The design style for The Royal Parks

The Royal Parks The Old Police House, Hyde Park, London W2 2UH Tel: 020 7298 2000 Fax: 020 7298 2005 www.royalparks.gov.uk Introduction

This style guide is intended to standardise how we relevant to signage, promotional and educational O UR VALUES present The Royal Parks, both visually and verbally. literature, forms and correspondence.

Its guidelines are a result of a comprehensive consultation Every single experience influences visitors’ perceptions, with people from all sections of The Royal Parks to and so the image of The Royal Parks as a unique natural establish the common ground in how we, as a group of haven will gradually be applied consistently to everything people, see The Royal Parks. the Parks do and say, from printed literature, conceivably, Respect to building design. Respect underpins everything The Royal Parks do and stand for, the basis The following sentence represents the conclusion: The revised logo in this style guide has a simpler form for our enjoyment of nature and one’s fellow man. ‘The Royal Parks are a unique natural haven in the and uses fewer colours than previously, so it will be more urban context of London, providing a safe space for economical to reproduce. Two versions of the identity individuals to express themselves, but requiring respect have been produced to enable greater consistency from its and protection to preserve this very characteristic.’ smallest reproduction to its largest.

Sustainability Consistency must also apply to our language, and this Any queries, questions or comments should be directed to guide also provides guidelines for The Royal Parks’ Nikki Straughan, Head of Marketing, tel: 020 7298 2138 or For the Parks, sustainability is about achieving the balance between house style. This style, with minor variations, is equally email: [email protected] enjoyable use today and conservation for the future.

Diversity The word diversity expresses a joyful ecleticism, based on what promotes or expresses health, free expression of community, and the beauty Contents of nature.

V ISUAL STYLE GUIDE V ERBAL STYLE GUIDE

Corporate colours for The Royal Parks 4 Personality 16 Beauty The symbol and logotype: the corporate mark 5 Tone of voice 17 We hold a fundamental belief that contact with the beauty of nature The corporate mark: sizes and scale 6 Key messages 18 grounds and recharges the individual. The logotype 7 Strapline 18 The symbol 8 Values 19

The preferred colours of the symbol and logotype 10 Examples of verbal do’s and don’ts 20

What not to do 11 Boilerplate copy 21 Hospitality The primary typeface: Book Antiqua 12 The Royal Parks embrace the ancient but timeless concept – a warm The secondary typeface: Gill Sans 13 welcome and mutual respect between host and guest. Corporate stationery 14

The design style for The Royal Parks 3 V ISUAL STYLE GUIDE V ISUAL STYLE GUIDE Corporate colours for The Royal Parks Logo: symbol and type

The colours below are the only ones to be used when No colours other than those specified here may be used, The symbol and type are the two elements of The smaller corporate mark – corporate mark 2 (bottom reproducing The Royal Parks primary and secondary nor may any other specifications than these be used to The Royal Parks logo. right) shows the smallest recommended size. The design style. reproduce these colours. corporate mark is 12mm in width. See page 6 for The spacing between these elements must not be altered information on which logo to use and in what size. They are shown here reproduced both as special colours and there must always be a minimum amount of clear (for these refer to the Pantone© colour matching space around the logo. system), and out of the four colour process. These colour specifications are to be used when specifying colours for The dotted box around the corporate mark represents the different applications of the design style as outlined the minimum amount of clear space (ie. the area which in these guidelines. must not be infringed by any other text or graphic device) that is needed. It is in proportion to the size of the mark itself. There is a simple method for sizing this clear space: 1. Measure the height of the three line logotype (2x) P RIMARY PALETTE 2. Divide that value in half (x) Colour Special colours (refer to Pantone© system) 4 colour process 3. Use the result (x) as the margin of clearspace around the corporate mark. Light green

Corporate mark 1

Pantone© 376 c55 m0 y100 k0

1x Black

Pantone© Black c0 m0 y0 k100

White

White Corporate mark 2 S ECONDARY PALETTE 2x Colour Special colours (refer to Pantone © system) 4 colour process

Dark green

1x 12 mm Pantone© 5535 c85 m0 y70 k80

Gold Clearspace proportions The smallest recommended 1x symbol and logotype size

Pantone© 871 c0 m20 y100 k30

4 The design style for The Royal Parks The design style for The Royal Parks 5 VISUAL STYLE GUIDE VISUAL STYLE GUIDE Logo: sizes and scale Logo: type

