAL operA HoUSe | CovenT GArDen LeANNe BeNJAmIN as ANNA ANderSoN | PHoToGrAPH by HiLArY sHeDeL

sUPPorTeD (2004) by THe BeNeFACTorS’ TiCKeTs £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CIrCLe BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

50 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

primary template: C o M M e r C i A L s P o n s o r CreDiTs or CHAnneL BrAnDs

eXAMPLe

THis The primary use of position 5 is for commercial sponsor credits. eveninG’s PerForMAnCe eXCLUsiveLY for

it can also be used for the logos of third-party channel brands when there are no sponsor credits. in this context, ‘channel’ refers 25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM to the way in which our content reaches the audience. channels mAIN STAGe | royAL operA HoUSe | CovenT GArDen ProDUCTion GeneroUsLY mArCeLLo ALVAreZ as THe CoUNT PHoToGrAPH by DAviD BAiLeY include third-party venues, on-line, cinema, cds and books; sUPPorTeD by THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 channel brands are the brands of the channel owners, e.g. Windsor CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 royal Theatre, youTube, picture House, penguin and bbc.*

logos or plain text can be used for commercial sponsor credits; logos must always be used for channel brands. When logos are eXAMPLe used, the clear space guidelines for each logo should be adhered to. The logos or text must always be done as ‘black on’ or ‘white out’, according to what works best with the background.

These credits / logos belong in columns 2 - 6 of the 31-column grid, and should be centred therein. The bottom logo or line of text should sit on the bottom margin.if there are multiple commercial neW ProDUCTion sponsor credits or channel brand logos, these should be stacked sPonsoreD by vertically in the designated area, as shown

with ADDiTionAL GeneroUs 3 | 6 | 11 | 14 | 16 MAY 2008 noTe sUPPorT FroM PeTer BorenDer (DireCTor’s mAIN STAGe | royAL operA HoUSe | CovenT GArDen CirCLe), THe DALrAiDA LeANNe BeNJAmIN as ANNA ANderSoN | PHoToGrAPH by HiLArY sHeDeL *The only exception to this channel brand usage is opus arte, TrUsT, Mrs ALine ForieL- DesTezeT, THe MonUMenT TrUsT AnD siMon AnD which is a wholly owned subsidiary of the royal opera House TiCKeTs £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 virGiniA roBerTson and therefore has its own guidelines. (AMBAssADors) BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

51 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

F U n D i n G - P A r T n e r BrAnDs PosiTion THis eveninG’s PerForMAnCe eXCLUsiveLY for primary template: FUnDinG-PArTner BrAnDs

25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM mAIN STAGe | royAL operA HoUSe | CovenT GArDen position 6 can only be used for the mArCeLLo ALVAreZ as THe CoUNT PHoToGrAPH by DAviD BAiLeY ProDUCTion GeneroUsLY sUPPorTeD by names of our funding-partners. These are THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 currently arts council england and creative partnerships.

logos should be used and the guidelines for each logo adhered to unless they eXAMPLe confl ict with our guidelines; if this occurs, our guidelines must be followed.

These logos must always be shown as ‘black 3 | 6 | 11 | 14 | 16 MAY 2008 on’ or ‘white out’, according to what works mAIN STAGe | royAL operA HoUSe | CovenT GArDen LeANNe BeNJAmIN as ANNA ANderSoN | PHoToGrAPH by HiLArY sHeDeL best with the background. sUPPorTeD (2004) by THe BeNeFACTorS’ TiCKeTs £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CIrCLe BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 The funding-partner logos belong in columns 26 - 30 of the 31-column grid, and should be centred therein. The bottom logo ‘SHeer THeATrICAL eXCITemeNT’ THe sunday Times should sit on the bottom margin. if there KeNNeTH mACmILLAN’S eXAMPLe is more than one funding-partner logo, these should be stacked vertically in the designated area, as shown manon JULeS mASSeNeT

see eXAMPLe oF LAnDsCAPe ForMAT 3 | 6 | 11 | 14 | 16 noveMBer 2008 mAIN STAGe | royAL operA HoUSe | CovenT GArDen FLYer on PAGe 57. revivAL sUPPorTeD ALINA CoJoCArU as mANoN and JoHAN KoBBorG as deS GrIeUX | PHoToGrAPH by BiLL CooPer (2006) by THe FrIeNdS of TiCKeTs £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CoVeNT GArdeN BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

52 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes venUe inDiCATor PosiTion tHe royal opera

primary template: venUe inDiCATor

The venue indicator in position 7 is a word or short phrase to highlight the location or channel of performances and events. it provides a clear indication of the location (i.e. town or

city) or channel, rather than a specifi c address ‘The greatest rigoletto London has seen in 30 years’ THe sunday Times or channel brand. For example: mancHester, londondAVId mCVICAr’S ACCLAImed prodUCTIoN of tHurrock, london, tokyo, on tour, on-line, cinema, television. rigoleTTo GIUSeppe VerdI This indicator cannot be used to indicate ConDUCTor antonio pappano specifi c programmes of work. it cannot, seT DesiGns micHael vale | CosTUMe DesiGns tanya mccallin

therefore, be used for such phrases as ‘open LiGHTinG paule constable | CHoreoGrAPHY leaH Hausman House’, ‘Family performances’, ‘collections’, ‘on the road’, or ‘House music’. venUe inDiCATor HeiGHT

For each location/channel, the venue indicator london will be determined by marketing initially and must be used consistently from then on.

The venue indicator must be written in plain eXAMPLe

text, in gotham medium capitals, tracking value THe roYAL oPerA 50. it should be centred under the brandmark, with a space between the bottom of the brandmark and top of the venue indicator that is equivalent to the width of the letter r from the brandmark. The height of the venue indicator should be equivalent to half the width television of the letter r from the brandmark.

