leeds arts uni - brand guidelines

Evolving Identity 

This new identity for the Leeds College of Art was developed with three key principles in mind:

• –  To stay true to the heritage of our institution
  
• –  To create a exible system that supports the values of our organisation
  
• –  To introduce an adaptable identity that works in all applications.
  The mosaic has been the basis of our identity for many years.
  Its symbolism for us and our students is significant, but it presents several challenges that until now we have not fully addressed. This evolution does take on those challenges, retaining the mosaic at its heart and developing its appearance and application so that it can underpin and represent the modern ethos, impact and ambition of Leeds College of Art. As well as respecting our tradition and heritage, it embraces our dynamic, modern offer and the way we want to reach out to current and potential students with something lively, colourful, promising.
  
  
  
  
  Original Logo
  
  
  
  Our previous identity used an image of the mosaic, where possible, which was limited because of the ‘legibility’ of the image at small sizes. We were also restricted to using the logo in four colour print, as it doesn’t work as a mono image. Neither could it be used reversed out of a darker colour, or at small sizes where detail was completely lost. These limitations meant that the mosaic did not appear, which left the logotype a lot of work to do. Our very open, loose approach to design meant that we often missed the opportunity to clearly brand or own material we had produced. Although a distinctive feature of the building, and a tradition of our identity, the original logo was not helping us to stand out in our crowded marketplace. 
  
  Logo Type
  
  
  
  
  

  Original Typography
  Since the mosaic image rarely appeared, our logotype has had an awful lot of work to do, often appearing the only consistent element on our print, which often uses dramatically different design approaches and content. However, the logotype was drawn from the original mosaic and so was, as logos go, unre ned and posed its own problems in usage. 

  
  
  
  
  

  Redrawn typography
  
  Our new identity redraws this original type, using a hand drawn font to retain a carefully crafted, established feel. However, the lines are clean and solid, making the type more consistent, de nitive and contemporary.
  The new logotype incorporates the year the college opened. This underpins our claim to tradition and heritage, and brings weight and kudos to the college’s offer.
  
  
  New Identity 
  
  
  

  Our new identity uses this new, hand drawn logotype on a shape taken directly from the mosaic. The background shape brings definition to the logo, making it more visible, eye-catching and ensuring that it has clear space around it. The bold shape, which holds the Leeds College of Art name, ensures its leading role in designs. 
  
  
  Logo family
  
  
  
  
  

  
  
  
  
  
  
  Our range of background shapes gives us four logos. There is no hierarchy to these, nor do any of them ‘belong’ to any department or activity. The desired effect is that people coming into contact with our materials might see something different every time. The identity feels uid and versatile, as well as being grounded in history and permanence. 
  
  
  Exclusion Zones
  
  
  
  
  
  

  Always make sure the chosen logotype you use has suficient clear
  space around them. As a general rule use the height of the type within the tile. The minimum size for any of the logo variants is 15mm in black and white.
  A type only version of the logo is also available to use. The same principles apply, ‘x’ denotes the minimum clearspace around the logo. 

  
  
  Using the logo
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  Colour palette 
  
  
  
  
  Our range of colours is loosely associated with ve themes that relate to what we offer – ideas, debate, progress, craft and celebration. They are inspired by these values, but you can use them exibly – the colour palettes do not belong to any department or activity. Use the palette that best
  suits your application – you might choose to let the theme in uence your decision, but again, this is exible and inclusive.
  There is exibility too in combining elements of these palettes. You’ll need to work with some restraint, but as shown on page 41, or in application on something like the website, you might combine colour palettes. 
  
  
  
  Example Templates 
  
  
  

  You can use the mosaic patterns as graphic devices, applying them decoratively. A number of templates are available to download and use, but there is exibility and you can adapt these and build your own, with care and consideration, to suit the application. The following pages show how the patterns can be applied using the various colour palettes, using texture or even as a shape to hold images. 
  
  
  
  

  Primary typeface
  
  Our primary typeface is Adobe Garamond. This classic serif typeface is similar to the lettering of our logotype, echoing the tradition and history of the college.
  All headlines should be set in the ‘Titling Capitals’ weight of this font and set with negative kerning.
  See examples on page 37-41. 
  
  
  

  Secondary typeface
  Our secondary typeface is A2 Grot10 and was chosen as a solid, contemporary sans serif typeface that would work effectively with Adobe Garamond. It helps to position us as forward thinking and current.
  Should be used for all bodycopy in two weights.