FOUNDATION AND VISUAL IDENTITY GUIDE. RRC WORKS CAMPAIGN - Visual identity guide

Transcription

1 FOUNDATION AND VISUAL IDENTITY GUIDE 1

2 FOUNDATION RRC WORKS CAMPAIGN - Foundation 2

3 CAMPAIGN CHARACTER Through research and consultation, these three words were selected to define our campaign s character and to inspire the development of multi-sensory positioning statements by the creative team: Real cultivating tangible, applicable skills in a compassionate environment where students make important connections that support true success. Nimble driven to create agile programs that respond to what business needs now and to look ahead and prepare for the province s economic future. Gritty determined to do what needs to be done to ensure access to learning that is vital to the prosperity of Manitobans. These are the key attributes that will influence the tone of the communication, and reflect the personality of our campaign brand. RRC WORKS CAMPAIGN - Foundation 3

4 CAMPAIGN TENETS The campaign needs to build on our strong reputation and connect with people in a way that reinforces our strengths and moves them to engage, and in some cases to donate. Manitobans must feel the essence the of the campaign through our CHARACTER, which they will get to know as we communicate to them who we are (SUPPORT), engage with them about what they get from their investment (FUNCTIONAL BENEFITS), and share with them the power of their participation (EMOTIONAL BENEFITS). Results Speak Essence This is what we stand for All efforts will work to support what it is RRC stands for (ESSENCE): Real. Gritty. Nimble. Character We feel Results Speak. Part of something big: the excitement of helping to magnify the impact of something already so important to this place Emotional Benefits I feel A tangible return on my investment: it contributes to the province s prosperity, and to its social vitality which supports the viability of my industry, my business and enhances my life Functional Benefits I get 97%of RRC graduates choose to live and work in Manitoba 95% of grads are working, 83% in jobs related to their field of study leading programs and state-of-the art facilities developed in partnership with business responsible operating model and intelligent enhancement plan Support They ve got! These words are not to be used as a slogan, but rather as an internal rallying cry. RRC WORKS CAMPAIGN - Foundation 4

5 VISUAL IDENTITY GUIDE 5

6 TYPOGRAPHY The tagline for this campaign is What we re doing is working. The tagline may be used as red on a white background. Rationale This tagline appeals to all of the College s target audiences. As a bold and confident statement, it instils pride as it positions the College as a successful and integral part of our province. If you re a student, it answers the question, Why choose RRC? It tells you you ll receive the best possible education, proven to prepare you for work in your chosen field. In the case of potential employers, it reinforces the message that RRC graduates are different from other candidates: they re trained, dedicated and ready to jump in and begin their careers. The tagline also speaks to other external stakeholders including industry, donors and government agencies. It answers the question, Why support RRC? It speaks to the College s undeniable record of success as a key contributor to fueling Manitoba s economy through diverse educational offerings, applied research and contributions to the many communities it serves. Presentation Placement of both the logo and tagline will be dictated by the size and specs of each individual piece. There will be instances when the tagline is used as a headline or as part of a headline. In this case, it doesn t have to appear elsewhere on the same page. When the two elements are formatted horizontally at the bottom of an ad/poster/page, the RRC logo should appear at the right, and the tagline at the left. There may be instances when the two elements are formatted vertically; that is, when stacked directly on top of each other, the RRC logo should appear above the tagline. When the two elements are stacked, they should be separated by a safe zone equal to half the height of the tagline itself (or the first line in the stacked version). There may be instances where the tagline and logo don t appear directly beside or above/below each other; in these cases, the logo should still appear somewhere on the same material (e.g., front and back covers of a folder or report). The tagline appears in Interstate Regular Compressed (all-caps); the type should never be re-set. The tagline may also be used in a reverse fashion (white text on a coloured or photographic background). The tagline may also be used in black where necessary Stacked examples The binding boxes above also represents the safe area that should be maintained around these word marks. (Roughly equal to half the cap-height of the first line.) 6