To ensure legibility of The Royal Parks corporate mark, The type for The Royal Parks has been produced using two versions have been produced. Corporate mark 1 is letterspaced Book Antiqua Roman. It must not be for all uses of 40mm and above, while corporate mark 2 modified or altered in any way. is for all uses below 40mm to its minimum size of 12mm. For greater legibility, corporate mark 2 is a bolder The type should never be aligned to the left or right version of the symbol and uses Book Antiqua Bold for edge (ranged left or ranged right), nor set in a single line the type. or two lines. It should never appear in any other typeface than Book Antiqua. The type should only be reproduced in black, white or gold.

Corporate mark 1 The type on the grid below is for signwriters to use.

40 mm 50 mm 60 mm

Corporate mark 2

35 mm 25 mm 20 mm 18 mm 12 mm Signwriting grid guide: type

6 The design style for The Royal Parks The design style for The Royal Parks 7 VISUAL STYLE GUIDE VISUAL STYLE GUIDE Logo: symbol Logo: symbol – reversing out of black or green (Pantone© 5535c)

The one colour, positive version (ie. using only one The one colour, negative version (ie. using only one colour on white paper) of the leaf crown only appears in colour against black or dark green) of the leaf crown Pantone© 376c or black. This applies to both versions of symbol only ever appears in Pantone© 376c, white or the corporate mark. In exceptional circumstances, the gold Pantone© 871c. This applies to both versions of the crown symbol may be separated from the type when corporate mark. In exceptional circumstances, the crown used as a graphic or illustration. This must be approved symbol may be separated from the type when used as a by the Head of Marketing. graphic or illustration. This must be approved by the Head of Marketing.

The crown symbol on the grid below is for signwriters to use.

Signwriting grid guide:symbol Signwriting grid guide: reversed symbol

8 The design style for The Royal Parks The design style for The Royal Parks 9 V ISUAL STYLE GUIDE V ISUAL STYLE GUIDE Logo: colours What not to do!

Below are the approved colour versions of To ensure The Royal Parks identity is reproduced The Royal Parks logo. consistently across all printed materials, outlined below are some examples of how NOT to use corporate mark. These are the only acceptable colour combinations. (For Pantone© colours and 4 colour breakdowns, All are unacceptable! please see page 2.)

Where to use: The two colour corporate mark should be used wherever possible, as this is the standard logo.

Gold on black or deep green will be used on park furniture (such as benches, gates, fences etc.). White on deep green may appear on Royal Parks vehicles, and also on park furniture.

mixing positive and negative, Using more than one colour Symbol and type used in as well as adding in new to reproduce the symbol wrong proportions elements (black box)

Two colours on white Black on white/gold One colour on black Tendrils of leaves Irregular clearspace Inappropriate coloured do not reflect overall background background colour

THE ROYAL P ARKS

White on black Gold on black/dark green White on dark green Wrong font Wrong colour for type Wrong use of corporate mark against a photographic background. No stand-out for crown on background

10 The design style for The Royal Parks The design style for The Royal Parks 11 V ISUAL STYLE GUIDE V ISUAL STYLE GUIDE The primary typeface: Book Antiqua The secondary typeface: Gill Sans

As well as being used in the logotype, Book Antiqua has The secondary typeface chosen is Gill Sans in its Regular also been chosen as the primary typeface. It should be and Bold versions. The Royal National Institute for the used in only its Regular, Italic and Bold forms. Blind recommend using sans serif typefaces where readability issues occur. For example, if you are producing a long, wordy document, or if your audience is likely to be visually impaired.

Captions for pictures, labelling for charts, maps, diagrams, footnotes or asides and tabular material are other suggested usages.

Regular Book Antiqua ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

Italic Book Antiqua ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

Bold Book Antiqua ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

12 The design style for The Royal Parks The design style for The Royal Parks 13 V ISUAL STYLE GUIDE VISUAL STYLE GUIDE Corporate stationery Corporate stationery

The design specifications of the corporate stationery: We no longer produce printed envelopes, it’s more letterhead, compliments slip, address label and economical and it’s really not common practice any Compliments slip business card are consistent and are shown here as longer. examples of how the corporate mark is used in one of its primary applications.

