branding, design and copy manual version 1.0 | CREATeD 2009 1 1 royal opera House XXX THe roYAL BALLeT XXXXX LoNdoN na, c. go etiorav ocavemp linam, confi n telus contiem iam tela veriaectus, niam pro vir la ad inem ompraris fi rmil hosteriorum maio, culvit, omnimul arbemus, tem aurs ca et? pali publici enihingulius maxim conequam oraesse nducenirioc, faut pl. Habusus ipiontem ineque ignortemus iam publiuscit, noruntrum mus c. sp. evilis conit fi rtum mo consiliqua coret gra rena, p. opimus vit intra? uretilictum fi r is essum iniciisque cridi, que patarim ilicientis. ‘SHeer THeATrICAL eXCITemeNT’ THe sunday Times KeNNeTH mACmILLAN’S manon JULeS mASSeNeT 3 | 6 | 11 | 14 | 16 noveMBer 2008 mAIN STAGe | royAL operA HoUSe | CovenT GArDen 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 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 1 ROna, c. gYALo etiorav oocavempPERa linam, confinHo telusUSE contiem B iamr Atelan DING veriaectus, niam pro vir la ad inem ompraris firmil hosteriorum maio, culvit, omnimul arbemus, tem aurs ca et? pali publici enihingulius maxim conequam oraesse nducenirioc, faut pl. Habusus ipiontem oinequeUr BrA ignortemusnD values iam publiuscit, noruntrum8 mus c. sp. evilis conit ofirtumUr umb remolla consiliqua BrAnD: RO coretYAL o PgraER Arena, HoU pSE . opimus9 vit intra? uretilictum OfirTH iser essumMeMBERS iniciisque of oUr B rcridi,AnD FAMqueiLY patarim ilicientis.10 other parTs oF oUr organization 11 THIRD-PArTY BrAnDs 12 HoW THESE BrAnDs FiT ToGeTHER 13 WHERE the ROYAL oPERA HoUSE BrAnDs BeLONG 14 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.