53 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

CreAse Line TeMPLATe

tHe royal opera

p r i m a r y t e m p l a t e : PosiTioninG the TeMPLATe LoNdoN

The template should usually extend over the whole of the page/other material being designed.

However, when it is applied to such formats as book covers and red programme covers, the left-hand edge of the template should abut the ‘crease-line’ of these formats rather don carlo than the left-hand edge, as shown. This will ensure that the brandmark has an appropriate amount of clear space around it.

25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM mAIN STAGe | royAL operA HoUSe | CovenT GArDen mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY ProDUCTion GeneroUsLY sUPPorTeD by THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

54 royal opera House | branding, design and copy manual section a

royal opera House communications roH2 4 | oUr DesiGn TeMPLATes

LoNdoN THUrroCK

eXamples of the ‘BALLeT BLACK IS A TrIUmpH’ dance noW primary template A r T i s T i C D i r e C T o r C A s s A P A n C H o P A T r o n C A r L o s A C o s T A ballet black THree WorLD PreMieres

AnToniA FrAnCesCHi | MArTin LAWrAnCe | WiLL TUCKeTT | LiAM sCArLeTT’s HinTerLAnD LiGHTinG DesiGns by DAviD PLATer G e ntl e giant FAMiLY WorKsHoP Gentle Giant is an enchanting new opera for children (aged 7+) and adults to enjoy together.

25-28 FeBrUArY 2009 at 8PM and sATUrDAY MATinee at 2PM LINBUry STUdIo THeATre | royAL operA HoUSe | CovenT GArDen 16 MAY 2009 | THUrroCK PHoToGrAPH by BiLL CooPer | DesiGn by roB CLArKe DesiGn royAL operA HoUSe prodUCTIoN pArK BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

gravity & levity

LoNdoN

LoNdoN

‘ArreSTING ANd INVeNTIVe worK’ ToTal THeaTre TaKing FligHT

WesTern mail ‘... Her Body SeemS oFTeN To deFy GrAVITy ANd CHANGeS ABrUpTLy From AmAZING eNerGy To perFeCT STILLNeSS.’ d d A L SHIFT eddIe co-commissioned by roH2 at the royal opera House tHe corn eXcHange, newbury and nuffield tHeatre lancaster CoF y CorFF / mUSCLe memoryeDiA, DiGiTAL environMenT FeATUrinG DAnCe, MUsiC and TeXT in a MULTiM

UK premIere

at 8PM | CovenT GArDen 8 | 9 | 10 FeBrUArY | royAL operA HoUSe LINBUry STUdIo THeATre by roB CLArKe DesiGn by BiLL CooPer | DesiGn PHoToGrAPH 8 | 9 | 10 FeBrUArY at 8PM LINBUry STUdIo THeATre | royAL operA HoUSe | CovenT GArDen +44 (0)20 7304 4000 | BoX oFFiCe TiCKeTs £12 (£8 ConCession)www.roh.org.uk PHoToGrAPH by BiLL CooPer | DesiGn by roB CLArKe DesiGn BooK noW onLine AT TiCKeTs £12 (£8 ConCession) BooK noW onLine AT www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

55 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

T e M P L A T e eXAMPLe primary template:

sqUAre version THe roYAL oPerA 2 THe roYAL BALLeT

This shows how the primary template 1 should be applied to square formats.

7 londonlondon london

1 umbrella brand: royal opera House

2 performing company brand name or service-provider brand name

3 title and any key information 3 reQuired THree sHorT WorKs

A worLd premIere A worLd premIere GeorGe BALANCHINe’S 4 logistics information New BALLeT New BALLeT THe FoUr TemperAmeNTS by CHrISTopHer wHeeLdoN By wAyNe mCGreGor mUSIC by pAUL HINdemITH mUSIC by mICHAeL NymAN mUSIC By JoBy TALBoT ANd THe wHITe STrIpeS 5 commercial sponsor credits (ArrANGed by TALBoT) or cHan n e l b r an ds 4 6 funding-partner brands 25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM 25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM 5 mAIN STAGe | royAL operA HoUSe | CovenT GArDen mAIN STAGe | royAL operA HoUSe | CovenT GArDen revivAL sUPPorTeD 6 mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY ZeNAIdA yANowSKy | PHoToGrAPH by JoHAn Persson 7 venue indicator (2006) by THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

as described for the master version of the primary template, the credits/ brands in position 5 can extend upwards if necessary, and the information block in position 3 can expand into positions 4, 5 and 6 if these are not occupied.

56 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

THe roYAL oPerA 2 primary template: LAnDsCAPe version

1 This shows how the primary template should be applied to land- scape formats; the 31-column grid is used in a 6-column version, 7 london rather than in the 5-column version used for most other formats.

1 umbrella brand: royal opera House 2 performing company brand name 3 or service-provider brand name

3 title and any key information reQuired 4 logistics information 5 commercial sponsor credits or cHannel brands 6 funding-partner brands 4 1 JUne & 30 JULY at 2PM | 25 | 26 | 27 | 28 JULY at 7.30PM 7 venue indicator 5 mAIN STAGe | royAL operA HoUSe | CovenT GArDen revivAL sUPPorTeD mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY (2006) by 6 THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 The brandmark occupies columns 2 – 5, rather than columns 2 – 6. The positioning of some of the other elements is also adjusted, as shown in the illustration.

as described for the master version of the primary template, the credits/brands in position 5 can extend upwards if necessary and the information block in position 3 can expand into positions 4, 5 and 6 if these are not occupied.

if position 5 is not needed for commercial sponsor credits or channel brands, the logistics information can be moved left to occupy position 5, as shown in the example. This is only allowed in landscape formats. eXCeL erATor

if the image occupies the right-hand side of the page, the 60 rPM. THAT’s HoW FAsT THis WoMAn CAn sPin. funding-partner logo/logos can be moved left to a more qUiTe siMPLY, sHe’s A revoLUTionArY DAnCer mArIANeLA NUÑeZ | PrinCiPAL DAnCer | THe roYAL BALLeT suitable position, as shown in the example. (The bottom funding-partner logo must still sit on the bottom margin.)