Letterhead

Mr A Sample Sample Company Sample Street The Old Police House, Hyde Park, London W2 2UH Tel: 020 7298 2000 Fax: 020 7298 2005 www.royalparks.gov.uk Sampletown BUSHY PARK & THE LONGFORD RIVER • THE GREEN PARK • GREENWICH PARK • HYDE PARK • KENSINGTON GARDENS • THE REGENT’S PARK (with PRIMROSE HILL) • RICHMOND PARK • ST JAMES’S PARK • & BROMPTON CEMETERY

Dear Mr Sample Address label

Si meliora dies, ut vina, poemata reddit, scire velim, chartis pretium quotus arroget annus. scriptor abhinc annos centum qui decidit, inter perfectos veteresque referri debet an inter vilis atque novos? Excludatiurgia finis, “Est vetus atque probus, centum qui perficit annos.” Quid, qui deperiit minor uno mense vel anno, inter quos referendus erit? Veteresnepoetas, an quos et praesens et postera respuat aetas?”Iste quidem veteres inter ponetur honeste, qui vel mense brevi vel toto estiunior anno.” Utor permisso, caudaeque pilos ut equinae paulatim vello unum,demo etiam unum, dum cadat elusus ratione ruentis acervi, qui redit in fastos et virtutem aestimat annis miraturque nihil nisi quod Libitina sacravit. Ennius et sapines et fortis et alter Homerus, ut critici dicunt, levitercurare videtur, quo promissa cadant et somnia Pythagorea. Naevius in manibus non est et mentibus haeret paene recens? Adeo sanctum est vetus omne poema. ambigitur quotiens, uter utro sit prior, aufert.

Siculi properare Epicharmi, vincere Caecilius gravitate, Terentius arte. Hos ediscit et hos arto stipata theatro spectat Roma potens; habet hos numeratque poetas ad nostrum tempus Livi scriptoris ab aevo. Interdum volgus rectum videt, est ubi peccat. Si veteres ita miratur laudatque poetas, ut nihil anteferat, nihil illis comparet, errat. Si quaedam nimis antique, si peraque dure dicere credit eos, ignave multa fatetur, et sapit et mecum facit et Iova iudicat aequo. Non equidem insector delendave carmina Livi esse reor, memini quae plagosum mihi parvo Orbilium dictare; sed emendata videri pulchraque et exactis minimum distantia miror. Inter quae verbum emicuit si forte decorum, et si versus paulo concinnior unus et alter, iniuste totum ducit venditque poema. Si meliora dies, ut vina, poemata reddit, scire velim, chartis pretium quotus arroget annus. scriptor.

The Old Police House, Hyde Park, London W2 2UH. www.royalparks.gov.uk Yours sincerely, BUSHY PARK & THE LONGFORD RIVER • THE GREEN PARK • GREENWICH PARK • HYDE PARK • KENSINGTON GARDENS • THE REGENT’S PARK (with PRIMROSE HILL) • RICHMOND PARK • ST JAMES’S PARK

Business card

Nikki Straughan London’s Personal Space Head of Marketing

The Old Police House, Hyde Park, London W2 2UH The Old Police House, Hyde Park, London W2 2UH Tel: 020 7298 2000 Fax: 020 7298 2005 www.royalparks.gov.uk Tel: 020 7298 2000 Fax: 020 7298 2005 Email: nstraughan royalparks.gsi.gov.uk BUSHY PARK & THE LONGFORD RIVER • THE GREEN PARK • GREENWICH PARK • HYDE PARK • KENSINGTON GARDENS • @ THE REGENT’S PARK (with PRIMROSE HILL) • RICHMOND PARK • ST JAMES’S PARK • & BROMPTON CEMETERY www.royalparks.gov.uk

14 The design style for The Royal Parks The design style for The Royal Parks 15 VERBAL STYLE GUIDE VERBAL STYLE GUIDE Personality Tone of voice