7 TYPOGRAPHY Tagline and logo relationships In horizontal applications the tag should be featured flush left, with the logo flush right with flexible spacing between them. The first R in RRC should be used as reference for the logo s safe area. (1) (1) When set horizontally next to the RRC logo the tagline should match the width of the RRC logo and should be centred vertically in relation to the logo. In all applications the safe area of the tag and RRC logo should be honoured as well as the margins within any given frame of reference. This tagline and logo relationship applies to campaign-specific promotions as well as general promotional materials where the tagline is used. RRC Works Campaign promo example 7

8 TYPOGRAPHY Tagline and logo relationships The following groupings are acceptable in applications where the logo and tagline must be grouped and stacked: These groupings can also be reversed out of a colour backbround. Match RRC logo width and honour the logo s safe area RRC Works campaign always set in Rougenta Dark. General RRC promotional materials may utilize the full colour palette. Match RRC logo width (logo and tag safe areas are equal) Match RRC logo width and honour the logo s safe area 8

9 TYPOGRAPHY The key difference in applying typography for fundraising campaign materials is in the way the headlines are treated. The fundraising campaign was intended to roll out in phases. During the introduction, the tagline will be introduced and used as a headline. An all-caps setting is used, and during the introduction there is some variation in size and weight in setting the headlines. The subheads also reflect a slight change from the standard RRC brand approach (page 22) in that they are set in bold. Introduction approach HEADLINE (WITH TAGLINE) Use the pre-set EPS files for the horizontal and stacked taglines. When words such as, WHEN INNOVATION MOVES YOUR BUSINESS, precedes the tagline, it is set in Interstate Regular Condensed, UPPER CASE with tight-set tracking (-25) at 2/3 to 1/2 the size of the tagline. The tagline, What we re doing is working is used as a key part of headlines during the introduction. When the tagline is treated as a headline, it is not repeated at the bottom of the piece as a tagline. FOR SUBHEADINGS Use Interstate bold, sentence case, with tight-set tracking (-15). Subheadings should be 2/3 to 1/2 the size of the headline. FOR BODY COPY Use Interstate Light, 10.5 pt, with tight-set tracking (-15). Interstate Regular may also be used in cases where more emphasis is needed. In most cases, type is reversed out of darker colours or photographic images with sufficient contrast. Where there is not sufficient contrast, the image behind the type should be darkened. WHEN THIS HEADLINE INFORMATION IS SET IN INTERSTATE REGULAR CONDENSED, If applicable, subheadings should be set in Interstate bold This is a sample of Interstate Light used for body copy. This text hierarchy shows sample usage of how various weights of Interstate work together to create a cohesive and easily readable look applicable in all mediums. Introductory typographic hierarchy example 9

10 TYPOGRAPHY During the Support phase, the tagline is no longer used as a headline. It is placed at the bottom of the piece, set in Interstate Bold Condensed, Upper Case, with tight-set tracking (-25). The headlines during this phase do not use varied sizes and weights. Support approach FOR HEADLINES Use Interstate Light Condensed, Upper Case, with tight-set tracking (-40). FOR SUBHEADINGS Use Interstate bold, sentence case, with tight-set tracking (-20). Subheadings should be 2/3 to 1/2 the size of the headline. FOR BODY COPY Use Interstate Light, 10.5 pt, with tight-set tracking (-25). Interstate Regular may also be used in cases where more emphasis is needed. Again, in most cases, type is reversed out of darker colours or photographic images with sufficient contrast. Where there is not sufficient contrast the image behind the type should be darkened. RRC Works supporting Campaign promo example Each type style should be separated by 4 points at minimum scale. 10

11 TYPOGRAPHY RRC Works Campaign The title RRC Works Campaign should be used to identify key collateral pieces mostly for internal or small target audiences. When used in writing it should be set in the same style as the document in which it appears. CASE FOR SUPPORT DOC. CASE FOR SUPPORT DOC. Graphically it should be applied as a pre-defined word mark in Rougenta, black or reverse. It should be applied as a secondary design element and generally appear in the footer of cases for support and internal documents. Donor-specific messaging This is a sample of Interstate Light used for body copy. Case for support example ^ Word mark placement 11