This is only allowed in landscape formats. BALLeT | oPerA | Live reLAYs sUMMer seAson 2008 BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000

57 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

primary template: TeXT-riCH version

This shows how the primary template should be applied to text-rich situations. These include advertisements that include a full season listing,

searcys menus and the front pages of cast sheets. 2 THe roYAL oPerA THe roYAL oPerA

1 1 umbrella brand: royal opera House 2 performing company brand name

or service-provider brand name 7 LoNdoN

3 title and any key information reQuired music direcTor antonio pappano 4 logistics information direcTor of opera elaine padmore 5 commercial sponsor credits or cHan n e l b r an ds la boHe me

6 funding-partner brands opera in Four acTs

7 venue indicator 3 music giacomo puccini libreTTo giuseppe giacosa and luigi illica after Henry murger’s scenes de la vie de boHeme on this version of the primary template, the conducTor cHristian badea direcTor JoHn copley brandmark can diminish in size so that it is smaller revivAL DireCTor dominic best designs Julia trevelyan oman than that on the master version; it should not, ligHTing design JoHn cHarlton after william bundy

THe royal opera cHorus however, become smaller than the minimum size cHorus direcTor renato balsadonna

permitted for the paper size in use. orcHesTra of THe royal opera House concerT masTer vasko vassilev

Whenever a smaller brandmark is used, it must remain within columns 2 – 6 and can either be left- 5 aligned or centred within these columns; the top 1 JUne & 30 JULY at 2PM | 25 | 26 | 27 | 28 JULY at 7.30PM 4 mAIN STAGe | royAL operA HoUSe | CovenT GArDen mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY of the brandmark must abut the bottom-edge of revivAL sUPPorTeD saTurday eVening 18 ocTober 2009 (2006) by THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 6 THe 569th perFormance at tHe royal opera House the top margin. if a venue indicator is present, it CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 should diminish in size proportionately and must be positioned so that it is centred under the brandmark.

as described for the master version of the primary template, the credits/brands in position 5 can extend upwards if necessary and the information block in position 3 can expand into positions 4, 5 and 6 if these are not occupied.

58 royal opera House | branding, design and copy manual section a royal opera House communications 8 sign In | sign Up | View shopping Basket event Finder 4 | oUr DesiGn TeMPLATes THe roYAL BALLeT 2 1

primary template:

www.roh.org.uk version BooK noW 8 WHAT’s on This shows how the primary template should be DisCover 3 applied to www.roh.org.uk, other than for content-rich visiT pages. it is based on the 6-column version of the grid sUPPorT used for landscape formats, adjusted to allow web MY roH navigation conventions to be followed.

1 umbrella brand: royal opera House ABoUT | eDUCATion ProGrAMMes | Press AnD MeDiA | AUDiTions | ConTACT Us | sHoP | FAqs 8 2 performing company brand name 5 Generously supported by © 2008 | Covent Garden, London WC2e 9DD | switchboard: 020 7240 1200 | Box offi ce: 020 7304 4000 4 THe roBey FAmILy registered in england no. 480523 Charity registered no. 211775 or service-provider brand name 6 3 title and any key information reQuired 4 logistics information 5 commercial sponsor credits 6 funding-partner brands 8 menus/ navigation

The brandmark now occupies columns 2 – 4, sign In | sign Up | View shopping Basket event Finder rather than columns 2 – 5.

The information block in position 3 cannot extend under the brandmark if this area is being used for web navigation; it can extend upwards so that it is

alongside the brandmark, but clear space must be BooK noW

allowed between the text in the information block WHAT’s on

and any brand name in position 2. DisCover

visiT The menu along the top of the page cannot extend sUPPorT above the brandmark; it must fi t within columns MY roH 7 – 30 of the 31-column grid.

see PAGe 62 For THe ConTenT-riCH TeMPLATe. ABoUT | eDUCATion ProGrAMMes | Press AnD MeDiA | AUDiTions | ConTACT Us | sHoP | FAqs Generously supported by © 2008 | Covent Garden, London WC2e 9DD | switchboard: 020 7240 1200 | Box offi ce: 020 7304 4000 THe roBey FAmILy registered in england no. 480523 Charity registered no. 211775

59 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

tHe royal opera 2 c o p y - r i c H t e m p l a t e : MAsTer version 1

The copy-rich template should be used for printed materials that have a large amount of body-copy, such as the backs of fl yers. it 7 LoNdoN does not have to be used for the inner pages of season guides and brochures; these do not have to include any branding.