It often helps to think in terms of an actual personality to • The Parks prefer anglo-saxon to words with Latin roots We all express ourselves slightly differently with understand a ‘style’ of language - and The Royal Parks – with the exception of the occasional plant name, of different groups of people, but these expressions should are best thought of as a warm, encouraging coach (over course! They talk in a very grounded, ‘land always be bound by a common tone. 40!). He or she is: management’ tone about the Parks themselves, using • encouraging and facilitating words like pruning, digging and planting – drawing When you are representing The Royal Parks, use the • exercising wisdom and restraint attention to the constant but rewarding work that following checklist to ensure an appropriate tone in both • allowing and enjoying affection, without demanding it needs to be done with a sense of pleasure and passion the written and spoken word: • looking forward, anticipating and planning with patience and foresight • The expertise of The Royal Parks reveals itself by very Personal and informal: first, not third person, • knowing the importance and value of work and occasional slips into detail – the lapse of the expert anglo-saxon rather than Latinate; human rather preparation, but recognising that the performance on explaining to the layman. They also demonstrate a than organisational in scale and tone; small, concrete the day is all that matters. consistent focus on sustainability examples rather than abstract words; real facts and examples to emphasise connection with reality not A more detailed summary of The Royal Parks’ personality: • There is a strong fundamental sense of respect for the theory; there is always a feeling of one-to-one, not right of the individual – whether alone or in groups – one-to-many communication. • Above all, there is a sense of pride: The Royal Parks to enjoy the Parks. In another context, this might be are unique in the world and they enhance the quality called ‘customer-focus’: as the Parks view their visitors Informed, expert and confident, but grounded in fact of life of millions of people. This pride shines through as guests, rather than customers, the correct phrase and reality: not using jargon, not pompous, not in admiration for everything the Parks contain, and for here would rather be ‘hospitable’ impersonal, but simple, unafraid to talk directly, and, the quality of experience the parks provide above all, accurate; language is enjoyed for its power • The Parks recognise that Britain has played a to evoke, and for the enjoyment of a good story, but is • The Royal Parks have an acute sense of chronology significant role in history, and are proud of that role, never used redundantly. and time: but although each Park is a part of British but understand that its role today – although history, the Parks are well aware that time waits for no still highly significant – deserves only the same Philosophically passionate: the Parks believe strongly man, and that the present is the most important time respect as other nations (with the occasional in some big ideas : sustainability; the role of the Parks forgivable partiality!) in London; their vision of a modern society based on • The protective role of the Parks is softened by the respect; diversity. knowledge that change and evolution are inevitable, • The Parks’ embrace diversity perhaps more than some and positive might expect for such an institution. The Parks Joie de z, enthusiasm and excitement: about the recognise that time is a great leveller and this intrinsic beauty and diversity of the Parks, giving • This guardianship is mellowed further by the perspective gives them a tolerance for diversity and occasional rise to a joyous sense of humour. knowledge that the Parks, ultimately, belong to the new the public Respectful: a reserved and discreet respect for all • Humour bubbles deep within The Royal Parks. people, all cultures and all activities, providing they • The role of guardian is sensitive, and so the Parks Sometimes, the Parks are tickled to be seen as an show respect to The Parks and other people; respect make great efforts not to appear authoritarian: if the ‘institution’. At other times, the Parks smile – must not be used as a defence, or used to obstruct public cannot enjoy a sense of freedom in the Parks, approvingly – at the sheer range of human nature communication – it needs to be seen in the context of the very purpose of the Parks is undermined the above. • The Royal Parks enjoy language: language helps to • This is managed by emphasising the human aspect express the richness of the Parks. This richness is and scale of the Parks. There is no talk of policies and expressed through actual richness of content, rather standards in general ‘conversation’, only possibly of than hyperbole or volume of words. the impact of some behaviour on others

• The Parks avoid the formal, third person tone of large organisations, preferring the first person

• They delight in their own diversity, without value- weighting any one activity or species above another

16 The design style for The Royal Parks The design style for The Royal Parks 17 VERBAL STYLE GUIDE VERBAL STYLE GUIDE Key messages Values

