BRAND GUIDELINES

CREATING
BRILLIANCE
A BIT ABOUT US

We are a pioneering British university and we work in

unconventionally brilliant ways.
From our pioneering teaching methods, the unique
opportunities we offer our students, our curious
and motivated academics, to the inspiring successes
of our alumni.
At the forefront of research – in fields as diverse as
climate change, social work, creative writing, international
development, and food science – we’re proud to be one of
the world’s leading research institutions.
And we think unconventionally too. Whether that’s the
breakthrough teaching in our classrooms, or the innovative
buildings we design – we always lead the way.
TOGETHER, WE HELP OUR STUDENTS ACHIEVE
UNCONVENTIONALLY BRILLIANT FUTURES.
INTRO

WHAT ARE BRAND GUIDELINES?

The UEA brand is made up of several distinct elements that create
a style. And that style acts as a filter for all of our brand activity.
From the way our logo is positioned on the page, to the way we sound.
Put simply, our style guide is a set of simple directions that help us
express who we are through a unique look and feel.
Whether you’re a colleague working with us at UEA, or an external
agency or freelancer working remotely, you’re a brand champion.
We need your help to make sure the technical delivery of our brand
assets all come from the same core and share the same goal: to
communicate our brand message clearly, and to engage and excite our
audience at every turn of the page or swipe of the screen.

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INTRO

WHAT THEY ARE NOT

Our brand guidelines are not a straightjacket to
creativity or a means to produce generic templates.
We’re always finding exciting new ways to communicate
with our audiences, and these guidelines are the tools
to help you create something brilliant.

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CONTENTS

Who are you The foundations Applying the brand to:

talking to? of our brand
Our brand has some distinct 1 THE MAKING OF A BRAND 4 DIGITAL
guidelines that apply to every piece
of communication we produce. You’ll 1.1 OUR OPPORTUNITY 4.1 INTRODUCTION
find those in Section 1. But there are 1.2 THE NEED FOR CHANGE 4.2 WEBSITE DESIGN PRINCIPLES
some important variations depending 1.3 WHY WE’VE CHANGED 4.3 IDENTITY ELEMENTS
on the audience we’re talking to. 1.4 OUR PROPOSITION 4.4 THIRD PARTY WEBSITES
You’ll find those in Section 4–6. 1.4.1 WHAT DOES UNCONVENTIONAL 4.5 HOW IT ALL COMES TOGETHER
Familiarise yourself with the brand BRILLIANCE MEAN?
basics first, and then head to the 1.5 WHY OUR PROPOSITION WORKS
relevant section to find out how our
5 UNDERGRADUATE
1.6 HOW OUR PROPOSITION APPLIES
brand flexes to suit our audience. 1.7 BRAND PURPOSE AND POSTGRADUATE
5.1 TALKING TO UNDERGRADUATES AND POSTGRADUATES

2 OUR VOICE 5.2 UTILISING THE ‘SUPERGRAPHIC’

5.3 UTILISING PHOTOGRAPHY
2.1 HOW IT WORKS
5.4 DESIGN LANGUAGE
2.2 OUR HOUSE STYLE
5.5 HOW IT ALL COMES TOGETHER

3 IDENTITY ELEMENTS 6 HOARDING DESIGN

3.1 OUR LOGO
6.1 INTRODUCTION
3.1.1 HORIZONTAL LOGO VARIATION
6.2 HOARDINGS
3.1.2 LOGO USAGE
6.2.1 HERO HOARDINGS
3.1.3 UEA BRAND HIERARCHY
6.2.2 GENERIC HOARDINGS
3.1.4 THE ‘GLINT’
6.2.3 GENERIC COVER HOARDINGS
3.2 COLOUR PALETTE
6.3 INFORMATION BOARDS
3.3 TYPOGRAPHY
6.3.1 PROJECT BOARDS
3.4 PHOTOGRAPHY
6.3.2 MESSAGE-SPECIFIC SIGNS
3.5 DESIGN LANGUAGE
6.4 OVERVIEW

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 1
UEA GUIDELINES V0.5 JANUARY 2015 6

THE MAKING
OF A BRAND
1 THE MAKING OF A BRAND
1.1 OUR OPPORTUNITY

OUR OPPORTUNITY
Our reputation and success has grown steadily in recent
years. Now, we want to build on the momentum of our league
table gains, through excellence in student satisfaction and
our strong REF score, and bridge the gap between how we
can demonstrate our research excellence and how we are
perceived both nationally and internationally.
We have an ambition to be one of the most cited universities in
the world for research. We’ll continue to grow our reputation,
and our influence, as a world-leading university.

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1 THE MAKING OF A BRAND
1.2 THE NEED FOR CHANGE

THE NEED FOR CHANGE

Our brand is the public face of the University.
We’re forward-moving and forward-thinking, leading the
way with our academic accomplishments, and enjoying
an enviable reputation for research.
To secure the future of the University in an ever-evolving
market, it is imperative for our brand to be memorable, bold
and confident, keeping pace with the pioneering work we do.

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1 THE MAKING OF A BRAND
1.3 WHY WE’VE CHANGED

WHY WE’VE CHANGED

In an overcrowded, homogeneous market,
with over 100 universities in the UK competing
for applicants, it’s increasingly important for our
accomplishments to stand out from the crowd.
To show our unconventional brilliance in action,
our brand has to reflect unconventional brilliance too
– in the ways we communicate with our students
past and present, their parents, and our people.

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1 THE MAKING OF A BRAND
1.4 OUR PROPOSITION

OUR PROPOSITION
At UEA I can be…unconventionally brilliant.
Unconventional brilliance conveys how we are unique.
After all, it’s what we’ve always been from the very start.
We give our people the tools they need to work in unconventionally
brilliant ways, preparing our students for employment,
collaborating with our industry and research partners,
and driving curriculum innovation.
Ever alert to change, we can respond to an ever-changing world,
attracting the next generation of talented students by confidently
expressing why we’re different and what makes UEA brilliant.

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1 THE MAKING OF A BRAND
1.4.1 WHAT DOES UNCONVENTIONAL BRILLIANCE MEAN?

WHAT DOES UNCONVENTIONAL

BRILLIANCE MEAN?
It’s our reputation for the pioneering research we do, and our ambition to be
one of the most cited universities for research in the world. It’s the innovative
buildings we create, the future Nobel Prize winners we train, our pioneering
approach to teaching, the surveys we top, the Booker Prize winners we teach,
the way we always go above and beyond, striving to create unique experiences
and opportunities for the people that study and work with us.
It’s the way our students matter to us from the beginning of their journey with
UEA, and it’s how everything we do is with them in mind. Helping them become
the best they can be, and to give them all they need to thrive – even as our
alumni, long after they leave.
It’s this unique environment we want to communicate through our brand,
every time we come into contact with our stakeholders.

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1 THE MAKING OF A BRAND
1.5 WHY OUR PROPOSITION WORKS

WHY OUR PROPOSITION WORKS

It’s a strong statement of direction and intent. It sets
the bar high, demonstrating how our people find
pioneering new ways of working and take less
conventional approaches to getting things done.

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1 THE MAKING OF A BRAND
1.6 HOW OUR PROPOSITION APPLIES

HOW OUR PROPOSITION APPLIES

UNDERGRADUATE ALUMNI
We communicate bold stories that highlight what’s We share our vision for the future with a worldwide
exceptional about UEA and what our students achieve community, instilling a sense of pride and belonging
here, inviting prospective students to discover more beyond graduation through inspiring alumni success
about what their UEA journey could be. stories, latest advances and news, events, and
mentoring opportunities.

POSTGRADUATE
We focus on the strong reputation we enjoy across REPUTATIONAL
our postgraduate programmes, our high-quality
postgraduate teaching, our academics’ research
INFLUENCERS
excellence, our world rankings, our vibrant postgraduate We engage with academics and government agencies,
community, and how we are leaders in our field. and make a very real impact with our research,
encouraging a change in society and influencing
change in Government policy.

INTERNALLY
We celebrate success and look confidently to the future
through our 2030 vision. We inspire colleagues to share
and engage with the brand values to enable us all to
create a consistent message.

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1 THE MAKING OF A BRAND
1.7 BRAND PURPOSE

How our brand can boost our reputation:

BE CONFIDENT BE YOURSELF DO DIFFERENT

We speak confidently about the We speak with authenticity We have always lead the way
evidence of our excellence and integrity and been proud to challenge
the status quo

The way we communicate brings our brand to life. We say a lot in a few words.
And make sure that those words, our messages, and our content are uniquely
UEA. We work in an original way, and we talk in a unique, genuine voice about
the remarkable things we do. Always demonstrating that we’re a university
known for our forward-thinking spirit and for breaking boundaries.

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 2

OUR
VOICE
2 OUR VOICE

Everything we write and say about UEA should convey our unique brand proposition:

AT UEA I CAN BE UNCONVENTIONALLY BRILLIANT.

And our three clear principles:

BE CONFIDENT. BE YOURSELF. DO DIFFERENT.

We do this through a distinct house-writing style and our unique tone of voice.
The way we speak depends upon our audience; a brochure targeting senior
academics will be written differently to a communication for prospective students.
Always consider your audience and remember that we flex our tone and content
when we speak to different people, for example; undergraduates, postgraduates
or our younger audience. You can find out more about these tonal and content
shifts in Sections 4.1, 5.1 and 6.1 and our house style in Section 2.2.
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2 OUR VOICE
2.1 HOW IT WORKS

Overall, our three clear

principles always affect the
way we talk. Remember
BE CONFIDENT Examples
to visit Sections 4.1, 5.1,
and 6.1 to see how our
messages flex depending
who we’re talking to.
Stay active The latest research informs our
We use the active voice and make strong
unique approach to learning.
statements with conviction, like this: Students learn from staff at the
forefront of their disciplines.

We say more with less

Spacious and fully equipped, our
We keep titles, sentences and paragraphs
award-winning campus combines
short for maximum impact, like this: innovative architecture with
natural beauty.

We back up what we say According to the Times Higher

We choose the single most powerful proof
Education Student Survey,
point to support every claim, like this: UEA provides the best student
experience in the country.
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2 OUR VOICE
2.1 HOW IT WORKS

Overall, our three clear

principles always affect the
way we talk. Remember
BE YOURSELF Examples
to visit Sections 4.1, 5.1,
and 6.1 to see how our
messages flex depending
UEA is part of the most cited research centre
who we’re talking to.
We are proud outside of Oxbridge and London. Our teaching
We celebrate our strengths, recognise our and research are highly regarded, bringing
progress, and thank our partners, like this: breakthrough thinking into the classroom to
make bright futures for our students.

We stand out
Norwich is a big city where old meets
We use compare and contrast to stand
out from the competition and challenge new, nature meets technology, and
expectations, like this: local and global cultures collide.

We get personal
We avoid industry jargon or a stuffy,
At UEA you won’t just learn about
institutional tone. We write like people do what other people have done,
– in plain English, like this: thought or said. You’ll learn by doing.
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2 OUR VOICE
2.1 HOW IT WORKS

Overall, our three clear

principles always affect the
way we talk. Remember
DO DIFFERENT
to visit Sections 4.1, 5.1,
and 6.1 to see how our
messages flex depending
who we’re talking to. We talk in a different way At UEA you won’t just learn about what other Examples

Do Different is in UEA’s DNA. Use people have done, thought or said. You’ll
this spirit to surprise and delight in the learn by doing. That’s because we believe you
language you use, and the structure and learn best by trying things out for yourself.
tone of voice, like this:

We talk about our heritage With our uniquely green location, distinctive
architecture and commitment to providing a
We frame our facilities, achievements,
and activities by how they benefit our quality student experience, we have continued
community, like this: to grow since our inception in 1960.

Challenge the status quo Our outstanding academic support

We describe UEA in terms of how
we empower people to do, like this:
will help you fulfil your potential.

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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
Abbreviations and acronyms Alumni
house style to keep our – D
 on’t use full stops in or after abbreviations like: Alumnus (male), alumna (female), alumni/ae (plural).
writing consistent across GCSE, BSc, BA, MA, unless it appears at the end
our printed and digital
communications. See
of a sentence Ampersands
Section 4 for additional – I n text, &, ie and eg should be spelt out in full as Do not use as an abbreviation for ‘and’
digital copy guidelines. ‘and’, ‘per cent’, ‘that is to say’ and ‘for example’. unless it forms part of an existing title,
In tables, headings, or when you need to save like: Marks & Spencer. 

When you produce space, the abbreviations may be used but not
communications for UEA
always make sure they
with full stops
Biannual/biennial
follow these simple rules: – U
 se the abbreviated form of a title without
Biannual - twice a year

explanation only if there is no chance of any
Biennial - every two years.
misunderstanding, like: BBC. Otherwise, the first
reference to a name should always appear in full,
followed by the abbreviation in brackets, like: This Bullet style
course is taught by staff in the Climatic Research
Unit (CRU). CRU is world-renowned – L ong lists should be As your studies progress further,
bulleted. Do not use you will have the flexibility to
– F
 or names with initials we avoid full stops and choose from a substantial range
commas or semicolons
spaces, like: JK Rowling. of fascinating and challenging
after any of the points options. These currently include:
– B
 egin each bulleted
Accents point with a capital letter
– Fluid Dynamics
– Mathematical Biology
We do not include accents in words that have passed – Dynamical Meteorology
– O
 nly the last point
into the English language, such as: cafe. – Statistical Mechanics
should end with
a full stop – Learning and Teaching
A levels – D
 on’t leave a line after
of Mathematics
– Financial Mathematics
A levels, not A-levels or ‘A’ levels. the paragraph and the – History of Mathematics
bulleted point – Galois Theory
– U
 se hyphens at the start – Topology
of each bullet. – Mathematical Logic.
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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
Capitalisation – F
 aculties (Faculty of Science), Schools
(Environmental Sciences), course titles (MA
house style to keep our – I n headings the first word should be uppercase Theatre and Development) and module titles
writing consistent across with remaining words capitalised only if a proper (Medicine and Gender) should use upper case
our printed and digital noun, name or if a specific title (eg a module title)
communications. See or position is involved – U
 se lower case when referring to a subject
Section 4 for additional
– internet not Internet
 in a general way, like: ‘a good background in
digital copy guidelines.
mathematics is essential’.
When you produce – web not Web

communications for UEA
always make sure they
– U
 se lower case for seasons and semesters. Century
For example: The prospectus will be updated
follow these simple rules: 21st century, 20th century (noun); 21st-century
in spring 2016
(adjective), eg in the 21st century (noun);
but a 21st-
– U
 se lower case for points of the compass: century dilemma (adjective).
east, west, north, south. For example: Schools
in the north east, the south of Scotland, southern
Europe Circa
– U
 se upper case for the names of books, films and Abbreviate simply as c (roman) followed by a space,
other major works in the usual way eg c 1342.