1 umbrella brand: royal opera House 2 performing company brand name or service-provider brand name 3 information block 4 logistics information 5 commercial sponsor credits or cHan n e l b r an ds 3 6 funding-partner brands 7 venue indicator

The only elements that must be included on the copy-rich template are the umbrella brand (position 1) and the information block (position 3); the other elements are included only when required. The key information block of the primary template is replaced with a more detailed information block/block of copy, which has a slightly different specifi cation.

on the copy-rich templates, the brandmark can diminish in size so that it is smaller than that on the master version of the primary

template; it should not, however, become smaller than the minimum 5 25 | 26 | 27 | 28 JULY at 7.30PM | 30 JULY & 1 JUne at 2PM mAIN STAGe | royAL operA HoUSe | CovenT GArDen 4 mArCeLLo ALVAreZ as THe CoUNT | PHoToGrAPH by DAviD BAiLeY size permitted for the paper size in use. Whenever a smaller brandmark ProDUCTion GeneroUsLY sUPPorTeD by 6 THe FrIeNdS of TICKeTS £50 | £46 | £36 | £26 | £15 | £8 | £5 | £4 is used, it must remain within columns 2 – 6 and can either be left- CoVeNT GArdeN BooK noW onLine at www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 4000 aligned or centred within these columns; the top of the brandmark must abut the bottom-edge of the top margin. if a venue indicator is present, it should diminish in size proportionately and must be

positioned so that it is centred under the brandmark. THe sPeCiFiCATions For AnY oTHer eLeMenTs THAT Are inCLUDeD Are As DesCriBeD For THe PriMArY TeMPLATe on PAGes 44 – 53. in the information block, both our master and secondary typefaces can be used, in capitals and lower case; gotham in capitals should This template can be adapted to square and landscape be used for the main titles. This block can occupy any space not formats in exactly the same way as the master version occupied by another element. of the primary template was adapted.

60 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

‘ouTsTanding’DAiLY TeLeGrAPH giselle ConDUCTor Giselle, the most famous ballet of the Romantic repenting, visits her moonlit grave, Giselle protects boris gruzin era, lays bare the transcendental power of a him from the deathly touch of her phantom copy-ricH template: MUsiC woman’s love in the face of betrayal. sisters until the dawn sees him safe once more.The adolphe adam title role encompasses innocence, pain, madness Giselle is a gentle peasant girl who is driven to and boundless compassion and both a daunting MAsTer version CHoreoGrAPHY marius pepita kill herself when she discovers that her youthful technical test and unique acting challenge. In this after Jean coralli lover ‘Loys’ is not only merely toying with her production for The Royal Ballet, Peter Wright’s eXAMPLes and Jeles perrot but also, as Count Albrecht, is not free to marry sensitive staging, with atmospheric designs by ProDUCTion her. In death she is transported to a moonlit land John F.Macfarlane, heightens the contrast between peter wright where spirits of women rise to seek vengeance the human and supernatural worlds.

DesiGn on the men who betrayed them. But as Albrecht, John f. macfarlane

LiGHTinG Jennifer tipton

10 | 13 | 23 | 25 | 26 JAnUArY at 7.30PM | 21 JAnUArY at 1PM 28 JAnUArY at 7PM | 1 | 3 | 8 | 9 FeBrUArY at 7.30PM 11 FeBrUArY at 2PM and 7PM | 15 APriL at 2.30 15 | 19 | 20 | 28 APriL at 7.30PM | 29 APriL at 7PM

main stage | royal opera House | coVenT garden

revivAL sUPPorTeD TiCKeTs (2004) by evening £77 | £67 | £62 | £57 | £52 | £41 | £36 | £28 | £13 | £10 | £7 | £4 THe FrIeNdS of m at i n e e £57 | £46 | £41 | £31 | £28 | £23 | £16 | £10 | £7 | £6 | £4 CoVeNT GArdeN BooK noW onLine www.roh.org.uk | BoX oFFiCe +44 (0)20 7304 400

High House Farm

landscaping will transform the site into a numer plans to restore the historic grade ii listed High House of different outdoor areas including meadows farm buildings have been submitted to the Thurrock and play spaces. The existing walled garden will development corporation. prepared by specialist be returned to it’s former glory featuring formal conservation architects, The regeneration herb and kitchen gardens; a specimen orchard; practice, the plans outline how the farm buldings will and large lawns where open air performances and be brought back to life. events can take place. a coffe shop will be housed in what was previously the coachman’s cottage, The buildings will be refurbished for a range of providing a relaxing area overlooking the gardens. community and business uses including fl exible voice learning spaces, meeting areas and leisure Funding towards the refurbishment work has facilities. an exhibition space showing the already been secured from the development the evolution of the site and future plans will be corporation and a Heritage lottery application has July 08 created within the former stables, which will retain been submitted which if successful will be futher its original features like the horse feeding troughs. major fi nancial boost for the scheme. update from tHe royal opera House production park

royal opera House production department

The building that will become the new home for the scenic painting and set building teams will be a world-class Progress on the Royal opera Production Park in Thurrock is moving facility. construction work on the building was due to begin in June. However, the complex nature of the project has brought about a delay and as the optimum timing for excavation and foundation laying is the spring and ahead with work starting onHere site andis just huge a snapshot amount of what’sactivity going taking on. place with local schools, colleges and in the local community. summer months it is anticipated that work will commence in april next year.