12 APPLICATION AND SIGN-OFF GRAPHICS The logo application for this campaign is applied on the bottom right-hand corner. A graphic has been developed to draw the eye to this corner with the RRC Rougenta Dark. Narrow sign-off graphic Curves flow in The sign-off graphic sits at the bottom right hand corner or extends all the way across the piece as shown below. RRC logo is positioned bottom right for advertising applications. It is always reversed out of RRC Rougenta Dark. Always right-align the graphic elements as shown above. Wide sign-off graphic Curves flow out Always place graphics outsize of the trim area as shown above. 12

13 APPLICATION AND SIGN-OFF GRAPHICS Sign-off graphic object layering All layers of the sign-off graphic are based on the school s primary identifying colour, Rougenta Dark (C:15, M:100, Y:71, K:4, HEX: C81F45) and black and white gradients with specific blending modes and opacities applied to each. Specifications Object 1 should only be used in the narrow sign-off graphic. Objects 3, 4 and 5 should only be used in the wide sign-off graphic. These info graphics only combine them all to demonstrate the correct arrangement. Sign-off graphic object alignment and scale All graphic objects except for object 1 should be right-aligned. > Nothing below the base of object 2 and 4 should ever be visible in an ad. *The diameter of the masked circle in object 1 should be 4X the height of object 2 and they should be top-aligned. Gradient location (Loc.) refers to the black and white points in this panel > Object 2 must accommodate the tagline and/or logo including their safe-areas. Object 3 may be scaled down to compliment the composition of the photo behind it. BACK (Photograph) (1) 1 Rougenta Dark, Opacity: 100% (2a) 2a) 80% Black to white gradient; Loc.: 0-50%, Opac.: 100% (2b) 2b) Rougenta Dark, Blending mode: Multiply, Opac.: 100% (FOR WIDE SIGN-OFF GRAPHIC USE Wide_Sign_Off_Underlay_Transparency.psd IN PLACE OF 2b) (3) 3) Rougenta Dark, Opac.: 50-67% (% based on brightness and contrast of underlaying photo) (4a) 4a) Rougenta Dark, Opacity: 100% (4b) 4b) White to black gradient; Location: %, Blending mode: Multiply, Opacity: 33-50% (5) 5) Rougenta Dark, Opacity: 100% FRONT (tagline and logo) Merge Merge The bottom of 3 kiss fits the top of 2 2 and 4 are bottomaligned (1)* The bases of 3, 4 and 5 should be equidistant. (2) (3) Objects 4 and 5 should be the same size (4) (5) 13

14 PHOTOGRAPHY Approach The imagery for this campaign is of industrious, productive RRC grads making a meaningful impact on Manitoba s economy. It is a storytelling approach in the sense that every element in the composition contributes to an image that works in tandem with the headline. For example, if the headline says that our grads get their hands dirty, care should be taken that enough visual cues are present in order to communicate what industry is being showcased and what kind of work is being done. As these images will appear in the highest profile applications externally, aiming for the highest quality of image is essential. The images must work to achieve their desired outcome of this campaign to elevate the RRC brand and compel donors to give. Subject The grads should appear focused, diligent and eager. Also, it is important to demonstrate ethnic diversity. Setting If the subject s pose and activity doesn t communicate the story being told, the environment can add visual cues as to the industry being portrayed. Other workers or students in the background can help to sell the idea of a thriving workforce. Lighting Directional light on the main subject from the top, back or side helps to create definition and an element of drama. Wardrobe Every detail helps to tell the story. Wardrobe should be relevant to the position or the field the subject is working in. Care should be taken to make sure the wardrobe will provide appropriate contrast in the composition. At times the student or worker needs to stand out. At other times, to allow for copy, the wardrobe should be muted. Composition Careful planning is needed to ensure the images will work in a variety of formats and still have adequate space for the headline. This should be achieved in camera with a high level of detail in post-production. 14