– U
 se upper case for definite geographical places,
regions, areas and countries: South-East Asia, The Colons
Hague, the Midlands, the Middle East Use lower case initials in words that succeed the
– U
 niversity (meaning the University of East Anglia). colon unless the word is a proper noun.
Lower case should be used when referring to
universities generally
– V
 ice-Chancellor (referring to our Vice-
Chancellor), all others are vice-chancellors

– Pro-Vice-Chancellor

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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
Contact information Dates
house style to keep our We present our contact information in italics under – Friday 10 August 2007 (no ‘th’ or comma)
writing consistent across bold, capitalised headers like this:
our printed and digital – 2007-08 not 2007-2008 or 2007/08

communications. See ENQUIRIES – D
 ecades should be expressed as 1960s
Section 4 for additional (not 1960’s or ‘60s)

digital copy guidelines. T +44 (0) 1603 591515
E [email protected] – A
 D goes before the date (AD 64), BC goes
When you produce www.uea.ac.uk/study/undergraduate after (300 BC).
communications for UEA www.uea.ac.uk/international
always make sure they
follow these simple rules:
Degree
CONNECT WITH US
Capitalise the full degree title and module titles
but
Instagram and Twitter @uniofeastanglia use lower case when referring to subject areas.
Facebook facebook.com/ueaofficial For example: The School of Biological Sciences
www.uea.ac.uk offers courses in ecology, biology and conservation.
To study for the Master of Mathematics programme,
you should have studied mathematics to at least
Dashes A level.
Use short dashes (ens) when there are no
spaces First, 2:1, 2:2, Third. Never use 1st. Use a capital when
between words, ie 2000-2005, 5,000-word referring to a First, but lower case initial for first-
dissertation, and long dashes (ems) when there
 class degree. He was awarded a 2:1 in English.
are spaces between words, ie the module
– British Cinema.

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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
Double spacing Honours
house style to keep our Once used in the days of mechanical typewriters, Use a capital letter when describing a specific
writing consistent across double spacing is now not necessary. Always use a degree course, BA Honours French or BA Hons
our printed and digital single space after a comma and full stop. French, otherwise use ‘honours’: ‘you will need
communications. See a good honours degree’.
Section 4 for additional
digital copy guidelines. Email
When you produce Email and email, not E-mail and e-mail.
Hyphenation
communications for UEA Required for compound adjectives, like: her
always make sure they
follow these simple rules: Faculty brother is a first-year undergraduate or the
referee has a full-time job.
‘The University has four Faculties: the Faculty
of Science, the Faculty of Medicine and Health Other examples:
Sciences’. Use lower case when referring to
faculty members. It is an award-winning, world-class department.
The course has broad-based modules.
Historical periods The School offers cutting-edge research.

Capitalise names of widely recognised epochs in Do not use a hyphen when the combination
anthropology, archaeology, geology and history:
the of words includes an adverb (words ending in –ly),
Bronze Age, Modernism, the Dark Ages, the Middle like: ‘strongly worded letter’.
Ages,
the Renaissance, the Victorian era, the
Enlightenment, the Third Reich. Use where the same letters meet in adjacent
word, like: film-maker.
Capitalise periods named after specific dynasties or
people: the Tudors, Elizabethan.

Initials
Lower case: medieval, baroque and early modern. No space or full stops between personal initials:
AM Smith or JK Rowling.

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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
Internet Job titles
house style to keep our internet not Internet. Use lower case for all job titles, like: he is the
writing consistent across chairman of Microsoft; she is the editor of
our printed and digital
communications. See International the Guardian.
Section 4 for additional Refer to international not overseas students.
digital copy guidelines. Master’s
When you produce
communications for UEA
International telephone style Use ‘Master’s degree’, not: Masters degree,
masters’ degree or masters degree.
always make sure they Tel +44 (0) 1603 456161
Referring to a generic Master’s: I did my
follow these simple rules:
Master’s at UEA.
Inverted commas Referring to a specific degree: Jo studied
(quotation marks) for a Master’s in Creative Writing.
Use single inverted commas, reserving double
inverted commas for a quotation within a quotation Newspaper titles
and for direct speech.
Generally in italics and with lower case ‘the’:
the Guardian. Exceptions to this are The Times
Italics and The Economist.
Use italics for titles of published books, periodicals,
plays, films, paintings, newspapers and genus and Norwich Research Park
species names in Latin.
Don’t abbreviate to NRP – you can refer to
Titles of articles and features in periodicals are set in Research Park or Park after the first mention.
Roman type enclosed in single quotation marks.
Use italics for foreign words that have not become
part of the English language.

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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
Numbers Over
house style to keep our Our house style is to say ‘more than’, rather than
– B
 e consistent, it’s ‘between nine and fifteen’,
writing consistent across ‘over’: ‘There are more than 10,000 international
our printed and digital not ‘between nine and 15’
students’, not ‘there are over 10,000 students’.
communications. See – 1 0 upwards as figures, so ‘10’ not ‘ten’, ‘29’ not
Section 4 for additional ‘twenty-nine’
digital copy guidelines. Percentage
– S
 pell out any number that begins a sentence, like:
When you produce ‘One hundred and ten people graduated Use %, not per cent or percent.
communications for UEA this year’
always make sure they
follow these simple rules: – U
 se commas for numbers of four or more digits: Programme/program 

1,000 not 1000
Part-time degree programme.
– £100 million or £100m not £100 m
A computer program.
– £
 10,000 not £10k, although £10k is acceptable
in internal documents
Qualifications 

– F
 ractions are hyphenated as adjectives:
one-third full, but not as nouns: one third A levels not A-levels or ‘A’ levels.

of the population GCSE, BSc, BA, MA, PhD not G.C.S.E.
– ‘The course runs for two years’ Master’s not Masters’ or Masters.
– ‘It is a two-year course’
– S
 pell out ordinal numbers in text: first, second, School of Study 

third not 1st, 2nd, 3rd except for in a table. 
 When referring to the University’s Schools (because
of the possible confusion with secondary schools)
capitalise School of Study or Schools of Study.

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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
ise/ize
 – H
 ealthcare when used as adjective: healthcare
professions, otherwise health care
house style to keep our civilised not civilized

writing consistent across – Judgement not judgment
our printed and digital organised not organized
– Master classes
communications. See
Section 4 for additional
digital copy guidelines.
We use the following:
 – Medieval

– M
 odelling not modeling
– Adviser not advisor

When you produce – M
 ultimedia

communications for UEA – A levels, O levels – no hyphen
always make sure they – M
 ultinational
– Childcare not child care

follow these simple rules:
– Online not on-line

– C
 ontinental Europe not continental Europe
– P
 olicymakers
– C
 o-ordinator not coordinator

– P
 ostgraduate/undergraduate not
– C
 o-operation not cooperation

post-graduate or under-graduate
– Coursework not course work
– P
 roblem-solving

– Courtroom not court room

– Signalling not signaling
– En suite not ensuite or en-suite

– Skilful not skillful
– F
 ield trip not fieldtrip

– S
 upervisor not superviser

– Field work not fieldwork

– Transferable not transferrable
– F
 ilm-making not filmmaking

– Under way not underway

– Flatmate not flat mate
– US for United States, not USA
– Focuses not focusses

– Website not web site
– Fulfil not fulfill
– Worldwide not world-wide

– Y
 ou take a full-time course but you study full time
– Year 2, year 3 not year two etc
(same for part-time/part time)

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2 OUR VOICE
2.2 OUR HOUSE STYLE

Along with our tone of

voice, we also have a
Time
house style to keep our 5.30pm not 5.30 pm or 17.30
writing consistent across
our printed and digital
communications. See Titles
Section 4 for additional Mr/Mrs not Mr. or Mrs.
digital copy guidelines.
Dr not Doctor.

When you produce
communications for UEA Prof not Prof.
always make sure they
follow these simple rules:
The UEA URL
Our URL always appears in lower case
and is preceded by ‘ www’, like this:
www.uea.ac.uk

Website
Website not web-site

Years
2005-06 not 2005-2006 or 2005/06.

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 3

IDENTITY
ELEMENTS
3 IDENTITY ELEMENTS
3.1 OUR LOGO

Our lead logo’s classic design is bold, confident,

and complements our modern visual identity.

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3 IDENTITY ELEMENTS
3.1 OUR LOGO

Our lead logo’s classic

design is bold, confident,
For external communications
and complements our
modern visual identity.
The logo must appear
on every communication
we create.

Our lead logo always

appears on external
communications with the
University of East Anglia
line in position as shown.

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3 IDENTITY ELEMENTS
3.1 OUR LOGO

When the lead logo

is used for internal
For internal communications
communications, we
drop the University of
East Anglia line as there
is already confidence in
UEA’s brand on campus.

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3 IDENTITY ELEMENTS
3.1.1 HORIZONTAL LOGO VARIATION

If space doesn’t allow

for a stacked logo and
lock-up design, such
as on mobile or digital
banners, use a horizontal
version so the logo can
still be legible.

The horizontal logo in practice.

WHERE WILL YOUR STUDY TAKE YOU?

Discover more

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3 IDENTITY ELEMENTS
3.1.2 LOGO USAGE

Colour and
contrast
The lead logo should
appear in black or
white, whichever is in
higher contrast to the
background.

When the logo is placed

over an image, always make
sure that the background
is light enough or dark
enough not to cause
problems with visibility,
and that it doesn’t sit
over cluttered imagery.

The glint should always

appear in one of our brand
colours, not black, unless
for monochrome use.
See page 47 for variants.

Monochrome use:
In instances where black and
white printing is used, then reverse
the colours as appropriate.

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3 IDENTITY ELEMENTS
3.1.2 LOGO USAGE

Logo
clearspace
To ensure the logo has
room ‘to breathe’ and is
legible, take the distance
between the centre
point of the glint and the
top of the E (x) and use
as clearspace distance
around the whole
logo area. x

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3 IDENTITY ELEMENTS
3.1.2 LOGO USAGE

Logo Portrait format Landscape format

positioning
Always look to position the
logo in one corner of your
communication. Exceptions
to the rule can be found
on page 36.

Logo sizing
We use a simple formula to
determine the size of a logo
for each publication:
Portrait
Size the logo at 1/5th
of the format width.
e.g. A4 portrait (210mm)
logo = 42mm wide
Landscape
Size the logo at 1/7th
of the format width.
e.g. A4 landscape (297mm)
logo = 42mm wide Size the logo at 1/5th of Size the logo at 1/7th of
Screen (1280px) logo the format width. the format width.
= 256px wide
Minimum size
Portrait logo – 10mm
(height)
Landscape logo – 6mm 10mm minimum size 6mm minimum size
(height)

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3 IDENTITY ELEMENTS
3.1.2 LOGO USAGE

Logo Central placement

positioning
In some cases, such as digital
formats, it can sit centrally.
Other formats such as
printed roller banners
require a centrally aligned ROLLER BANNER SKYSCRAPER BANNER LEADERBOARD BANNER
logo for legibility.
Smaller pieces of printed
communication could also
consider a centralised logo.

MPU BANNER DOUBLE MPU BANNER

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3 IDENTITY ELEMENTS
3.1.2 LOGO USAGE

Branded goods
Example of promotional goods only.

k
c .u
a. a
ue
w.
ww
UEA GUIDELINES
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3 IDENTITY ELEMENTS
3.1.2 LOGO USAGE

Branded goods
Example of promotional goods only.

STUDENT AMBASSADOR

HI
I’M BECKY

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

UEA uses a series of logo

variants to help manage
and maintain a clear
brand identity. These
variants form the UEA Core brand Core brand extension
brand hierarchy.

Dependent on message
and usage, one of four
need to be applied.

The four variants are

identifiable as:
BSc ADULT NURSING
– Core brand
– Core brand extension
– Sub brand
– Independent brand.
The overarching UEA brand. Aligns closely with the core brand and
Represents the University as a whole. operates as an entity that supports the
If you are unsure which
Where UEA is communicating at an overarching strategic needs of the University,
one to use, please contact organisational level and not from yet recognises the message is coming from a
[email protected] within a School or department we department within the University. Use where
should always lead with the main UEA communication is coming from a School or
logo with a coloured glint. department that needs to be identified as
part of the communication.
UEA website / UEA wide recruitment material ie prospectus / Faculty / School level recruitment material, departmental level printed material,
Corporate plan / Court / Congregation / Corporate social media University funded research groups/projects.
channels / Press release.

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

UEA uses a series of logo

variants to help manage
and maintain a clear
brand identity. These
variants form the UEA Sub brand Independent brand
brand hierarchy.

Dependent on message
and usage, one of four
need to be applied.