The royal opera House production department will open in autum 2010.

creative alliance The royal opera House Production Park is supported The business plan for the national skills academy for by a committed investment creative & cultural skills (nsa) has been approved partnership including: from schools and creative careers Fair which means that with development founding from the k took part in a unique eside shopping learning and skills council (lsc), work is moving full on 12 march, young people steam ahead to get the new organisation established. colleges over Thurroc architects, planners and theatre concultants are creative careers Fair at lak involved in the detailed process of identifying the centre. l opera House, hip and arts specifi c requirements for the nsa’s new cutting esigned to give edge acedemy building on the royal opera House organised by the roya ted imagery and production park to ensure that the right facilities Thurrock learning partnerso the many careers skilled roles that pecifi c stage set which are in place to deliver gold standard training. council east, the Fair was d e Tilbury cruise eatrical and live participants have contribu youngsters an insight int the story and in the meantime, discussions continue with emply- This partnership is being pioneered by arts that are available backstage, design ideas for a site-s is being built and installed in made th costumes, ers and training providers from the live music and council east, lsc, east of england development are essential to supporting th l opera House dvice, and the sun and Heir e set. music performances. a large-scale Terminal. They have created performing arts sector across england to establish agency, Higher education Founding council for practical activities f it’s on-going characters, designed and industry-endorsed training for young people and england (HeFce), creative & cultural skills, moVe in september 2007, roya ke-up, costume, props and dressing for th July, the company professionals through placements and apprentice- and aimhigher. specialists were on hand with a education started work onity engagement r forty residents young people took part in he fair culminate in un and Heir’ is the ships. These regional networks will be the building students from collaborative project as part o ngside professiobal that included theatrical ma e-month project, Taking place between 2-5 blocks of the new organisation. discussions are also taking place to enable huge crowd from education and commun s to be epic by 00 participants and of performers includes ove the nsa to deliver olympic apprenticeships lighting and set-design. T programme in Thurrock. ‘s le of duty, an informal performance byhe students took to gold’ as an inspira- of Thurrock working alo in the east of england, the work of the nsa is equipping staff with the skills needed to make longside Keel culmination event of this nin . palmer’s college that drew a actors. The show promise being supported by a unique alliance, which has a contibution behind the scenes at the london m the royal opera which has engaged over 5 design and tells a powerful ta been formed between key funding and develop- olympic and paralympic games in 2012. the lakeside shoppers. T used Wagner’s ‘das rhein than gayle. ce in numerous compassion and courage the specially designed stage a tional starting point. ment agencies to ensure that a coordinated ap- ck & basildon Watson, an opera singer fro art during the proach is being taken to creative learning and skills. House, and pianist Jona project work has taken plae, the culver centre, d colleges in sunshine centre, venues including the Thurro orking with the rvice. The young people who took p department. in college, the civic centr day came from schools an ents from palmer’s the Thameside Theatre, the Thurrock that are already w pera House and the youth offending se royal opera House education ities, design the the run up to the Fair, stud s and set for the college worked with royal o education to plan the activ layout and create backdrop performance. 61 royal opera House | branding, design and copy manual section a royal opera House communications

4 | oUr DesiGn TeMPLATes 8 sign In | sign Up | View shopping Basket

8 booK noW | WHaT’s on | discoVer | VisiT | supporT | my roH

1 c o p y - r i c H t e m p l a t e : www.roh.org.uk v e r s i o n

What We Do This shows how the copy-rich template should be applied How You Help 8 Friends of Covent to the content-rich pages of www.roh.org.uk. The template Garden 3 has been adjusted for the landscape format and to allow Patrons of Covent Garden

web navigation conventions to be followed. Individual Patrons Corporate Patrons

1 umbrella brand: royal opera House 2 performing company brand name or service-provider brand name 8 ABoUT | eDUCATion ProGrAMMes | Press AnD MeDiA | AUDiTions | ConTACT Us | sHoP | FAqs 6 3 i n fo r mati o n b lock Generously 5 supported by © 2008 | Covent Garden, London WC2e 9DD | switchboard: 020 7240 1200 | Box offi ce: 020 7304 4000 THe roBey FAmILy registered in england no. 480523 Charity registered no. 211775 4 4 logistics information 5 commercial sponsor credits 6 funding-partner brands 8 menus/ navigation

The only elements that must be included are the umbrella brand and the information block; the other elements are included only when required.

The brandmark now occupies columns 2 – 4.

The information block in position 3 cannot extend under What We Do How You Help the brandmark if this area is being used for web navigation; Friends of Covent Garden

it can extend upwards so that it is alongside the brandmark, Patrons of Covent but clear space must be allowed between the text in the Garden Individual Patrons information block and the menus above. Corporate Patrons International Patrons

The menus across the top must fi t within columns 7 – 30 Covent Garden of the 31-column grid. The top menu is at the same height Supporters Individual Giving as the clear space above the brandmark; the second menu Corporate Opportunities is alongside the brandmark, directly below the top menu, Trusts and as shown. Generously ABoUT | eDUCATion ProGrAMMes | Press AnD MeDiA | AUDiTions | ConTACT Us | sHoP | FAqs supported by ABoUT | eDUCATion ProGrAMMes | Press AnD MeDiA | AUDiTions | ConTACT Us | sHoP | FAqs THe roBey FAmILy © 2008 | Covent Garden, London WC2e 9DD | switchboard: 020 7240 1200 | Box offi ce: 020 7304 4000 Generously registered in england no. 480523 Charity registered no. 211775 supported by © 2008 | Covent Garden, London WC2e 9DD | switchboard: 020 7240 1200 | Box offi ce: 020 7304 4000 THe roBey FAmILy registered in england no. 480523 Charity registered no. 211775

62 royal opera House | branding, design and copy manual section a royal opera House communications if you cannot see this email you can view it online my royAL operA HoUSe 4 | oUr DesiGn TeMPLATes 8

c o p y - r i c H t e m p l a t e : 1 eMAiL version

This shows how the copy-rich template should be

applied to emails. The template has been adjusted 8 QUICK LINKS

to allow email conventions to be followed. roH coming To a 3 cinema near you

WaTcH don 1 umbrella brand: royal opera House gioVanni Free online 2 performing company brand name roH FacebooK or service-provider brand name 3 information block

4 logistics information Copyright © royal opera House. All rights reserved. To ensure our messages are delivered properly to your inbox (not bulk or junk folders), 5 commercial sponsor credits or cHan n e l b r an ds add [email protected] to your Address Book or safe List. To access our Privacy Policy, please click here. 6 funding-partner brands 7 venue indicator 8 menus/ navigation

The only elements that must be included are the umbrella brand and the information block; the other elements are included only when required.