Specific messages need to be highlighted, to ensure STRAPLINE The corporate plan has established a set of objectives for consistent and reiterated communication. These need to The Royal Parks. Our values determine the way we behave, be delivered in the appropriate tone of voice. As the words of a strapline accompany the logo, and and the way we reach those objectives. The challenge their meaning is more easily understood, straplines are with objectives is to achieve them: the challenge with very powerful. Once a strapline has been adopted, it values is to live up to them. Values are what helps PRIMARY MESSAGE becomes a temporary extension of the logo and has to be define The Royal Parks brand in the eyes of employees and guests. The primary brand message is intended to reinforce the used in all communications. brand positioning. It should be present – in some way The five core values based on The Royal Parks’ beliefs are: (visual, verbal or in form) in all communications. In this case, ‘London’s personal space’ is the shortest and easiest expression of the primary message and will Respect Beauty London’s personal space be used as the corporate strapline. Respect is a fundamental principle for The Royal Parks - There is a fundamental belief that contact with the The Royal Parks are London’s personal space. They are Straplines usually have a shorter lifespan than a logo : it underpins everything the Parks do and stand for. beauty of nature grounds and recharges the individual. part of London, but open to all. They allow individuals to suggestions regarding other straplines for The Royal Without respect for nature, for one’s fellow man, there is Contact with nature can be made in many ways : express themselves and to create his or her own emotional Parks will be welcomed. no enjoyable interaction with either. In practice, this is through contemplation, sport and play, relaxation, even relationship with the Parks. A haven for London; a haven interpreted by a wide and non-prescriptive perspective sleep, every physical activity transferred to the for you. A space to be cherished and protected. What is a strapline on the Parks’ guests: their background, their culture, outdoors, and the Parks work to ensure the quality of their race, religion, their chosen way to enjoy the Parks that contact. Unlike the logo, which is a long-term constant, and their personal space within the Parks. Respect also SECONDARY MESSAGES a strapline can change from time to time to reflect underpins the Parks’ deep commitment to quality. Hospitality mid-term strategic communications priorities. These are messages which have definite objectives and Hospitality is an ancient but timeless concept, a Sustainability are not an expression of the brand. As such, they are The logo is the constant visual reference point for the relationship based on welcome and reciprocal respect generally (except in very specific and focussed brand, the strapline is a repeated phrase which is The balance between enjoyable usage and conservation between host and guest. The Royal Parks express their communications) secondary in importance. the verbal carrier of the current brand positioning. of The Royal Parks is a daily theme. Maintaining that hospitality by making themselves as open, accessible, balance, as well as the centuries old heritage of The Parks, friendly and inclusive as possible. The concept of History Initially, ‘London’s personal space’ will be used as has instilled the absolute importance of sustainability. hospitality extends to making life as comfortable and The Royal Parks belong to no person and no time, and pleasurable for guests as is reasonable – in exchange for The Royal Parks have been close to every major The Royal Parks’ strapline. our responsibility is to ensure their survival. quiet thanks and mutual respect. historical epoch and event for the last 400 years of British history and guests should be made aware The strapline does not have to appear on all materials. Diversity of the Parks as a live stage for British history. Remember, it is for ‘mid-term’ use. It should NOT therefore appear on materials with a very long lifespan The Royal Parks believe positively in diversity – not as a Diversity (e.g. signage or headed paper). political mandate, but in the real appreciation of diversity. This is not uncritical acceptance, as the Parks The public is encouraged to think of all The – individual It SHOULD be used in communications which : have preferred expressions of diversity. Biodiversity, for – Royal Parks as the different expressions of a single •are time-limited (short to mid-term); example, is a principle which the Parks both embrace entity: visits to other Parks will enhance and reinforce • have a predominantly external audience; and practise. Cultural diversity is likewise reflected in the experience. Likewise, the opportunities provided by • aim to communicate the identity of The Royal Parks. the activities welcomed by the Parks, welcoming and the individual parks are incredibly diverse – from a borrowing from cultures around the world. The belief in natural, cultural, historical or sporting perspective. Examples of these usages could include posters, annual diversity also makes the Parks forward-looking, hungry reports, summer events catalogues, or advertisements. for knowledge, experience and ideas. Organisational expertise There is an organisation responsible for managing The position of the strapline with the logo have no the Parks, and this organisation applies enormous effort strict guidelines. However it is recommended that and expertise to its role. Above all, this organisation is the strapline be separated from the logo and used responsible for the character of the Parks. appropriately to the overall aesthetic of the printed materials. Continuous improvement As with all text, it should be shown in the primary or The Royal Parks are profoundly aware of the importance secondary font. of their role in enabling contact with nature, and all of the benefits that brings to the individual, and hence to the city. They are actively working to do more, to improve that experience and increase those benefits. More importantly still, they realise the enormous potential for the Parks to play an even greater role.