The four variants are

identifiable as:

– Core brand
– Core brand extension
– Sub brand
– Independent brand. A department or division within the An entity that has a connection to
University where a strategic need has UEA through location or partnership,
been identified to indicate a level of but is for all intents and purposes a
If you are unsure which
one to use, please contact individuality to meet business need. stand-alone and separately managed
[email protected] Departments or divisions are still part entity, which has a business need to
of University output through funding have its own visual identity.
or supported through UEA employees.
Research groups (multi-institution collaboration or externally funded Spin-out companies, consultancy group, INTO,
research projects), CareerCentral. on-campus catering, ueasu.

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

UEA uses a series of logo

variants to help manage
and maintain a clear
brand identity. These
variants form the UEA
brand hierarchy.

Dependent on message
and usage, one of four Core brand – T
 he core brand is used when
need to be applied. talking on behalf of the University
The four variants are
identifiable as: – It can use any colour glint
identified in the colour palette,
– Core brand
but should avoid a black glint
– Core brand extension
– Sub brand
unless in monochrome
– Independent brand.
– G
 enerally it will be the dominant
logo on the page and not used
with any other logo unless the
If you are unsure which
one to use, please contact context is of a collaboration.
[email protected] Positioning should be in one of
the four corners and follow clear
space guidance
– U
 EA should always be in black or
white and never a colour.

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

UEA uses a series of logo

variants to help manage
and maintain a clear
brand identity. These
variants form the UEA
brand hierarchy.

Dependent on message
and usage, one of four
Core brand extension – A
 core brand extension is used to
need to be applied.
identify the department that is
talking within the University
The four variants are
identifiable as:
– T
 he department should always
– Core brand be locked to the logo and not
– Core brand extension used independently
– Sub brand
– Independent brand. – T
 here are three layouts to choose
from. Side by side, stacked and
stacked alternative (see page 47
If you are unsure which for further guidance)
one to use, please contact
[email protected] POST AND
– D
 o not add any design elements
PORTERING to the departmental identity
– F
 or internal and external comms
always lock to the full UEA logo.

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

UEA uses a series of logo

variants to help manage
and maintain a clear
brand identity. These
variants form the UEA
brand hierarchy. Sub brand – S ub brands should be used in conjunction
with the UEA logo where practical and be
Dependent on message presented as a locked logo (see page 40
and usage, one of four
need to be applied.
for detailed guidance)

The four variants are – If locking the logo is not possible the sub
identifiable as: brand should not be used independently
– Core brand and should feature on the same page as the
– Core brand extension main UEA logo. They should use the UEA
– Sub brand colour palette or be sympathetic to the
– Independent brand. colour palette so that they work with the
UEA logo

If you are unsure which – T hey should have relevant approval before
one to use, please contact being created
[email protected]
– If used independently they should have
clear guidance agreed for how they work
with the UEA logo as the lead brand

– S ub brands should always be

professionally created. Please do not
design without expert advice. Please
contact [email protected] for any
guidance required.
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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

UEA uses a series of logo

variants to help manage
and maintain a clear
brand identity. These
variants form the UEA
brand hierarchy. Independent brand – Independent brands will use their own
guidelines and are not managed under
Dependent on message the UEA brand framework
and usage, one of four
need to be applied.
– T hey should not be locked with the UEA
The four variants are logo without permission from UEA
identifiable as:

– Core brand – If they are to be used within UEA

– Core brand extension owned materials they will be used with
– Sub brand permission and presented within UEA
– Independent brand. style guidelines

– Independent brands are generally not

If you are unsure which
used for UEA projects or UEA activity.
one to use, please contact Relevant approval is required before
[email protected] developing if the brand relates to UEA
funded activity through cost or resource

– Independent brands need considerable

guidance and should approach a
professional to help with the creation
of such an identity.

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

Help, I don’t know which

variant I should use!
START

Are you communicating a

NO
message on behalf of UEA?
YES

Are you communicating an Are you communicating Use the Core Brand Extension
Use UEA Core Brand YES NO YES
organisational message? a departmental/faculty/
research message on
DON’T KNOW behalf of UEA?

NO

Contact [email protected]
Do you have a strategic
need to have a level of
individuality to achieve
Use the Sub Brand YES your business need?

NO

Are you a business with a

Contact [email protected] NO connection to UEA, but run YES Use the Independent Brand
as an independent business?

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

Partnering with
other logos
When partnered with
another brand’s logo,
broadly speaking there Landscape format
are two sizing rules:
guides only
Working with a landscape
partner logo
If the partner logo is
landscape, make sure it is
no taller than the UEA logo.

Working with a portrait

partner logo
If it is portrait, make sure
the height doesn’t exceed
the width of the UEA logo
(if it was on its side).

Always separate the two

Portrait format
elements using a thin rule.
The rule should sit at least guides only
one glint’s width from the
UEA logo.

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3 IDENTITY ELEMENTS
3.1.3 UEA BRAND HIERARCHY

Descriptor Core logo with Core logo with Horizontal logo with
logos ‘side-by-side’ descriptor ‘stacked’ descriptor ‘stacked’ descriptor
Descriptors identify Good for: the majority of Good for: small spaces. Good for: small spaces.
UEA faculties, schools communications.
or services and require
a lock-up. Lock-ups vary 1. Divide the UEA logo in into 4 as shown. 1. Size the descriptor using the cap height 1. Size the descriptor using the lower case
depending on the design in the ‘University of East Anglia’: height of the ‘University of East Anglia’:
layout and their context.

For example, a t-shirt

design might need a
different descriptor
lock-up layout to a
building sign. We use
2. Position the descriptor the width 2. Position the descriptor the height 2. Position the descriptor the height
three types of logo and
of two glints from the edge of the of one glint from the baseline of the of two glints from the baseline of the
descriptor lock-ups:
UEA logo. ‘University of East Anglia’. ‘University of East Anglia’.
3. Add a thin rule from the top of 3. Add a thin rule between them. 3. Add a thin rule between them.
the UEA logo to the baseline of the 4. Centre the descriptor copy or align 4. Centre the descriptor copy.
Always use approved ‘University of East Anglia’. to the left.
descriptors. If one
doesn’t exist contact
[email protected]

Descriptors should always

use University of East
INFORMATION SERVICES
Anglia for both internal UEA LIBRARY
and external audiences.

INFORMATION SERVICES
UEA LIBRARY

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3 IDENTITY ELEMENTS
3.1.4 THE ‘GLINT’

Our lead logo contains a

central element: the glint
that acts as a visual ‘eureka
moment’ and is the mark
The ‘glint’
of unconventionally
brilliant thinking.

Use only one UEA logo per

page or screen.

The glint should always

appear in one of our brand
colours, not black, unless
used in monochrome. You
can find our full palette in
Section 3.2

Only one additional glint

is ever used per page or
screen and must match the
lead logo glint colour.

Core logo with colour glints

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3 IDENTITY ELEMENTS
3.1.4 THE ‘GLINT’

Colour
application Black backgrounds: White backgrounds: Colour backgrounds: Photographic backgrounds:
The glint should always – Use any of the brand – Use any of the brand – Use white – Use white or contrasting
appear in one of our accent colours accent colours accent with colour
– Do not use black.
brand colours, not photography
– Try not to use white. – Do not use black.
black, unless used in
– Do not use black.
monochrome.

When it’s not possible

to use one of the brand
accent colours then
white may be used; for
example on a coloured
background.

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3 IDENTITY ELEMENTS
3.1.4 THE ‘GLINT’

Using the glint We use the glint to...

We use the glint highlight an image: highlight a headline: or highlight body copy:
independently with
‘supergraphic’ images,
campaign posters, the
prospectus cover, or a
hero panel online. NORWICH
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V
our supergraphics

MO P
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The glint is used to draw attention The glint is used to focus the viewer The glint is used to direct the reader
to the interesting visual. on the bold headline. to the main area of information.
Please do not use a glint on
photography if too busy.
UEA GUIDELINES
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3 IDENTITY ELEMENTS
3.2 COLOUR PALETTE

Our palette consists of

black, white, magenta,
Colour palette
green, cyan, orange and
purple. All colours can be
used as lead background
colours, or as highlights to
pull out a call to action or
key pieces of information.

Communications
usually use black and
white with one accent
colour at any time.
BLACK WHITE UEA GREY UEA LIGHT GREY
Please refer to page 70 RGB: 0/0/0 RGB: 225/225/225 RGB: 90/90/95 RGB: 150/150/155
CMYK: 0/0/0/100 CMYK: 0/0/0/0 CMYK: 0/0/0/70 CMYK: 0/0/0/40
for online colour values. PANTONE: N/A PANTONE: N/A

UEA MAGENTA UEA GREEN UEA ORANGE UEA CYAN UEA PURPLE
RGB: 236/0/140 RGB: 141/198/63 RGB: 250/166/26 RGB: 0/174/239 RGB: 127/64/152
CMYK: 0/100/0/0 CMYK: 50/0/100/0 CMYK: 0/40/100/0 CMYK: 100/0/0/0 CMYK: 60/90/0/0
PANTONE: 226 PANTONE: 369 PANTONE: 130 PANTONE: 2995 PANTONE: 2613

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3 IDENTITY ELEMENTS
3.2 COLOUR PALETTE

There may be occasions

where using tints of our
Tints
main brand colour palette
would be appropriate. 100% 70%
We can use a 70% tint to
break-up and divide the
main colours. RGB: 236/0/140
RGB: 242/77/174
A tint of a UEA brand UEA MAGENTA CMYK: 0/100/0/0
CMYK: 0/70/0/0
PANTONE: 226
colour can never be used
as the lead colour or main
accent colour on a page
or as the glint.
RGB: 250/166/26
Communications RGB: 252/193/95
UEA ORANGE CMYK: 0/40/100/0
CMYK: 0/28/70/0
usually use black and PANTONE: 130
white with one accent
colour at any time.

Don’t use pantones

of tints. Any artwork RGB: 0/174/239
RGB: 77/198/244
required in pantone UEA CYAN CMYK: 100/0/0/0
CMYK: 70/0/0/0
PANTONE: 2995
colours should use the
core colour palette only.

Please refer to page 70

for online colour values.
RGB: 141/198/63
RGB: 175/215/121
UEA GREEN CMYK: 50/0/100/0
CMYK: 35/0/70/0
PANTONE: 369

RGB: 127/63/152
RGB: 165/121/183
UEA PURPLE CMYK: 60/90/0/0
CMYK: 42/63/0/0
PANTONE: 2613

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3 IDENTITY ELEMENTS
3.3 TYPOGRAPHY

Our typeface is Brandon

Text and we use it in What could your UEA be about? NORWICH

Black, Bold, Regular and

Regular Italic weights.
It’s functional, friendly Brandon Text is used in the
and flexible. following message hierarchy:

ABCDEFGHIJKLMN
OPQRSTUVWXYZ
1234567890!
@£$%&*()?
1. BIG BOLD HEADLINE IN
abcdefghijklmn BRANDON TEXT BLACK,
opqrstuvwxyz SET IN CAPS
1234567890! (ALIGNED LEFT OR CENTRALLY
@£$%&*()? DEPENDING ON DESIGN).

abcdefghijklmn DISCOVERING
opqrstuvwxyz A BIG SMALL CITY
1234567890! 2. Standfirst copy in Brandon Norwich is the big While our University campus is

@£$%&*()? Text Bold, set in sentence case. small city where old
situated in 200 hectares of natural
parkland, the bustle of Norwich is
meets new, nature but a stone’s throw away. Ours isn’t
just a beautiful city, it also boasts

abcdefghijklmn meets technology

and local and global
a cutting-edge arts scene and is
steeped in literary excellence.

opqrstuvwxyz culture collide.

Here, you’ll find a historic castle and
ancient cobbled streets alongside

1234567890! 3. Body copy in Brandon Text award-winning shopping, theatre,

arts and entertainment.

@£$%&*()? Regular, set in sentence case.

“I think it’s the best of both worlds. It’s lively
like a city should be and yet idyllic like a
picture postcard.”
4. Testimonial in Brandon Text
Jen Barwell, MB BS Medicine graduate
53

Black, set in sentence case.

Highlighted with a divider bar.
UEA GUIDELINES
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3 IDENTITY ELEMENTS
3.4 PHOTOGRAPHY

Our photography captures

real students and staff at
We use:
UEA and should provide a – Natural lighting, where feasible
glimpse into their everyday
environment, working,
– Uncontrived, unstaged shots
studying and socialising. – Real life, including genuine
responses ‘in the moment’
It should also capture the
energy and excitement – Rich colour and contrast
of our unconventionally – Black and white images
brilliant campus. for rollovers online or
Always use approved statistics page in print.
imagery from our asset
bank – assetbank.uea.ac.uk.
If purchasing stock
photography in exceptional
We don’t use:
circumstances, make sure – People looking directly at
it follows the guidelines. the camera
– UEA logos or merchandise
in shot where this can appear
staged and not natural
– Unusual angles and effects
– Black and white photography
as a lead image.

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%
3 IDENTITY ELEMENTS
3.4 PHOTOGRAPHY

Here are a few simple tips

to follow when using and
selecting photography.
Do

Do capture spontaneous Do photograph places Do let the natural colours Do use black and white images
moments, like a genuine and people in the same and tones in the image but not as a lead image.
response. natural style. speak for themselves.

Don’t

Don’t stage photographs, Don’t excessively over Don’t add unnecessary Don’t excessively
people respond better dramatise images by filters or effects. create duotones.
when they aren’t aware adopting moody settings
of the camera. or unusual angles.
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3 IDENTITY ELEMENTS
3.5 DESIGN LANGUAGE

Think of the design

language as panels that
can be filled with content In print
– a supergraphic, a headline
or a photograph. The
supergraphic,
intention is to be bold,
simple and eye-catching, headline or
while creating a design supergraphic, photograph
language that is ownably headline or
UEA. The panels work photograph
across print and
digital communication.