The information block in position 3 cannot extend under the brandmark if this area is being used for navigation. it can extend upwards so that it is alongside the brandmark; clear space must be allowed between the text of the email in the information block and any text above this block.

The menu along the top of the email cannot extend above the brandmark; it must fi t within columns 8 – 30 of the 31-column grid.

Copyright © royal opera House. All rights reserved. To ensure our messages are delivered properly to your inbox (not bulk or junk folders), add [email protected] to your Address Book or safe List. To access our Privacy Policy, please click here.

63 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

1

non-standard applications: 3 THirD-PArTY WeBsiTes

This shows how royal opera House branding should be applied to our areas within third- party websites (e.g. our youTube channel).

1 umbrella brand: royal opera House 3 title and key information block

The information block should adhere to the specifi cations for the information block of the copy-rich template.

see PAGe 60 For THe CoPY-riCH TeMPLATe.

64 royal opera House | branding, design and copy manual 3

20/10/08 11:00am Booking Ref: gbt righ 61 3 995388 3 latecomers cannot be admitted monday 20 october 2008 11:00 am

£0.00 complimentary see TiCKeTWALLeT For resTriCeD vieW/seAT TYPe DesCriPTions ConDiTions For reverse see

donald gordon grand tier box right 61 3 tall loose seat / front of house Royal OPEra HOUSE / covent garden matilde di shabran final dress rehearsal xxxx by supported generously xxxx supported originally

20/10/08 11:00am Booking Ref: 1 gbt righ 61 3 995388 5 latecomers cannot be admitted tuesday 04 march 2008 7:30 pm copy manual

£0.00

complimentary see TiCKeTWALLeT For resTriCeD vieW/seAT TYPe DesCriPTions ConDiTions For reverse see

key information block front of house linbury studio theatre/ royal opera house linbury studio theatre/ royal opera into the little hill / down by the greenwood side arena left l 1 royal operaroyal House | branding, design and see PAGe 41 For THe PriMArY TeMPLATe 1 umbrella brand: opera royal 3 House The key information block should adhere cations to the specifi for the key information block of the primary template non-standardT i C K e Tapplication: s This shows how royal opera House branding should be applied our to tickets. section a operaroyal House communications 4 | oUr DesiGn TeMPLATes 65 section a royal opera House communications 4 | oUr DesiGn TeMPLATes

non-standard application: The UMBreLLA BrAnD ALone

There are a few situations in which the royal opera House brandmark can be used on its own or just with an image. These include royal opera House branded merchandise and ticket wallets.

position the brandmark where it looks best, ensuring that the guidelines relating to minimum size and clear space are adhered to. if an image is used, ensure that the brandmark has a high level of standout.

THe sPeCiFiCATions For THe roYAL oPerA HoUse BrAnDMArK Are DesCriBeD on PAGes 16-24

noTe royal opera House publicity to promote any royal opera House branded merchandise must follow the primary template.

66 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

non-standard application: CoMPAnY and ProDUCTion-sPeCiFiC MerCHAnDise

These guidelines should be used for all merchandise that relates to one of the companies of the royal opera House or to a specifi c production (e.g. t-shirts for The royal ballet, ring cycle merchandise for The royal opera, Wind in the Willows merchandise for roH2).

in these situations, the royal opera House brandmark does not have to be used; the relevant company brandmark can be used instead.

position the brandmark where it looks best, ensuring that the guidelines relating to minimum size and clear space are adhered to. if an image is used, ensure that the brandmark, and any text, has a high level of standout.

THe sPeCiFiCATions For THe CoMPAnY BrAnDMArKs Are DesCriBeD on PAGes 25–32.

noTe royal opera House publicity to promote this merchandise must follow the primary template.

67 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

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royAL operA HoUSe royAL operA HoUSe CovenT GArDen CovenT GArDen LonDon LonDon non-standard application: 2 WC2e 9DD WC2e 9DD 23 APriL 2009 23 APriL 2009 Anna Pellegrino Anna Pellegrino sTATionerY TeL: +44 (0)00 0000 0000 TeL: +44 (0)00 0000 0000 98c Teesdale street FAX: +44 (0)00 0000 0000 98c Teesdale street FAX: +44 (0)00 0000 0000 London London E2 6PU www. roh.org.uk E2 6PU www. roh.org.uk This shows how royal opera House branding

should be applied to our stationery. 23 April 2009 23 April 2009

Dear Anna, Dear Anna,

sulvidi fachucis opterei comnicae temnique eorum ser que nonsimuro pullerf erevili perimor atabus clut sulvidi fachucis opterei comnicae temnique eorum ser que nonsimuro pullerf erevili perimor atabus clut nocaper fecio, que tere fi cularte cri prae que cultor inatis pror licas omnos, C. Libus haber huid Caties ad nocaper fecio, que tere fi cularte cri prae que cultor inatis pror licas omnos, C. Libus haber huid Caties ad 1 umbrella brand: royal opera House deatorum ere consultorbi seri st esserce ponsus, tanum sidiena, silibus scientella erei ses essilin cereis is. deatorum ere consultorbi seri st esserce ponsus, tanum sidiena, silibus scientella erei ses essilin cereis is.