15 PHOTOGRAPHY As the theme for this campaign is working, it is important to show active workers and in some cases, make sure that enough context is given to compete the message supplied by the headline. Some industries are easily recognizable even with very little context. These are ideal for small ads where there is not a lot of room. If a general trades image is all that is needed, it may not be necessary to add visual cues about the industry portrayed. If it is necessary to be specific about the industry, enough visual cues should be present. For instance, if the headline references the automotive industry, there should be a clear representation of it. Sometimes the background can help provide the context for the industry. Images for print ads provide the opportunity for a wider shot to provide more context. Images for outdoor billboards have a tight, punchy composition. If compositing does not seem feasible for a certain shot, it is still advised to capture plenty of space on either side of the main subject. 15

16 PHOTOGRAPHY Below are a few examples of what to avoid in developing imagery for this campaign. While this campaign has room to evolve, at this point, it does not use portrait photography where the subject is looking at the camera. Even though there is no direct engagement with the camera, facial expressions are still important. Make sure there is clear focus in the image. An approach that is too candid will not capture the personality of the campaign. It is key that the images portray working. The images should not be ambiguous as to what is going on. 16

17 PHOTOGRAPHY In instances where the tagline is being introduced and sits centre stage, background imagery is used to create a feeling of an optimistic, thriving, and progressive Manitoba economy. These images can also be used in various collateral, such as case for support materials. Super-board example 17

18 MESSAGING Fundraising Campaign-related messaging should be developed to directly or indirectly solicit donations, making the donor feel they are getting a tangible return on their investment. The messaging s voice should align with the campaign s strategic platform, respecting the following brand tenets, as follows: HEADLINE INTRODUCTION When reaching new audiences, the campaign headline can be featured prominently with no further supporting messaging. This will introduce the overarching idea and generate intrigue for the general population. It will also validate the decision that top donors have made to support the campaign (i.e., you want to get behind something that is working). Introduction sample. The campaign headline can be featured prominently with no further supporting messaging. REAL Cultivating tangible, applicable skills in a compassionate environment where students make important connections that support true success. SUPPORTING As the campaign expands and becomes more familiar to target audiences, the headline can move into a supporting role. The same approach will apply whether the communication is programming/industryspecific, fact-based, or general. NIMBLE Driven to look ahead and create programs that respond to what business needs now, and build the province s economic future. GRITTY Determined to do what needs to be done to ensure access to learning that is vital to the prosperity of Manitobans. Campaign headline The campaign s key thematic message of WHAT WE RE DOING IS WORKING. is highly flexible and can be used in different ways throughout various phases of the campaign to address different audiences and objectives. Support phase sample. The headline can move into a supporting role. 18

19 MESSAGING Programming and industry-specific examples Messaging should demonstrate the depth of the College s impact, with a nod to the programming it facilitates and the industries it serves. Both examples below apply mainly to Culinary Arts. Our grads impressed your clients at lunch today. What we re doing is working. When exceptional is on the menu, what we re doing is working. In instances where space is limited and shorter messaging is required, quick-hit headlines can be applied. These can relate to a variety of industries and fields of study. Behind the scenes. What we re doing is working. (TV/Film production) In the kitchen. What we re doing is working. (Culinary Arts) In the boardroom. What we re doing is working. (Business and Tech) Alternative approach As an alternative to using WHAT WE RE DOING IS WORKING. in a supportive role, there may be instances throughout the campaign s lifespan where it is appropriate to continue to lead with it. What we re doing is working, in the aerospace industry. What we re doing is working, for our health-care system. Fact-based examples For materials that are not program-specific but require a unique selling point, fact-based messaging can be used. 97% of our grads stay in Manitoba industries. What we re doing is working. We ve put 10,000 Manitobans in jobs over the last two years. What we re doing is working. Our grads are vital to every industry in Manitoba. What we re doing is working. General examples The headline can also be used to support general statements. However, caution should be taken not to overuse statements that cannot be owned by RRC throughout the campaign, as it makes the campaign less unique and relevant to the specific objective. When a problem gets solved, what we re doing is working. When innovation moves your business, what we re doing is working. 19