Our preferred approach supergraphic,

is to lead with one headline or
single panel. photograph
In digital
supergraphic, supergraphic,
headline or
photograph
headline or
photograph

supergraphic,
headline or
photograph

supergraphic,
headline or supergraphic,
headline or
photograph photograph

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 4

DIGITAL

UEA GUIDELINES
APRIL 2016
57
4 DIGITAL
4.1 INTRODUCTION

APPLYING THE UEA BRAND ONLINE

To successfully apply the UEA brand online you should read
and digest the preceding sections fully.

In the following section we will explain how to apply various aspects of the identity
via online channels. However the tone, style and visuals that form any
digital asset should be drawn from the same rules and thought processes that
are explained previously.
While a premium should be placed on user interface (UI) and user experience (UX) in
online design, there is no practical reason for significantly altering our brand identity for
web use – in fact, our brand is designed to be both channel and media neutral.

Contact [email protected] if your designer has questions about our brand.

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4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES UEA Intranet Design HOMEPAGE

OVERALL STYLE
AND TONE
UEA’s visual style for websites
underlines the bold, confident
and direct tone of our brand.
The overall style is clean and
unfussy – letting content, instead
of heavy design elements, take
the lead.
We use an element of
white space in designs
to avoid heaviness.

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4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES

OVERALL STYLE

14 3 1
AND TONE
TOP
TH RD %

In line with our print designs,

we prioritise flat design,
clean layouts and strong Overall in the UK
2015 Times/guardian league tables
for student satisfaction.
Consistently in the top five.
2015 National Student Survey
of universities globally.
2014 Times Higher Education World Ranking

typographic treatments.

UEA homepage research stats panel.

KEY FACTS

10 good reasons
to live on
campus at UEA

UEA Course catalogue key facts.

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4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES

ROLLOVERS
Rollovers and other ‘tactile’
interactive elements are used
to add warmth and interest.

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YOUR SEARCH: ENGLISH (10) YOUR SEARCH: ENGLISH (10)

Material Design” guidance on

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FILTERS A YEAR IN... ATTENDANCE AWARD SUBJECT AREA CLEAR ALL FILTERS
linkk 8 A YEAR IN... ATTENDANCE AWARD SUBJECT AREA CLEAR ALL

Accessability
Acce
essability Leg
Legal
al St
Statements.
atements.

movement and apply it to the

BA AMERICAN BA AMERICAN BA AMERICAN BA AMERICAN BA AMERICAN BA AMERICAN
AND ENGLISH LITERATURE STUDIES AND ENGLISH LITERATURE STUDIES
LITERATURE WITH CREATIVE LITERATURE WITH CREATIVE
WRITING WRITING

UEA brand style. BA ENGLISH

LITERATURE
BA ENGLISH
LITERATURE
AND DRAMA
BA AMERICAN
AND ENGLISH
LITERATURE
BA ENGLISH
LITERATURE
BA ENGLISH
LITERATURE
AND DRAMA
BA AMERICAN
AND ENGLISH
LITERATURE

BA AMERICAN BA AMERICAN BA ENGLISH BA AMERICAN BA AMERICAN BA ENGLISH

LITERATURE STUDIES LITERATURE LITERATURE STUDIES LITERATURE
WITH CREATIVE WITH CREATIVE
WRITING WRITING

BA ENGLISH BA ENGLISH
LITERATURE LITERATURE
AND DRAMA AND DRAMA

UEA
UEA FA
FACULTY
ACULLTTY P
PAGES
AGES UEA
UEA FA
FACULTY
ACULLTTY P
PAGES
AGES
VISITORS
VIS
SITORS VISITORS
VIS
SITORS
Stu
Student
udent Li
Life
fe In N
Norwich
orwich Studeent Li
Student Life
fe In N
Norwich
orwich Stu
Student
udent Li
Life
fe In N
Norwich
orwich Studeent Li
Student Life
fe In N
Norwich
orwich
FFirst
First Name FFirst
First Name
linkk 2 link 2 linkk 2 link 2
linkk 3 link 3 linkk 3 link 3
S
Surname S
Surname
linkk 4 link 4 linkk 4 link 4
linkk 5 link 5 linkk 5 link 5
Email Email
linkk 6 linkk 6
linkk 7 linkk 7
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Accessability
Acce
essability Leg
Legal
al St
Statements.
atements. Accessability
Acce
essability Leg
Legal
al St
Statements.
atements.

UEA GUIDELINES
NOVEMBER 2017
62
 UEA Brilliant / Medicine and Health UEA Brilliant / Medicine and Health

4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES
MEDICINE AND HEALTH MEDICINE AND HEALTH

EFFECTS Intro text about medicine and healthIntro text about medicine and healthIntro text about medicine
and healthIntro text about medicine and healthIntro text about medicine and healthIntro text about
Intro text about medicine and healthIntro text about medicine and
and healthIntro text about medicine and healthIntro text about med
medicine and healthIntro text about medicine and healthIntro text about medicine and health medicine and healthIntro text about medicine and healthIntro text
We do not use bevels, drop shadows, gradients
or textured backdrops to pages, content areas
VIEW ALL STORIES FOR VIEW ALL STORIES FOR
or any other site design element.
ALL LATEST STORIES SCIENCE AND ENGINEERING ALL LATEST STORIES SCIENCE AND

ARTS & HUMANITIES SOCIAL SCIENCES ARTS & HUMANITIES SOCIAL SCIEN

Good example. Bad example.

MEDICINE AND HEALTH STORIES MEDICINE AND HEALTH STORIES
No bevels No textures

SEE THE STORY SEE THE STORY

No drop shadows
BORN
Dr Lindsay FIGHTING
Hall, Senior Lecturer on REAL-LIFE SUPPORT STEP CHANGE BORN
Dr Lindsay FIGHTING
Hall, Senior Lecturer on REAL-LIFE SUPPORT
our Medicine degree course and our Medicine degree course and
DOWNLOAD PROSPECTUS Dr Lindsay Hall, Senior Lecturer on our
Research Leader, is studying the Rehearsals are no substitute for real DOWNLOAD PROSPECTUS
UEA Physiotherapy lecturer Nicola Dr Lindsay Hall, Senior Lecturer on our
Research Leader, is studying the Rehearsals are no substitute for real
Medicine degree course and Research life. Nowhere is this truer than in the Hancock is seeking to help stroke Medicine degree course and Research life. Nowhere is this truer than in the
link between
Leader, the gut
is studying microbiome
the link between the rapidly expanding field of paramedic survivors. link between
Leader, the gut
is studying microbiome
the link between the rapidly expanding field of paramedic
–gut
the population
microbiome of population
– the friendly of science when you are routinely expect- –gut
the population
microbiome of population
– the friendly of science when you are routinely expect-
friendly bacteria
bacteria found found
in theingut
the –gut
and– and
the ed to assess and treat patients in often friendly bacteria
bacteria found found
in theingut
the –gut
and– and
the ed to assess and treat patients in often
the development of potentially challenging situations, and under con- the development of potentially challenging situations, and under con-
development of potentially life- development of potentially life-
life-threatening illnesses. siderable pressure. life-threatening illnesses. siderable pressure.
threatening illnesses. threatening illnesses.
No gradients
READ IT READ IT READ IT READ IT READ IT
BRILLIANT EVENTS BRILLIANT EVENTS
LITERATURE, GIGS, DRAMA, CONCERTS, LECTURES, FILM, ART LITERATURE, GIGS, DRAMA, CONCERTS, LECTURES, FILM, ART

WHAT’S ON WHAT’S ON
No gloss or glass effect

TAKE A LOOK OR BROWSE TAKE A LOOK OR BROWSE

GOING THE EXTRA ONWARDS & GOING THE EXTRA ONWARDS &
UEA GUIDELINES
MILES UPWARDS MILES UPWARDS
NOVEMBER 2017
How do you change the stigma Pioneering methods of collaborative How do you change the stigma Pioneering methods of collaborative
surrounding learning disabilities? learning delivering exceptional surrounding learning disabilities? learning delivering exceptional
63 standards of care. standards of care.
4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES

LINE WORK
Line work can be used
sparingly to contain or
separate areas of designs –
however this should be used
to frame areas or text only.
Do not use line work
excessively on pages –
restrict it to specific and
contained elements so it’s
purpose as a framing device
is retained.

UEA GUIDELINES
NOVEMBER 2017
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4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES

IMAGE WASHES
Sit
Sitee Se
Search
arch Course
Course Sear
Search
ch Careers
Careers

HOME STUDY RESEARCH FACULTIES BUSINESS ALUMNI AND CURRENT ABOUT US

WITH US AND SCHOOLS SUPPORTERS STUDENTS
AND STAFF

Brochure Gallery / Undergraduate Prospectus

Image washes and out of UNDERGRADUATE PROSPECTUS UEA COURSE FINDER

WHAT WILL YOU DISCOVER?
focus images can be as used
Imagine waking up to beautiful countryside, just minutes from
a world-class city, enjoying outstanding music, art, and
culture on a weekly basis, having the choice of 200 clubs and
societies, or starting your own, breaking a sweat in one of the search our course catalogue... GO! OR BROWSE
UK’s finest sports facilities, being inspired by arts and culture

as backgrounds to draw the

UNDERGRADUATE POSTGRADUATE PhD

from all over the world and playing a part in campaigns on the
IMAGE: ALAN CHILDS, FLICKR
issues that matter to you.
SHOW ME ANOTHER SUBMIT A PHOTO

“WE WANT OUR STUDENTS TO MAKE GET IDEAS

JUDGEMENTS FOR THEMSELVES. WE

eye on pages or to add drama

TAKE THE QUIZ: WHICH UEA COURSE ARE YOU?
ENCOURAGE INDEPENDENT THINKERS”
PROF JENNI BARCLAY,
GET ADVICE: WHERE YOUR A-LEVEL CHOICES MIGHT TAKE YOU
SCHOOL OF ENVIRONMENTAL SCIENCES

and interest – provided

READ THE BLOG: OUR CURRENT STUDENTS SHARE THEIR EXPERIENCE
DOWNLOAD

VIEW ALL BROCHURES

legibility isn’t compromised. BROWSE OUR COURSE CATALOGUE

Image backgrounds are never

A-Z FAVOURITE SUBJECT BY SCHOOL BY FUTURE CAREER

UEA COURSE FINDER

WHAT WILL YOU DISCOVER?
used for copy block areas on
A B C D E F G H I J

search our course catalogue... K L M N O P Q R S T

GO!

UEA websites.
OR BROWSE
UNDERGRADUATE POSTGRADUATE PhD

U V W X Y Z

YOU MAY ALSO BE INTERESTED IN

YOUR SEARCH: ENGLISH (10) GRID LIST

APPLYING FOR A COURSE COURSE FINDER FILTERS A YEAR IN... ATTENDANCE AWARD SUBJECT AREA CLEAR ALL

Information and advice on how to What will you discover?

apply to study at UEA
BA AMERICAN BA AMERICAN BA AMERICAN
AND ENGLISH LITERATURE STUDIES
LITERATURE WITH CREATIVE
WRITING

ACCOMMODATION FEES AND FUNDING

BA ENGLISH BA ENGLISH BA AMERICAN
Living in residences is a university Tuition fees, funding options and LITERATURE LITERATURE AND ENGLISH
experience not to be missed financial support AND DRAMA LITERATURE

BA AMERICAN BA AMERICAN BA ENGLISH

LITERATURE STUDIES LITERATURE
STUDENT LIFE MATURE STUDENTS WITH CREATIVE
WRITING
The right balance for a successful and UEA welcomes students of all ages
enjoyable student experience who want to return to learning

BA ENGLISH
LITERATURE
AND DRAMA

UEA
UEA FA
FACULTY
ACULLTTY P
PAGES
AGES
VISITORS
VIS
SITORS
Undergraduate Study Arts and Humanities
DOWNLOAD UG PROSPECTUS Student
Stuudent Li
Life
fe In N
Norwich
orwich Studeent Li
Student Life
fe In N
Norwich
orwich
Postgraduate Study Medicine and Health Sciences FFirst
First Name
linkk 2 link 2
Find a course Science linkk 3 link 3
S
Surname
Student life in Norwich Social Sciences linkk 4 link 4
UEA BROCHURE GALLERY
linkk 5 link 5
UEA Research Email
linkk 6
About UEA linkk 7
Send
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my ccopy
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w.
linkk 8

Accessibility Legal Statements Cookie Policy Data Protection Accessability

Acce
essability Leg
Legal
al St
Statements.
atements.

UEA GUIDELINES
NOVEMBER 2017
65
4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES

MOBILE
For mobile devices and
responsive pages we simplify
layouts and put a focus on
legibility and usability over
everything else. Mobile design
for UEA should start with
considering user experience
and interaction elements,
rather than simply making
desktop designs smaller.
We use overlays and animated
elements in mobile to give
breathing room for menus and
points of interaction.

UEA GUIDELINES
NOVEMBER 2017
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4 DIGITAL
4.2 WEBSITE DESIGN PRINCIPLES

Still not sure?

Contact [email protected] if you need help with a
design brief or reviewing designs.

UEA GUIDELINES
NOVEMBER 2017
67
4 DIGITAL
4.3 IDENTITY ELEMENTS

IDENTITY ELEMENTS
Please use the following pages as a guide for using UEA brand
elements online. It is vital that we retain a consistent look and feel
to keep the brand integrity throughout all communications.

UEA GUIDELINES
NOVEMBER 2017
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4 DIGITAL
4.3 IDENTITY ELEMENTS

Logo Always place top left of page

placement
See guidance on overall
logo usage on page 33.

UEA logos should only be

placed top left or top right
on websites, top left being
the standard and preferred
route. Top right is only
allowed only where it is
impossible to use the logo
top left.