Ra rei inatui sus conferf ecturnum ne me ium mo intisse mante cast apesima, audermil us, quos, terricae paric Ra rei inatui sus conferf ecturnum ne me ium mo intisse mante cast apesima, audermil us, quos, terricae paric 2 royal opera House ad d r e s s virmaio adhum inces! sena, nerteme fora oc mod is it; non sed consim ingulin trunit vissum des senato unum. virmaio adhum inces! sena, nerteme fora oc mod is it; non sed consim ingulin trunit vissum des senato unum. Cupicividi, cones, Catiaet il hostiem ades hocturnicaed redius, C. Parita ne aucerop otemum Patarid eludeliam Cupicividi, cones, Catiaet il hostiem ades hocturnicaed redius, C. Parita ne aucerop otemum Patarid eludeliam and contact egerfi cam horunum atqui cienatia renterfex nihicon culis. egerfi cam horunum atqui cienatia renterfex nihicon culis. Aves! sp. Les se tantertem, quonerion iusupernit; nonsult ortere consum ca vagil vis haliam nonsum Aves! sp. Les se tantertem, quonerion iusupernit; nonsult ortere consum ca vagil vis haliam nonsum menterv igincer ionsum ius? Fex nos con dum permihil viviris consiln enteme niurbit. Us; ne quam re nequid menterv igincer ionsum ius? Fex nos con dum permihil viviris consiln enteme niurbit. Us; ne quam re nequid 3 letter teXt paris? Befaciv identem contimihilne teris, quod fur, mo voc, quiusum etiu et accit verfente pra sp. Iniam, paris? Befaciv identem contimihilne teris, quod fur, mo voc, quiusum etiu et accit verfente pra sp. Iniam, num maximor ublicondes fuiu conon ve, quos cons etiam furei forario eterio mod inclare tam o conduci num maximor ublicondes fuiu conon ve, quos cons etiam furei forario eterio mod inclare tam o conduci 4 registered information escepostrum inatilint. Gere erica; hoctur isquides core, nonerum fi constum essolto me tem es omnos veribem. escepostrum inatilint. Gere erica; hoctur isquides core, nonerum fi constum essolto me tem es omnos veribem. 3 C. An suloccion tus ese mo con Etrum movesedita publici fur hocterfi t? quam conum tu quam dem iam dium C. An suloccion tus ese mo con Etrum movesedita publici fur hocterfi t? quam conum tu quam dem iam dium adhuctum P. Ipsente es vivit, vis hostum nondiis sularte. adhuctum P. Ipsente es vivit, vis hostum nondiis sularte.

nsultorum nitemus ine quidius esse est publis bon scem vivere, nonsimus con se potisque ade cus es vivehen nsultorum nitemus ine quidius esse est publis bon scem vivere, nonsimus con se potisque ade cus es vivehen ihiline publia opubliquemus deo, neritiliu moverceropte nem mo coneque quemultorte publii iam se in dicae ihiline publia opubliquemus deo, neritiliu moverceropte nem mo coneque quemultorte publii iam se in dicae The brandmark used on the letterhead maciem, isside aurbem iam inpris sent pulla vigit, ut publiae tam vidente rristilis, nonsim di suloctua amque ne maciem, isside aurbem iam inpris sent pulla vigit, ut publiae tam vidente rristilis, nonsim di suloctua amque ne num iam sus poeret? Ad dit videsinum pra sciventemne con deestorti, Cas etilia? Patiam feciam terfec inatudem num iam sus poeret? Ad dit videsinum pra sciventemne con deestorti, Cas etilia? Patiam feciam terfec inatudem patum et L. o tatui pote tures inatris, quam ist cussulicus abem molto comnon se ina consu udessol icatquam. patum et L. o tatui pote tures inatris, quam ist cussulicus abem molto comnon se ina consu udessol icatquam. is smaller than that used on the primary Ihilii simpret vagingu Ihilii simpret vagingu hui et; ilicae condampotio comnitam huidem macre, condium ta quamdienduc rectorei consus bonsuperid hui et; ilicae condampotio comnitam huidem macre, condium ta quamdienduc rectorei consus bonsuperid template; it spans four columns, columns crionfesinat alaridemus, quost inpremo nonterei sentiur nitiquam noctum. Me es is hacreis nos eterei co ad crionfesinat alaridemus, quost inpremo nonterei sentiur nitiquam noctum. Me es is hacreis nos eterei co ad ia L. opio inte que crem omnostret Catus vas conloc, cepse ne ne morsus, sum nitervis conside tiam consus; ia L. opio inte que crem omnostret Catus vas conloc, cepse ne ne morsus, sum nitervis conside tiam consus; 26 – 29, of the 31-column grid. There is clear Catuscris. Vercere tum me ocut vagit, Catuscris. Vercere tum me ocut vagit, Aves! sp. Les se tantertem, q mo voc, quiusum etiu et accit verfente pra sp. Iniam, num maximor ublicondes Aves! sp. Les se tantertem, q mo voc, quiusum etiu et accit verfente pra sp. Iniam, num maximor ublicondes fuiu conon ve, quos cons etiam furei forario eterio mod inclare tam o conduci escepostrum inatilint. Gere erica; fuiu conon ve, quos cons etiam furei forario eterio mod inclare tam o conduci escepostrum inatilint. Gere erica; space equivalent to two column-widths hoctur isquides core, nonerum fi constum essolto me tem es omnos veribem. C. An suloccion tus ese mo con hoctur isquides core, nonerum fi constum essolto me tem es omnos veribem. C. An suloccion tus ese mo con Etrum movesedita publici fur hocterfi t? quam conum tu quam dem iam dium adhuctum P. Ipsentest vivit, vis. Etrum movesedita publici fur hocterfi t? quam conum tu quam dem iam dium adhuctum P. Ipsentest vivit, vis.