18 The design style for The Royal Parks The design style for The Royal Parks 19 VERBAL STYLE GUIDE VERBAL STYLE GUIDE Examples of verbal do’s and don’ts Boilerplate copy

Don’t Do Why Generic introduction Email signature

Welcome to the Royal Parks agency. Welcome to The Royal Parks. Consistant use of caps T_R_P_. The Royal Parks are unique. Over 100,000 roses , 5000 acres, 220 historic monuments, Although still an executive agency of 150 species of trees, 134 miles of walkways, 55 species of DCMS, we have dropped the word agency from the title. 5,000 acres of carefully conserved parkland, in one of the bird, 26 miles of river banks, 20 football pitches, world’s greatest cities, offer a safe space for our guests 9 restaurants, 8 parks …and you. London’s Royal Parks have been places In the 15th century, Henry VIII used to Give history a real, not a general, of relaxation and entertainment since the hunt Red Deer in the land occupied by perspective and relate if possible to to enjoy however they wish. Nature, history, spectacle, 15th century. The Regent’s Park. Now, it’s strictly hide contemporary life. entertainment, sport, relaxation – the choice is yours. The Royal Parks – London’s personal space. and seek. They are now enjoyed by millions of Millions of people each year make Don’t use passive if avoidable. London’s personal space. people each year. themselves at home in The Royal Parks. Year-round opportunities to appreciate The display – in March and early April – Make your enthusiasm specific, We hope you’ll make it your own. their sheer beauty. of camellias and magnolias bloom above measurable and real. drifts of daffodils and bluebells. Lengthy paragraphs without headings. Short paragraphs with headings eg Make information accessible. a short history, the highlights of the seasons, conservation practice, bird-life, insect-life. The Royal Parks are also places of Too broad to be meaningful – see above, activity, where visitors can take part in all and use specific examples to make real. kinds of sports and entertainments. The Royal Parks organise a varied In the summer, London lives as much as If it has to be broad, relate to a programme of outdoor events and possible outdoors, and The Royal Parks ‘wider’ reality. children’s entertainment. are no exception. Although pedestrians have priority in Policies on pedestrian priority are not The Royal Parks, we provide cycle tracks relevant to the public: neither is explicit where we can do so without interfering reference to internal objectives, in this unduly with the convenience of other case, the need to balance user needs. park users. In Hyde Park, cycling is allowed on the Cycling is allowed on all roads in Avoid redundant, superfluous or park roads and on cycle tracks marked Hyde Park and specially designated pompous sounding phrases. for the purpose. cycle tracks. We ask all cyclists to abide by the code of A well written code of conduct should be conduct so that they and other park users its own justification. can enjoy The Royal Parks in safety. Prices effective from April to * Valid to 09/00 Not worth a sentence – a small September 2000. asterisked footnote. This northerly summit Primrose Hill itself Be specific where possible. The Park is an oasis for wildlife. In a The Park provides a wide range of Avoid passive constructions, and typical year almost 100 species of birds habitats and these are protected to meaningless historical reference and give will be seen. A collection of waterfowl benefit wildlife and education. the Parks an active role if possible. has graced the lake since Victorian times, The Park is home to almost 100 species and a colony of herons has lived on an of bird in a typical year, including a wide island since 1965. collection of waterfowl and, since 1965, The Park provides a wide range of a colony of herons. Sustainable habitats and these are protected to management practices have increased benefit wildlife and education. the range of habitats for wildlife over the last 15 years. Open to the public. Come in and smell the roses. Friendly and personal, not formal. Do join us in our efforts to Help us Avoid wordy sentence construction if possible. The Royal Parks provide a home to a Please keep your dog under control for Avoid wordy sentence construction great deal of wildlife. When walking the sake of other users and the wildlife in if possible: don’t give the impression your dog in The Royal Parks please to the Parks. of loving the sound of your own voice! respect the wildlife as well as the other park users by keeping your dogs under control …and keep your lead handy – you might need it!

20 The design style for The Royal Parks The design style for The Royal Parks 21