UEA GUIDELINES
NOVEMBER 2017
69
4 DIGITAL
4.3 IDENTITY ELEMENTS

Online colours 100% 70% 50%

When using UEA colours on
websites, 70% and 50% tints
are allowed – however only
where there is a need to RGB: 236/0/140 RGB: 242/77/174 RGB: 246/128/197
UEA MAGENTA HEX: #ec008c HEX: #f24dae HEX: #f680c5
show colour separation.

A tint of a UEA brand

colour can never be used
as the lead colour, main
accent colour on a page
RGB: 250/166/26 RGB: 252/193/95 RGB: 253/210/140
or as the glint. UEA ORANGE HEX: #faa61a HEX: #fcc15f HEX: #fdd28c

RGB: 0/174/239 RGB: 77/198/244 RGB: 128/214/247

UEA CYAN HEX: #00aeef HEX: #4dc6f4 HEX: #80d6f7

RGB: 141/198/63 RGB: 175/215/121 RGB: 198/227/159

UEA GREEN HEX: #8dc63f HEX: #afd779 HEX: #c6e39f

RGB: 127/63/152 RGB: 165/121/183 RGB: 191/159/204

UEA PURPLE HEX: #7f3f98 HEX: #a579b7 HEX: #bf9fcc

UEA GUIDELINES
NOVEMBER 2017
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 UEA COURSE FINDER
4 DIGITAL WHAT WILL YOU DISCOVER?
4.3 IDENTITY ELEMENTS
search our course catalogue... GO! OR BROWSE
UNDERGRADUATE POSTGRADUATE PhD

IMAGE: ALAN CHILDS, FLICKR

SHOW ME ANOTHER SUBMIT A PHOTO

Tints should ONLY be

used where there is a need
Example use of tintsGET IDEAS
TAKE THE QUIZ: WHICH UEA COURSE ARE YOU?
to show two versions of the
same brand colour Good use of tints on UEA sites GET ADVICE: WHERE YOUR A-LEVEL CHOICES MIGHT TAKE YOU
to enable a design to creates separation within blocks
work effectively. of colour to facilitate UI. READ THE BLOG: OUR CURRENT STUDENTS SHARE THEIR EXPERIENCE

BROWSE OUR COURSE CATALOGUE

A-Z FAVOURITE SUBJECT BY SCHOOL BY FUTURE CAREER

A B C D E F G H I J

K L M N O P Q R S T

U V W X Y Z

YOUR SEARCH: ENGLISH (10) GRID LIST

FILTERS A YEAR IN... ATTENDANCE AWARD SUBJECT AREA CLEAR ALL

BA AMERICAN BA AMERICAN BA AMERICAN

AND ENGLISH LITERATURE STUDIES
LITERATURE WITH CREATIVE
WRITING

BA ENGLISH BA ENGLISH BA AMERICAN

LITERATURE LITERATURE AND ENGLISH
AND DRAMA LITERATURE

UEA GUIDELINES
NOVEMBER 2017 BA AMERICAN BA AMERICAN BA ENGLISH
LITERATURE STUDIES LITERATURE
WITH CREATIVE
71 WRITING
4 DIGITAL
4.3 IDENTITY ELEMENTS

Using colours
Only one brand colour Good example. Bad example.
should be used on screen
at once.

On UEA sites colour is

used to highlight sections
or to draw the eye to points
of interest.

Do – pick one accent

colour and use as shown
on page 68.

Don’t – use multiple accent MORE NEWS

colours on screen at once.

See the following page

for example of longer
pages and using more VIEW ALL
than one colour. STUDENT LIFE

VIEW ALL
MATURE STUDENTS

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NOVEMBER 2017
72
4 DIGITAL
4.3 IDENTITY ELEMENTS

Using colours
If you’re creating longer
scrolling pages with larger
blocks of content, eg
parallax landing pages. It
is permissible to use more
than one brand colour – but
only if these are separated Only one brand colour
by blocks of white, black or
grey, and scroll so that only
appears on screen at once
one brand colour appears
on screen at once.

UEA GUIDELINES
NOVEMBER 2017
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4 DIGITAL
4.3 IDENTITY ELEMENTS

Typography
and fonts
When creating anything for
online, typography should
be considered for clarity

BRANDON TEXT BLACK

and legibility.

In most cases we use

Brandon Text Black for
headlines and titles and
Used for primary pieces of text that need standout i.e. page title, story title or button link.
Brandon Text Regular for
supporting information.

BRANDON TEXT REGULAR

In cases where it might not
be suitable to use either of
these two weights then the
Bold or Medium weights
may be used. Used for sub-heads and supporting text information to compliment the bolder weight.
Arial Regular is always used
for body copy for legibility

ARIAL REGULAR
and accessibility.

Used for all body copy to ensure maximum legibility.

UEA GUIDELINES
NOVEMBER 2017
74
4 DIGITAL
4.3 IDENTITY ELEMENTS

Using the glint

Avoid using the UEA glint
as part of site designs. Even
where it is used, ensure it
will never be shown on the Never show a glint on the
screen at the same time same screen as artwork
as an image or artwork
location that might also use
which involves the glint.
the glint.

The rules for using the

UEA glint on page 46 still
apply online.

UEA GUIDELINES
NOVEMBER 2017
75
 MUMMIES, ROBOTS,
MUMMIES,
YOUTUBE,
ROBOTS
ALIENS, ANTS,ALIENS,
DUATHLONS
ANTS, DUAT
WHAT COULDWHAT
YOURCOULD
UEA BE YOUR
ABOU
4 DIGITAL
4.3 IDENTITY ELEMENTS
At UEA, your University experience willAt UEA,
be unique.
your University
We know thisexperience
becausewill of the
be unique.
brilliantW
t
see and do, the brilliant people you’llsee
meetand
and
do,because
the brilliant
of thepeople
brilliant
you’ll
things
meet ourand
student
becau
academics achieve every day. See justacademics
a few examples
achieve
ofevery
theseday.
accomplishments
See just a few example
in the st

Supergraphics
and artwork VIEW ALL STORIES FOR VIEW ALL STORIES FOR

MEDICINE & HEALTH MEDICINE & HEALTH

SCIENCE AND ENGINEERING
Supergraphics, if you have Supergraphic header
them, can be used in image
ARTS & HUMANITIES ARTS & HUMANITIES
SOCIAL SCIENCES
positions on sites with
striking results.
Good thumbnail. Bad thumbnail.
Do not crop supergraphics
LATEST STORIES LATEST STORIES
into thumbnails, ensure
they are appropriately
reworked and scaled by the
designer who created them.

DISCRIMI – NATIONS DISCRIMI

CELL MATES– NATIONS CARBON
CELL MATES
LAB
How did the South African anti-apart- How did
Knowing thetumours
how South African anti-apart-
form helps us to New Knowing
researchhowsuggests
tumourst
heid movement inspire African Ameri- heidthem
break movement inspire African
down. Biologists at UEA Ameri- tivebreak
to show
themconsumers
down. Biolw
cans in their fight for freedom from cans
have in their
shown howfight for freedom
cooperating from
cancer arehave
moreshown
environmentally
how coop
racial inequality? Dr Nicholas Grant racial
cells helpinequality?
each otherDr Nicholas
survive Grant
by sharing needs
cellstohelp
be easy
each to
other
undes
explores the history of international explores
growth the understanding
factors; history of international
this pro- effective.
growth factors; unders
opposition to racism to find out the opposition
cess could lead to racism
to new to find of
forms outcell
the cess could lead to new
answer. answer.
therapy that would make breaking therapy that would ma
down tumours easier. down tumours easier.

READ IT READITIT
READ READ
READITIT

ENVIRONMENTAL BE
ENVIRONMENTAL
CREATIVE NOT
BE CREATIV
GUILTY
JUSTICE JUSTICE
New research has found that people When
Newshould
researchtalking
has to
fouc
with high levels of autistic traits are land
with
youhigh
in prison?
levels ofThe
autiC
A group of International Development moreA group
likelyoftoInternational Development
produce unusually crea- Markets
more likely
Authority
to produce
(CMA)
Researchers at UEA are working on tiveResearchers
ideas. at UEA are working on secure
tive ideas.
convictions in its
global environmental justice, linking in global environmental justice, linking in criminal cartel case, acco
UEA GUIDELINES with questions of biodiversity conserva- with questions of biodiversity conserva- cartels expert from the U
tion, climate change, ecosystem manage- tion, climate change, ecosystem manage-
NOVEMBER 2017 ment, forestry, disaster risks and water. ment, forestry, disaster risks and water.
East Anglia (UEA).

76
READ IT READ
READITIT READ
READITIT
4 DIGITAL
4.3 IDENTITY ELEMENTS

Each audience
group
If these guidelines are
followed correctly, there
should be no need to Undergraduate example. Postgraduate example.
change site designs to
accommodate UG and PG
styles. This can be achieved
by using artwork in image
locations and ensuring
appropriate style and tone
within copy writing.

UEA GUIDELINES
NOVEMBER 2017
77
4 DIGITAL
4.4 THIRD PARTY WEBSITES

APPLYING THE BRAND

TO THIRD PARTY WEBSITES
Please use the following page as a guide for using UEA brand through
third party websites. It is important to use the brand guidelines when
applying the brand externally for a consistent, reliable tone.

UEA GUIDELINES
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4 DIGITAL
4.4 THIRD PARTY WEBSITES

Social media
For social media account
Do
branding we use bespoke – C
 reate artwork or use images in Facebook LinkedIn
artwork designed to reflect line with the guidance given for
the guidelines earlier each audience (see pages 86) MUMMIES, ROBOTS,
in this document. YOUTUBE, ALIENS,
ANTS, DUATHLONS
– C
 arefully review the WHAT COULD YOUR
UEA BE ABOUT? MUMMIES, ROBOTS,
YOUTUBE, ALIENS,

specification for each social

ANTS, DUATHLONS
WHAT COULD YOUR
UEA BE ABOUT?

media platform and create

appropriately sized imagery
– P
 rioritise PNG files and low
file sizes to avoid aggressive
compression artefacts being
introduced by the social media
site reducing your file sizes. Twitter Youtube

Don’t
MUMMIES, ROBOTS, YOUTUBE,
ALIENS, ANTS, DUATHLONS
MUMMIES, ROBOTS, WHAT COULD YOUR UEA BE ABOUT?
YOUTUBE, ALIENS,
ANTS, DUATHLONS
WHAT COULD YOUR
UEA BE ABOUT?
– R
 andomly crop existing artwork #BeBrilliant

to fit the spaces provided

– M
 ix and match the styles in
this document. Consider the
main audience for your account
or page and use the correct
identity style and tone.

UEA GUIDELINES
NOVEMBER 2017
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4 DIGITAL
4.4 THIRD PARTY WEBSITES

Digital banners
When creating banner ads Postgraduate MPU example
and MPUs ensure you apply
the rules for style and tone
from the first section of WHAT COULD YOU
these digital guidelines and A-BROAD Our postgraduates
HOW WILLTHROUGH
ACHIEVE
THOSE
YOU HELP
IN NEED?
SPECTRUM
the artwork rules for your INNOVATIONS?
are going the distance Discover more
Discover more
given audience group on
pages 86. to give back to
the community
in Cambodia.
MA INTERNATIONAL
ADULT NURSING
DEVELOPMENT

Undergraduate Leaderboard example

UEA
UEAmathematicians
mathematiciansare
arebringing
bringingususone
onestep
stepcloser
closer to finding
somewhere
somewherealiens
alienscould
couldcall
call home.
home.
MATHEMATICS

HOWWILL
HOW WILLYOU
YOUSEARCH
SEARCHFOR
FORALIEN
ALIENLIFE?
LIFE?
Discover more
Discover more
MATHEMATICS

UEA GUIDELINES
NOVEMBER 2017
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4 DIGITAL
4.5 HOW IT ALL COMES TOGETHER

HOW IT ALL COMES TOGETHER

The following pages shows UEA digital
communications in practice.

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4.5 HOW IT ALL COMES TOGETHER

2016 Homepage

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4 DIGITAL
4.5 HOW IT ALL COMES TOGETHER

2016 Portal

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NOVEMBER 2017
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4 DIGITAL
4.5 HOW IT ALL COMES TOGETHER

UEA app concept

page designs

Phone Screens

Context Menus
The two different menus.

page 10 of 39 page 21 o

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4 DIGITAL
4.5 HOW IT ALL COMES TOGETHER

‘Brilliant’ Site 2016

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NOVEMBER 2017
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4 DIGITAL
4.5 HOW IT ALL COMES TOGETHER

‘Study with us’

design concept

UEA GUIDELINES
NOVEMBER 2017
86
 5

UNDERGRADUATE
AND POSTGRADUATE
5 UNDERGRADUATE AND POSTGRADUATE
5.1 TALKING TO UNDERGRADUATES
AND POSTGRADUATES

PROSPECTIVE UNDERGRADUATES
AND POSTGRADUATES
The following pages explore the ways in which we
communicate with prospective undergraduates and
postgraduates. You’ll discover the general guidelines that
apply to both audiences, and how our visual identity and tone
of voice differs depending on the people we’re speaking to.
You should always refer to our core brand pages first
as a base for any design.

UEA GUIDELINES
NOVEMBER 2017
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5 UNDERGRADUATE AND POSTGRADUATE
5.1 TALKING TO UNDERGRADUATES
AND POSTGRADUATES

We follow some simple rules when communicating

to prospective undergraduates:

LEAD WITH STORIES ASK QUESTIONS

Research, teaching, and people stories told Campaign materials should incite interest and
well can appeal to a broad audience and ask thoughtful, relevant questions. Questions
build our reputation. Use supergraphics don’t always have to appear in headlines –
and photography to bring out the best you could include them throughout the
of the stories. campaign material.
See page 91 for examples. See page 92 for examples.