above and to the right of the brandmark, Hostum nondiis sularte. sp. Iniam, num maximor ublicondes fuiu conon ve, quos cons etiam furei forario eterio Hostum nondiis sularte. sp. Iniam, num maximor ublicondes fuiu conon ve, quos cons etiam furei forario eterio mod inclare tam o conduci escepostrum inatilint. Gere erica; hoctur isquides core, nonerum fi constum essolto mod inclare tam o conduci escepostrum inatilint. Gere erica; hoctur isquides core, nonerum fi constum essolto and clear space of one column-width to me tem es omnos veribem. C. An suloccion tus ese mo con Etrum movesedita publici me tem es omnos veribem. C. An suloccion tus ese mo con Etrum movesedita publici the left of the brandmark. yours sincerely yours sincerely

Gwyneth Campling Gwyneth Campling The brandmark used on the compliments Licensing Manager Licensing Manager slip also spans four columns, columns 3 – 6,

reGisTereD in enGLAnD no. 480523 reGisTereD in enGLAnD no. 480523 of the 31-column grid. There is clear space 4 reGisTereD oFFiCe royal opera House CovenT GArDen LonDon WC2e 9DD | CHAriTY reGisTereD no. 211775 reGisTereD oFFiCe royal opera House CovenT GArDen LonDon WC2e 9DD | CHAriTY reGisTereD no. 211775 equivalent to two column-widths above and to the left of the brandmark, and clear space of one column-width to the right of the brandmark. 1 royAL operA HoUSe royAL operA HoUSe CovenT GArDen CovenT GArDen LonDon LonDon These brandmarks should be printed in WC2e 9DD WC2e 9DD

2 TeL: +44 (0)00 0000 0000 TeL: +44 (0)00 0000 0000 silver or grey. FAX: +44 (0)00 0000 0000 FAX: +44 (0)00 0000 0000

www. roh.org.uk www. roh.org.uk

THe TeMPLATe For BUsiness CArDs is on THe FoLLoWinG PAGe. WiTH complimenTs WiTH complimenTs

68 royal opera House | branding, design and copy manual section a royal opera House communications 4 | oUr DesiGn TeMPLATes

non-standard application: sTATionArY continued ForeNAme SUrNAme 2 Job title 3 This shows how royal opera House branding should 1 be applied to our business cards. The position of the elements is as follows: department name 4 CoMPAnY / orGAnizATion nAMe 5 1 umbrella brand: royal opera House roYAL oPerA HoUse 6 2 forename surname - Gotham Bold | Caps | 8pt | Kerning 75 ADDress | PosTCoDe 7 3 Job title - Gotham Medium | Caps | 5pt | Kerning 50

TeL +44 (0)00 0000 0000 8

4 department name (e.g. DeveLoPMenT DePArTMenT, FAX +44 (0)00 0000 0000 9 eMAiL [email protected] 10 roYAL oPerA CHorUs) - Gotham Medium | Caps | 5pt | Kerning 50 WeB www.roh.org.uk 11 5 company/organization name

(e.G. THe roYAL BALLeT, roYAL oPerA HoUse MAnCHesTer)

- Gotham Book | Caps | 5,5pt | Kerning 50 6 royal opera House - Gotham Book | Caps 5pt | Kerning 50 7 address - Gotham Book | Caps | 5pt | Kerning 50

8 tel - Gotham Book | Caps | 5pt | Kerning 25 ANN-SopHIe LILLey ANdreSeN moNICA mASoN 9 faX - Gotham Book | Caps | 5pt | Kerning 25 assistant to the director of marketing director of tHe royal ballet 10 email - Gotham Book | 5pt | Kerning 25 11 web - Gotham Book | 5pt | Kerning 25 THe roYAL BALLeT roYAL oPerA HoUse roYAL oPerA HoUse CovenT GArDen | LonDon | WC2e 9DD CovenT GArDen | LonDon | WC2e 9DD

TeL +44 (0)00 0000 0000 TeL +44 (0)00 0000 0000 elements 1, 2, 3, 6, 7, 8, 10 and 11 are mandatory; the rest FAX +44 (0)00 0000 0000 FAX +44 (0)00 0000 0000 eMAiL [email protected] eMAiL [email protected] are optional. one element should be written in red; this WeB www.roh.org.uk WeB www.roh.org.uk should be element 5 if it is included, element 6 if not.

line spaces are only required between element 3 and SUe wITHerS whatever is directly below it (element 4, 5 or 6, according orcHestra education manager to what is included) and between elements 7 and 8. if element 5 and/or element 9 are not included, close up The brandmark should be printed in silver or grey. roYAL oPerA HoUse any spaces left by their omission. CovenT GArDen | LonDon | WC2e 9DD TeL +44 (0)00 0000 0000 if some of the elements are not used, blank lines FAX +44 (0)00 0000 0000 eMAiL [email protected] The brandmark used on the business card spans six should not be left, instead the remaining lines WeB www.roh.org.uk columns, columns 3 – 8, of the 31-column grid. There is should be closed up. line spaces are only used clear space equivalent to two column-widths around between elements 3 and 4 and elements 7 and 8. the brandmark.

69 royal opera House | branding, design and copy manual section A Royal opera house communications 5 | COMPLIANCE

COMPLIANCE

The Royal Opera House Director of Marketing is responsible for ensuring that these guidelines are applied correctly.

All Royal Opera House branded materials must be approved by the Director of Marketing or another senior person within the Marketing Department.

CONTACT DETAILS

as at april 2009

Caroline Bailey Sophie Lilley

Director of Marketing Assistant to the Director of Marketing [email protected] [email protected] +44 (0)20 7212 9296 +44 (0)20 7212 9509

70 ROYAL OPERA HOUSE | branding, design and copy manual