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NOVEMBER 2017
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5 UNDERGRADUATE AND POSTGRADUATE
5.1 TALKING TO UNDERGRADUATES
AND POSTGRADUATES

We follow some simple rules when communicating

to prospective postgraduates:

LEAD WITH STORIES ASK QUESTIONS

Research, teaching, and people stories told Campaign materials should incite interest and
well can appeal to a broad audience and ask thoughtful, relevant questions. Questions
build our reputation. We speak to an older, don’t always have to appear in headlines,
previously University-educated audience you could include them throughout the
so we use a more mature photography style campaign material.
as the lead for communications. See page 92 for examples.
See page 97 for examples.

UEA GUIDELINES
NOVEMBER 2017
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5 UNDERGRADUATE AND POSTGRADUATE
5.1 TALKING TO UNDERGRADUATES
AND POSTGRADUATES

Uea physiotherapy lecturer, Nicola Hancock is

seeking to help stroke survivors by securing support
from the design council to develop a device that
could significantly enhance rehabilitation.
WHAT STEPS COULD YOU TAKE?
www.uea.ac.uk/brilliant

LEAD WITH STORIES

Research, teaching, and people stories
told well can appeal to a broad audience
and build our reputation.
The example shows an undergraduate story utilising
the supergraphic style.

HEALTH
SCIENCES

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5 UNDERGRADUATE AND POSTGRADUATE
5.1 TALKING TO UNDERGRADUATES
AND POSTGRADUATES

ASK QUESTIONS MUMMIES,

Campaign materials should incite
interest and ask thoughtful, relevant ROBOTS,
questions. Questions don’t always have YOUTUBE,
ALIENS,
to appear in headlines, you could include
them within the campaign material.

WHAT COULD YOUR UEA BE ABOUT? ANTS,

WHAT WILL YOU DISCOVER?
HOW WILL YOU SEARCH FOR ALIEN LIFE? DUATHLONS
HOW WILL YOU CHALLENGE THE STATUS QUO?
WHAT COULD
#UEAOPENDAY
YOUR OPEN DAY
ACCOMMODATION
BROCHURE YOUR UEA
BE ABOUT?
PROGRAMME

TOURS, TALKS, COOKING,

WALKS, CHOICES, STUDYING,
QUESTIONS, MEETING,
ANSWERS. RELAXING
WHAT COULD WHAT WILL
YOUR OPEN YOUR HOME
DAY BE ABOUT? BE ABOUT?

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5 UNDERGRADUATE AND POSTGRADUATE
5.2 UTILISING THE ‘SUPERGRAPHIC’

UTILISING THE ‘SUPERGRAPHIC’

(UNDERGRADUATES)
A supergraphic is a clever and unique storytelling concept. An image acts
as a link between an unexpected or intriguing headline and the context of
the story it illustrates. This creates a surprising and engaging message that
makes the reader want to learn more.
Supergraphics can utilise illustration and/or photography.

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5 UNDERGRADUATE AND POSTGRADUATE
5.2 UTILISING THE ‘SUPERGRAPHIC’
Utilisation of the
UEA colour palette.
Supergraphics Supergraphic illustration
should...
– Always be created
by a designer. If no The glint, as a mark
designer is available, of unconventionally
please don’t create one brilliant thinking.
yourself. If there is no
design resource then
photography can be used
– Use a clever illustration
or dynamic photograph A headline
to help relay the story that intrigues.
– Use colour sparingly,
utilising the UEA
colour palette only
– Be kept simple
– Contain a playful
element, such as in the A playful element,
use of typography such as in the use
– Have a headline of typography.
that intrigues
– Include the logo glint
as a mark of
unconventionally
brilliant thinking.

A clever illustration to
help relay the story.
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5 UNDERGRADUATE AND POSTGRADUATE
5.2 UTILISING THE ‘SUPERGRAPHIC’

Utilisation of the
Supergraphics Supergraphic photography UEA colour palette.

should...
– Always be created by a
designer. If no designer
is available, please don’t Unethical fashion practices can leave

create one yourself.

whole communities without clean water.
UEA INTERNATIONAL DEVELOPMENT INTERNATIONAL
If there is no design
graduate Jonathan Mitchell is taking them
down, one t-shirt at a time. DEVELOPMENT
resource, photography HOW WILL YOU MAKE A DIFFERENCE?
www.uea.ac.uk/brilliant
can be used
– Use a clever illustration
or dynamic photograph A headline
to help relay the story that intrigues. A playful element,
such as in the use
– Use colour sparingly,
utilising the UEA of typography.
colour palette only
– Be kept simple
– Contain a playful
element, such as in the
use of typography
– Have a headline
that intrigues
– Include the logo glint
as a mark of
unconventionally
brilliant thinking.
The glint, as a mark
of unconventionally A clever photograph to
brilliant thinking. help relay the story.

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5 UNDERGRADUATE AND POSTGRADUATE
5.3 UTILISING PHOTOGRAPHY

UTILISING PHOTOGRAPHY
(POSTGRADUATES)
When speaking to postgraduates it is important that we use photography
that speaks to a more mature audience. Instead of cutting out images or
being playful like we can with supergraphics, we find engaging, full-bleed
colour images that tell a story even in their own right. Use headlines
alongside photography to help relay the essence of the story.

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5 UNDERGRADUATE AND POSTGRADUATE
5.3 UTILISING PHOTOGRAPHY

Photography Utilisation of the UEA A headline that plays off the

should... colour palette. essence of the story.
– Always be selected and
placed by a designer
– Be selected from the MA MEDIA &
UEA image library INTERNATIONAL
where possible. If this DEVELOPMENT
is not possible, then
stock photography
may be used
– Intrigue and inspire

COVER STORY
– Be full-colour for lead
images. Black and
white can be used for
secondary images
if required
– Include the logo glint
The glint,
as a mark of as a mark of
unconventionally unconventionally
brilliant thinking brilliant thinking.
– Adhere to our Amara Bangura is a BBC radio journalist
photography user and Master’s degree student in Media and
International Development. He left his Sierra
guidelines see Leone home in September 2014 to start his
studies in the midst of the Ebola outbreak.
section 3.4.
HOW WILL YOU TELL YOUR COUNTRY’S STORY?
www.uea.ac.uk/study/postgraduate

Full-colour photography that

intrigues and creates interest
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NOVEMBER 2017
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5 UNDERGRADUATE AND POSTGRADUATE
5.4 DESIGN LANGUAGE

Our design language is

built on the idea of being
For printed communications we use:
as bold as possible.
Full-age or double-page spread Half-page supergraphics, headlines
Think of the design
language as panels that
supergraphics or photography. or photographs.
can be filled with content
– a supergraphic, a What could your UEA be about? TEACHING AT UEA

headline or a photograph.
The intention is to be bold,
simple and eye-catching,
while creating a design
language that is ownably
UEA. The panels work
across print and digital STUDYING WITH
WORLD EXPERTS
communication.
At UEA you will learn from world "I teach a module on comedy and
experts who are leading the way in bring lots of industry professionals,
their fields. Here, our staff are just whom we do research with – into “All the tutors are
as dedicated to you and your studies
as they are to their own research.
class, such as the television comedy
writers, producers and directors
outstanding and
I’m doing a project with always available
This means your studies are informed
by the latest thinking and most
(www.makemelaugh.org.uk).
The project explores creativity in
to help out”
up-to-date research. It also means the British television comedy Deborah Antoine, BSc Accounting
and Finance Graduate
that as well as gaining a solid industry and allows students to get
grounding in your area, you will a real insight into those people’s
graduate with in-depth knowledge working processes and ideas, by
of the aspects of your subject that bringing materials from my research
are still emerging today. We believe into class." Dr Brett Mills, Senior
our research-led teaching is just Lecturer, School of Art, Media and
one of the reasons we score so American Studies
highly for student satisfaction.

98

6
What
What could
could your
your UEA
UEA be
be about?
about? LIFE
LIFEAFTER
AFTERGRADUATION
GRADUATION

YOUR
CAREER FINDING YOUR
CALLING
UNIVERSITY SHOULD BE ABOUT SO MUCH MORE THAN JUST UEA is committed to opening doors
University should be about so much more than just
GETTING A DEGREE. AT UEA YOU’LL ALSO DISCOVER WHERE YOU for our graduates. The first step we
WANT TOgetting a degree.
GO NEXT At UEAHOW
AND EXACTLY you’llTO
also
GETdiscover where
THERE. WE you
WILL HELP YOU
take is to help you work out what “My time at UEA was a big step in my career
wantOUT
SCOPE to go next
YOUR and exactly
FUTURE how toHONE
DIRECTION, get there.
YOURWe will help you
POST-GRADUATION
UEAwant
you is committed
forwork.
of
to achievetoinopening
our graduates.
We will helpThe
the world
first
you
doors
step we
discover
as a writer. It forced me to take writing
scope out
AMBITIONS, TRYyour
OUT future direction,
DIFFERENT honeBUILD
CAREERS, your post-graduation
CONTACTS AND LEAVE take ambitions
your is to help you work special
through out what “seriously,
MY TIMEand AT UEA WASthe
to change A BIG STEP IN
direction of MY
READY TO TAKE
ambitions, tryYOUR PICK OF THE
out different WORLD’S
careers, buildBEST EMPLOYERS
contacts AND
and leave you want
careers to achieve
events,
of introduce
to work. We will
in the
carefully
youhelp
world
designed
you discover
to different sectors
CAREER
my AS A WRITER.
life. Without it I would IT FORCED
probably stillME
be
MOST INTERESTING, FULFILLING CAREERS. WE’LL EVEN TEACHandYOU TO TAKE9-5 WRITING SERIOUSLY, AND TO
ready to take your pick of the world’s best
HOW TO SET UP YOUR OWN BUSINESS.
employers yourorganisations
and ambitions through
all overspecial
the world. working in an office”
most interesting, fulfilling careers. We’ll even teach you careers events, carefully designed
to introduce
You’ll you to
have access todifferent sectors
a dedicated,
CHANGE
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UEA Graduate OF MY LIFE.
how to set up your own business. and organisations
campus-based team allof
over the world.
subject WITHOUT IT I WOULD PROBABLY STILL
specific careers advisers. Throughout
You’lldegree,
your have access
you canto ameet
dedicated,
people
BE WORKING 9-5 IN AN OFFICE”
campus-based
from industry atteam of subject
networking events, TRACY CHEVALIER,
specific
and careers
try out advisers.
different careersThroughout
for NOVELIST AND UEA GRADUATE
your degree,
yourself youcountless
through can meet internship
people
fromwork
and industry at networking
placement events,
opportunities.
www.uea.ac.uk/careers
and try out different careers for
yourself through countless internship
40 41
and work placement opportunities.
www.uea.ac.uk/careers
40
40 41

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5 UNDERGRADUATE AND POSTGRADUATE
5.4 DESIGN LANGUAGE

Our design language is

built on the idea of being
For online communications we use:
as bold as possible.

Think of the design UEA website Microsites

language as panels that
can be filled with content
– a supergraphic, a
headline or a photograph.
The intention is to be bold,
simple and eye-catching,
while creating a design
language that is ownably
UEA. The panels work
across print and digital
communication.

External advertising space Social media

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

HOW IT ALL COMES TOGETHER

The following pages shows undergraduate and
postgraduate communications in practice.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

48 Sheet
Undergraduate
recruitment campaign.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

48 Sheet
Postgraduate
recruitment campaign.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

6 Sheet poster
Undergraduate
recruitment campaign.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Newspaper
advert
Postgraduate
recruitment campaign.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Prospectus
Undergraduate.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Faculty prospectus
Postgraduate courses.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Course guides
Undergraduate courses.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Postcards and flyers

Undergraduate courses.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Postcards and flyers

Postgraduate courses.

EST
BBEST
RACTICE
PPRACTICE
h intensive
are a vital part of a researc
Postgraduate students and vibrancy
ute to the intellectual vitality
university. They contrib . Today's
learn, grow and develop
of the institutions as they researc h fellows
tomorrow's postdoctoral
postgraduates could be decade .
winners of the next
and potential Nobel Prize

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Display banners

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Microsite

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Web banners
– horizontal
Undergraduate
recruitment campaign.

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5 UNDERGRADUATE AND POSTGRADUATE
5.5 HOW IT ALL COMES TOGETHER

Web banners
– vertical
Undergraduate
recruitment campaign.

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 6

HOARDING
DESIGN

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6 HOARDING DESIGN
6.1 INTRODUCTION

INTRODUCTION
This document has been designed to give you top level guidance on our
approach to hoarding design. Please use this as a basis for any creative thinking.
For ease of use, the document has been split into two sections:

HOARDINGS INFORMATION BOARDS

How to approach ‘hero’ and generic hoardings. How to layout and reformat
project specific boards.
– HERO
– PROJECT BOARDS
– GENERIC
– MESSAGE BOARDS.
– GENERIC COVER.

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6 HOARDING DESIGN
6.2 HOARDINGS

HOARDINGS
Hoarding design work falls into three categories.

1. HERO 2. GENERIC 3. GENERIC COVER

Bespoke artworks for high UEA style messages applied to Glint patterned mesh.
visibility development work. small/medium size hoardings.

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6 HOARDING DESIGN
6.2.1 HERO HOARDINGS

1. HERO
WHAT IS IT?
Hero style hoardings are used for works of high visibility, like major works undertaken to the student
union or library. They tend to be up for a longer duration and therefore are a great opportunity to build
the UEA brand. Hero hoardings use a message specific to the type of works going on.

WHAT’S THE AIM?

The aim is to give maximum presence to the brand.

THE DESIGN INTENT

The design needs to be bold and impactful. Big typography, big illustrations,
flat colours and engaging tone of voice.

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6 HOARDING DESIGN
6.2.1 HERO HOARDINGS

Typographic Typographic – Driveway works example.

In this example we have

used a simple typographic
approach with a tailored
message specific to the RIDE ON
area and type of work we
are undertaking. WE’RE UPGRADING OUR DRIVEWAYS
The design may change AND INVESTING IN THE FUTURE OF
slightly depending on the
final size and material of
THE UEA CAMPUS
the hoarding.

Illustration
This example makes use
of the simple illustration Illustration – Driveway works example.
style to add character
to our message about
driveway improvements.

The design may change

slightly depending on the
final size and material of RIDE
RIDE ON
ON AND
the hoarding. WE’RE UPGRADING
WE’RE UPGRADING INVESTING IN THE
OUR
OUR DRIVEWAYS
DRIVEWAYS FUTURE OF THE UEA
CAMPUS

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6 HOARDING DESIGN
6.2.1 HERO HOARDINGS

Photographic Photographic – Concrete works example.

Black and white cut-out

photography of the IT IS AN ASSEMBLY OF BUILT FORMS WITH A RICH
IT IS AN ASSEMBLYOFOFSPACES,
BUILT FORMS
IT WILL NEVER BE A FINISHED OBJECT BUT
DIVERSITY EACHWITH
ONEAINTIMATELY
RICH DIVERSITY OF IT WILL NEVER BE A FINISHED
IT WILL HAVE A SENSE OF PLACE, BECAUSE
amazing architecture SPACES,
PIECE
EACH TO
ATTACHED ONE INTIMATELY
THE
OF LANDSCAPE
IN WHICH
WHOLE
ATTACHED
PARTICULAR
IN WHICH
IT FINDS ITSELF, AND
THING CHANGEABLE
CHANGEABLE
IT FINDS
TO THE
PIECE OF PARTICULAR
LANDSCAPE
ITSELF,THING
THE WHOLE
AND GROWING.
AND GROWING.
AND THE
OBJECTABUT
WITHOUT
PLACE,BEBECAUSE
IT WILL
SENSE
NO SENSE
OF HAVE
WITHOUT
PLACEATHERE
SENSE OF
CAN
A SENSE OF PLACE
OF BELONGING.
THERE CAN BE NO SENSE OF BELONGING

at UEA in its original

form (this would require
research into the UEA
archive) is a visually
striking way to cover
the concrete works.
The suggested quote
would work nicely in the
white space.
This solution is dependent on
HOARDINGS If printing large scale is challenging, the iconic
production techniques available images could be printed onto smaller panels
1.1 HERO
as we would be printing large scale DESIGN EXAMPLE and attached to the heras fencing.
images on to mesh and attaching
to heras fencing.

Photographic panels – Driveway works example.

Photographic
panels IT IS AN ASSEMBLY
OF BUILT FORMS WITH
A RICH DIVERSITY OF

If printing large scale is SPACES, EACH ONE

INTIMATELY ATTACHED
TO THE PARTICULAR PIECE

challenging, the iconic

OF LANDSCAPE IN WHICH
IT FINDS ITSELF, AND THE
WHOLE THING CHANGEABLE

images could be printed

AND GROWING.

onto smaller panels and

attached to the
heras fencing. IT WILL NEVER BE A
FINISHED OBJECT BUT
IT WILL HAVE A SENSE
OF PLACE, BECAUSE
WITHOUT A SENSE OF PLACE
THERE CAN BE NO SENSE
OF BELONGING

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 1.1 HERO
DESIGN EXAMPLE

6 HOARDING DESIGN
6.2.1 HERO HOARDINGS

Mixed approach
To capture the vibrancy and To capture the vibrancy and energy of the
Student Union smaller panels example.
energy of the student union student union we have used a mixture of both
we have used a mixture of illustration and black and white photography.
both illustration and black
and white photography. In this case it is applied to thinner panels.
In this case it is applied to
thinner panels.

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UEA HOARDING TOOLKIT V.02

 formats or designs. When applying the message to
6 HOARDING DESIGN
hoardings of different sizes, always follow the same
6.2.1 HERO HOARDINGS approach to design and layout:
HOARDINGS
1.1 HERO
• Centred
Design styles
DESIGN STYLES • Black or white background
When creating hero hoardings we can select whichever UEA
design style that works best for the specific type of works –
When creating hero typographic, illustration, cut-out photography or photography.
hoardings we can select
whichever UEA design
style that works best for
the specific type of works
– typographic, illustration,
cut-out photography
W
or photography.
EAT. SHOP. WORK.
RIDE ON REST. PLAY. LEARN. U
WATCH.
WE’RE UPGRADING
OUR DRIVEWAYS
SHOP.
MEET. MAKE. WATCH. EAT. WATCH.
WATCH. SHO
UL
DANCE. DO.

Typographic: Illustrations: Cut out photography: Photography:

•TYPOGRAPHIC
Always simple and •ILLUSTRATIONS
Always black and white, •CUT-OUT
Always black and white PHOTOGRAPHY
Always black and white photography
straightforward with a highlight used PHOTOGRAPHY
photography It should provide a glimpse into
•–AApurely
lways typographic
simple and hero
straightforward
panel needs to have a tailored
–very
Always
withshould
• They
black and white,
sparingly
a highlight
use asused
few
ALTERNATIVE DESIGN USING P
• Cut out onto a white
–background
Always black and
–our
Always
Itwhite
blackenvironment
everyday and
shouldphotography
always capture the
message in order to keep it
–separate
A purelyfrom
typographic hero
the generic
elements as possible
very sparingly
• They should illustrate the
• Can be used
white ARCHITECTURE RENDERI
to create a
photography
rhythm for wide hoardings
energy and excitement of our
–brilliant
It should provide
campus
panel needs to have a
panels –message
They should usewithout
playfully as few – Cut out onto a a glimpse into
Uncontrived, ourstaged poses
never
tailored message in order
to keep it separate from
elementsunsophisticated
becoming as possible
For large building projects it may b
white background everyday environment

the generic panels. – T

 hey should illustrate
the message playfully
– Can be used to create a
what
rhythm for wide hoardings. the the new
– It should always
capture development wi
energy

photography and architecture re

without becoming and excitement of our
UEA HOARDING TOOLKIT V.02
APRIL 2015 unsophisticated. brilliant campus
12
– U
 ncontrived, never
staged poses.

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6 HOARDING DESIGN
6.2.1 HERO HOARDINGS
HOARDINGS
1.1 HERO
DESIGN APPROACH

Design approach
HOARDINGS
1.1 HERO
DESIGN APPROACH
HOARDINGS

11.1 HERO
DESIGN1. CREATE
APPROACHMESSAGE 2 2. DESIGN MESSAGE 3 3. MULTIPLE BOARDS
Create a message specific to the area Whether using typography, illustration or Where there are multiple boards, we can add
CREATE that isMESSAGE
having the building work done
to it. The message could be about:
DESIGN MESSAGE
photography, our design should be simply
laid out and where possible placed centrally.
MULTIPLE BOARDS
more messages and designed elements.
Illustration, photography and cutouts
Create a• The
1. CREATE
investment
message
MESSAGE
we are making
specific WhetherBlack
2. DESIGN using background
MESSAGE typography, (if black can not be Where
3. MULTIPLE
should beare
there equally
BOARDS
spaced across
multiple boards,the
• What we hope to achieve achieved use white) hoarding
to the area • Thethat is having
type of thewill happen
activity that illustrationhite or or
photography,
black text + 1 colourour we can add more messages and
1. CREATE
building
Create a message work MESSAGE
done
specific
in the to it.
spaceto the area The 2.
Whether DESIGN
designusingshould MESSAGE
be
typography, simply laid-out
illustration
Centre UEA logo when used or and, 3.
Where MULTIPLE
designed
there BOARDS
elements.
are multiple boards, we can add
EAT. SHOP. WORK.
that ismessage
having thecould buildingbeworkabout:
done where possible,
photography, our designplaced
should be centrally.
simply more
REST. PLAY. LEARN. messages and designed elements.
Create
to it. The messageaThe
message
could
examplespecific
be about:
here to thethe
is for area Whether
laid out using possible
and where typography, illustration
placed or MAKE. WATCH.
centrally.
MEET. Where there
Illustration, are multiple boards,
photography
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– Illustration, photography and cut-outs should
that is having the building work done photography,
Black background our design
(if black should
can not be
besimply
DANCE. DO. more
should bemessages and designed elements.
• The–investment
The investmentwe are
student wemaking
union.
are making – Black background (if black cannot beequally
equallyspaced
spaced across the
across the hoarding.
• What weto it. The message
hope to achievecould be about: laid outuse
achieved andwhite)
where possible placed centrally. Illustration, photography and cutouts
hoarding
– What
• The we hope towe
investment achieve
are making be achieved,
Black backgrounduse(ifwhite)
black can not be should be equally spaced across the
• The type of activity that will happen hite or black text + 1 colour
• What
– The type weofhope to achieve
activity that will –achieved
White oruse black text + 1 colour
white) hoarding EQ EQ EQ EQ
in the space Centre UEA logo when used EAT. SHOP. WORK.
• The type of activity hite or black text + 1 colour
happen in the
in the space
EAT.that
space. will happen
SHOP. WORK. – Centre UEA logo when
Centre UEA logo when REST. used
usedPLAY.inLEARN.
the space.
The example here is for REST.
the PLAY. LEARN. MEET.EAT. SHOP.
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studentTheunion.
example here
student union.
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EQ EQ EQ EQ
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EQ Illustration
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out B&W photo
EAT. SHOP. WORK.
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MEET. MAKE.
DANCE. DO. WATCH.
DANCE. DO.
SHOP. PLAY. LEARN. MEET. DANCE. MAKE. DO.

UEA HOARDING TOOLKIT Illustration Illustration Cut out B&W photo

APRIL 2015
Illustration Illustration Cut out B&W photo
13

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122
 HOARDINGS
1.1 HERO
ALTERNATIVE DESIGNS
6 HOARDING DESIGN
6.2.1 HERO HOARDINGS

Alternative
There may be times when we need to use alternate
formats or designs. When applying the message to
designs hoardings of different sizes, always follow the same
approach to design and layout:
There may be times when
• Centred HOARDINGS
we need to use alternate
• Black or white background
formats or designs. When 1.1 HERO Portrait format
applying the message to ALTERNATIVE DESIGNS Alternate formats should still
hoardings of different sizes, follow the same design guidance
always follow the same of aligning centrally. EAT. SHOP.
approach to design
EAT. SHOP. WORK.
WE'RE TURNING WORK. REST.
and layout: OUR STUDENT PLAY. LEARN.
– Centred
REST. PLAY. LEARN.
MEET. MAKE. WATCH. Alternative design using UNION INTO THE
ULTIMATE HUB FOR MEET. MAKE.
– Black or white background.
DANCE. DO.
photography and architectural
There may be times when we need to useCAMPUS LIFE
alternate WATCH.
formatsrenderings/sketches
or designs. When applying the message to DANCE. DO.
hoardings of different sizes, always follow the same
approachFortolarge building
design and projects
layout: itUSING
may be desirable to
ALTERNATIVE
visualise what the DESIGN
new development PHOTOGRAPHY
will look +
• Centred ARCHITECTURE
like through photographyRENDERING / SKETCH
and architectural
• Black or white background
renderings or sketches.
For large building projects it may be desirable to visualise
what the new development will look like through PORTRAIT FORMAT
photography and architecture renderings or sketches. Alternate formats should still follow the
same design guidance of aligning centrally. EA
EAT. SHOP. WORK.
WE'RE TURNING WOR
REST. PLAY. LEARN.
OUR STUDENT
UNION INTO THE
PLAY
MEET. MAKE. WATCH. ULTIMATE HUB FOR MEE
DANCE. DO. CAMPUS LIFE W
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ALTERNATIVE DESIGN USING PHOTOGRAPHY +

ARCHITECTURE RENDERING / SKETCH
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123
photography and architecture renderings or sketches. Alternate forma
6 HOARDING DESIGN
6.2.2 GENERIC HOARDINGS

2. GENERIC
WHAT IS IT?
Generic refers to the type of message that appears on small and medium hoardings.
Usually on things like internal screens.

WHAT’S THE AIM?

We use generic hoardings to establish brand presence.

THE DESIGN INTENT

Straight-forward and bold.

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6 HOARDING DESIGN
6.2.2 GENERIC HOARDINGS

HOARDINGS
1.2 GENERIC Design example
DESIGN EXAMPLE Generic hoarding board.

IMPROVEMENTS
UNDERWAY.
WE'LL BE BACK
IN NO TIME.

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6 HOARDING DESIGN
6.2.2 GENERIC HOARDINGS

HOARDINGS
Design approach 1.2 GENERIC
DESIGN APPROACH

1 2
1. USE THE PROVIDED 2. RESIZE AND LAYOUT
GENERIC
USE THE MESSAGE
PROVIDED TO FITAND
RESIZE THELAYOUT
CONTEXT
TO
GENERIC MESSAGE. FIT THE CONTEXT.
If something is closed:
If something is closed:
IMPROVEMENTS UNDERWAY.
IMPROVEMENTS UNDERWAY.
WE'LL BE BACK IN NO TIME. IMPROVEMENTS
WE’LL BE BACK IN NO TIME. UNDERWAY.
WE'LL BE BACK
If something is open:
If something is still open: IN NO TIME.
IMPROVEMENTS UNDERWAY,
IMPROVEMENTS UNDERWAY,
BUT WE’REBUT
STILL OPEN.
WE'RE STILL OPEN.

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DINGS
NERIC
6 HOARDING DESIGN
NATE DESIGNS
IMPROVEMENTS
6.2.2 GENERIC HOARDINGSThere may be times when we need to use alternate
UNDERWAY,
formats or designs. When applying the generic
message to hoardings of different sizes, always follow
BUT WE'RE
the same approach to design and layout: STILL OPEN.
Alternative • Centred IMPROVEMENTS
ay be times when we need to use alternate • Black or white background UNDERWAY,
designs
or designs. When applying the generic
BUT WE'RE
to hoardings of different sizes, always follow
There
approach may beand
to design times when
layout: STILL OPEN.
d we need to use alternate
r white formats or designs. When
background SQUARE
OARDINGS applying the generic Portrait Square Landscape
GENERICmessage to hoardings of
TERNATE DESIGNS
different sizes, always follow
the same approach to design IMPROVEMENTS
and layout: UNDERWAY.
SQUARE
– Centred WE'LL BE BACK IMPROVEMENTS UNDERWAY,
– Black or white background.
IMPROVEMENTS
IN NO TIME. BUT WE'RE STILL OPEN.
re may be times when we need to use alternate UNDERWAY,
mats or designs. When applying the generic IMPROVEMENTS BUT WE'RE
ssage to hoardings of different sizes, always follow
same approach to design and layout: UNDERWAY. STILL OPEN.
entred
ack or white background
WE'LL BE BACK IMPROVEMENTS UNDERWAY,
SMALL
IN NO TIME. BUT WE'RE STILL OPEN.
PORTRAIT
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SMALL
IMPROVEMENTS
UNDERWAY.
PORTRAIT
DING TOOLKIT V.02 WE'LL BE BACK IMPROVEMENTS UNDERWAY,
IN NO TIME. BUT WE'RE STILL OPEN.

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PORTRAIT
6 HOARDING DESIGN
6.2.3 GENERIC COVER HOARDINGS

3. GENERIC COVER
WHAT IS IT?
A repeated glint pattern intended for mesh-type hoarding covers.

WHAT’S THE AIM?

Light-touch brand presence.

THE DESIGN INTENT

To make the glint the hero on hardworking hoarding screens.

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6 HOARDING DESIGN
6.2.3 GENERIC COVER HOARDINGS

HOARDINGS
1.3 GENERIC COVERS
DESIGN EXAMPLE

Design example
Generic cover example.

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 HOARDINGS
HOARDINGS
6 HOARDING DESIGN
1.3 GENERIC
1.3 GENERIC
COVERS
COVERS
6.2.3 GENERIC COVER HOARDINGS
DESIGNDESIGN
APPROACH
APPROACH

Design approach

1. ESTABLISH
1. ESTABLISH
THE THE
SIZE SIZE
ANDAND 2. LAYOUT
2. LAYOUT
THE THE
GLINT
GLINT
TO FILL
TO FILL
AREA AREA
THE THE
DESIGN
DESIGN
NEEDSNEEDS THE THE
SPACE.
SPACE.
ENSURE
ENSURE
THERE
THERE
IS IS
1
TO COVER
TO COVER
EACH
2
TWOTWOGLINTS
EACH
GLINTS
GLINT
WIDTH
GLINT
WIDTH
BETWEEN
BETWEEN

ESTABLISH THE SIZE AND AREA LAYOUT THE GLINT TO FILL THE SPACE.
THE DESIGN NEEDS TO COVER. ENSURE THERE IS TWO GLINTS WIDTH
BETWEEN EACH GLINT.

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 6 HOARDING DESIGN
6.2.3 GENERIC COVER HOARDINGS There may be times when we need to use alternate
formats or designs. Always ensure there is two glints
width between each glint.
Alternative
designs
ERS There may be times when
COVERS
GNS we need to use alternate Long narrow strip – black
DESIGNSformats or designs. Always
ensure there is two glints
width between each glint.

henwhen
mes we need to usetoalternate
we need use alternate
ways ensure
ns. Always therethere
ensure is twoisglints
two glints
lint.
ach glint.

Full-bleed – tall Full-bleed – black

TA

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6 HOARDING DESIGN
6.3 INFORMATION BOARDS

INFORMATION BOARDS
Information boards fall into two categories.

1. PROJECT BOARDS 2. MESSAGE

Legal information that must SPECIFIC SIGNS
accompany all UEA works. One-off low-level messages.

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6 HOARDING DESIGN
6.3.1 PROJECT BOARDS

1. PROJECT BOARDS
WHAT IS IT?
A project board displays key information about a specific piece of building work.
It sits alongside most hoardings.

WHAT’S THE AIM?

To display key information in a clear way.

THE DESIGN INTENT

To use our simple panel layouts to neatly display all project details.

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6 HOARDING DESIGN
6.3.1 PROJECT BOARDS

INFORMATION BOARDS
2.1 PROJECT BOARDS
DESIGN EXAMPLE

Design example WE’RE WORKING

ON IMPROVING
Renovation and improvements
to the SU including increased
capacity live music venue,
new catering and bar facilities
Panelled project board. YOUR CAMPUS and new lighting.

COMPLETION
START DATE DATE
August 2015 October 2015

PROJECT IS BEING THIS PROJECT

MANAGED BY IS BEING
Estates Project DELIVERED BY
Administrator: Estates Project
Neil Wilson Administrator:
Neil Wilson

For further information

please contact
Estates, Property &
Facilities Division
Helpdesk
01603 (59)2121

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INFORMATION
INFORMATION BOARDS
BOARDS
2.1 2.1
PROJECT
PROJECTBOARDS
BOARDS
6
DESIGN
DESIGN HOARDING
APPROACH DESIGN
APPROACH
6.3.1 PROJECT BOARDS

Design approach

1. BREAK
1. BREAKTHE
THE
INFO
INFO 2. 2.
DIVIDE
DIVIDE
THE
THE
BOARD
BOARD
FORMAT
FORMAT 3. 3.
PLACE
PLACE
EACH
EACH
PIECE
PIECE
OFOF
INFO
INFO
DOWN
DOWN INTO
INTO1
BLOCKS.
BLOCKS. INTO 2
INTOEQUAL
EQUALBLOCKS
BLOCKS INTO
INTOONE3
ONE
OFOF
THE
THE
BLOCKS
BLOCKS
TYPICALLY:
TYPICALLY:
BREAK THE INFO DOWN INTO DIVIDE THE BOARD FORMAT INTO Align
Align
centrally
centrally
PLACE EACH PIECE OF INFO
• Title
• Title
(the(the BLOCKS.
nature
nature
of the TYPICALLY:
of the
works)
works) EQUAL BLOCKS. INTO ONE OF THE BLOCKS.
• Specifics
• Specifics
(a short
(a short
description
description
of the
of the
works)
works)
• Start
• Start
datedate
– Title (the nature of the works)
• Completion
• Completion datedate Renovation
Renovation
and improvements
and improvements

• Manager
• Manager – Specifics (a short description of the works) WE’RE
WE’RE
WORKING
WORKING to the SUtoincluding
the SU including
capacitycapacity
live music
increased
live
venue,
increased
music venue,
ON IMPROVING
ON IMPROVING new catering
new catering
and bar facilities
and bar facilities

• Delivered
• Deliveredby– Start
by date YOUR
YOUR
CAMPUS
CAMPUS and newand lighting.
new lighting.

• Logo
• Logo – Completion date
• Further
• Further
infoinfo
–(including
(including
Manager contact
contact
details)
details)
COMPLETION
COMPLETION
STARTSTART
DATE DATE
– Delivered by AugustAugust
2015 2015
DATE DATE
October
October
2015 2015
– Logo
– Further info (including contact details).
PROJECT
PROJECT
IS BEING
IS BEING THIS PROJECT
THIS PROJECT
MANAGED
MANAGEDBY BY IS BEING
IS BEING
Estates
Estates
Project
Project DELIVERED
DELIVERED
BY BY
Administrator:
Administrator: EstatesEstates
ProjectProject
Neil Wilson
Neil Wilson Administrator:
Administrator:
Neil Wilson
Neil Wilson

For further
For further
information
information
pleaseplease
contactcontact
Estates,
Estates,
Property
Property
& &
Facilities
Facilities
Division
Division
Helpdesk
Helpdesk
0160301603
(59)2121
(59)2121

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TOOLKIT
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 INFORMATION BOARDS
INFORMATION BOARDS
2.1 PROJECT BOARDS
INFORMATION BOARDS
2.1 PROJECT BOARDS
6 ALTERNATIVE
HOARDING DESIGNS
DESIGN
2.1 PROJECT BOARDS
ALTERNATIVE DESIGNS
6.3.1 PROJECT
INFORMATION BOARDS
BOARDS
ALTERNATIVE DESIGNS
2.1 PROJECT BOARDS
ALTERNATIVE DESIGNS

Alternative designs

WE’RE WORKING Renovation and improvements

to the SU including increased
ON IMPROVING
WE’RE WORKING capacity
Renovation
new
to the
and live
SUcatering
music venue,
improvements
includingand bar facilities
increased WE’RE WORKING Renovation and improvements

YOUR CAMPUS
to the SU including increased

ON IMPROVING
WE’RE WORKING
andmusic
capacity live
Renovation
new lighting.
and
venue,
improvements
new catering and bar facilities
ON IMPROVING
WE’REYOUR CAMPUS
WORKING
capacity live music venue,
new catering and bar facilities
Renovation andandimprovements
new lighting.
WE’RE WORKING
Renovation and improvements

YOUR CAMPUS
to the SU including increased to the SU including increased
to theand
SUnew
including increased
lighting. ON IMPROVING ON IMPROVING
ON IMPROVING
capacity live music venue, capacity live music venue,
capacity live music venue, YOUR CAMPUS
new catering and bar facilities
and new lighting.
new catering and bar facilities
YOUR CAMPUSRenovation andandimprovements
new lighting.
WE’RE WORKING WE’RE WORKING WE’RE WORKING Renovation and improvements
new catering and bar facilities Renovation and improvements to the SU including increased

YOUR CAMPUS
to the SU including increased
to the SU including increased ON IMPROVING capacity live music venue,
ON IMPROVING
and new lighting. ON IMPROVING capacity live music venue,
YOUR CAMPUS new catering and bar facilities
capacity live music venue,
new catering and bar facilities

WE’RE WORKING YOUR CAMPUS Renovation and improvements

new catering and bar facilities
Renovation and improvements YOUR START
CAMPUS COMPLETION
and new lighting.
WE’RE WORKING
and new lighting.
Renovation and improvements WE’RE WORKING
and new lighting.
DATE
THIS PROJECT For further information
to the SU including increased to the SU including increased
to the SU including increased August 2015 DATE ON IMPROVING ON IMPROVING capacity live music venue,

ON IMPROVING
capacity COMPLETION
live music venue,
October 2015 new catering and bar facilities
capacity live music venue, YOURSTART DATE new catering YOUR CAMPUS
ISandBEING
and bar facilities
please contact WE’RE
STARTWORKING
DATE COMPLETION CAMPUS
August 2015 DATE
and new lighting.
WE’RE WORKING
and new lighting.

THIS PROJECT to the SUTHIS

includingPROJECT
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YOUR CAMPUS
DATE
START DATE DELIVERED
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and ON IMPROVING October
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6 HOARDING DESIGN
6.3.2 MESSAGE-SPECIFIC SIGNS

2. MESSAGE-SPECIFIC SIGNS
WHAT IS IT?
Specific signs carrying one low level message, like ‘out of order’ or ‘keep out’.

WHAT’S THE AIM?

To inform quickly and directly. They can be added to hoardings or work in isolation.

THE DESIGN INTENT

As simple as possible, one statement using black or white plus one colour.

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 6 HOARDING DESIGN
6.3.2 MESSAGE-SPECIFIC SIGNS

INFORMATION
2.2 MESSAGE BOARDS
DESIGN EXAMPLE

Design example
Door message.

T. SHOP. WORK.
ST. PLAY.WORK.
LEARN.
LEARN.
T. MAKE. WATCH.
PLEASE
PLEASE
KEEP OUT
KEEP OUT

DANCE. WATCH.
DO.
DO.

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6 HOARDING DESIGN
6.3.2 MESSAGE-SPECIFIC SIGNS

Design approach

1 2 3
SELECT REQUIRED STATEMENT. SELECT A SIZE AND FORMAT ALIGN STATEMENT CENTRALLY.
RELEVANT FOR THE MESSAGE
AND THE CONTEXT IT WILL BE
SEEN IN.

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6 HOARDING DESIGN
INFORMATION SIGNS
6.3.2 MESSAGE-SPECIFIC
2.2 MESSAGE BOARDS
ALTERNATIVE DESIGNS

Alternative designs

THIS IS A
BUSINESS PLEASE LABORATORY
AS USUAL KEEP OUT PREPARATION
AREA
WASH YOUR
OUT OF WET HANDS ON
ORDER FLOOR ENTRY AND
EXIT

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 6 HOARDING DESIGN
6.3.2 MESSAGE-SPECIFIC SIGNS

INFORMATION
2.2 MESSAGE BOARDS
Alternative
COLOUR OPTIONS
designs
Message boards can be
used in any of the following
colour options:
Message boards can be used
in any– of
Black
theon magenta colour
following
– Black on orange

OUT OF OUT OF OUT OF

options:
– Black on green
• Black on magenta
ORDER ORDER ORDER
– Black on cyan
• Black on peach
– White on black.
• Black on green
• Black on cyan
• White on black

OUT OF OUT OF
ORDER ORDER

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6 HOARDING DESIGN
6.4 OVERVIEW
OVERVIEW

OVERVIEW
HOARDINGS HERO GENERIC GENERIC COVER

ORK. IMPROVEMENTS
UNDERWAY.
ARN. SORRY FOR ANY
ATCH. WATCH. EAT. SHOP. WORK. REST. INCONVENIENCE
. CAUSED.

EARN. MEET. DANCE. MAKE. DO.

INFORMATION PROJECT BOARDS MESSAGE SPECIFIC
BOARDS
WE’RE WORKING Renovation and improvements
to the SU including increased
ON IMPROVING capacity live music venue,
new catering and bar facilities
YOUR CAMPUS and new lighting.

THIS IS A
COMPLETION BUSINESS PLEASE LABORATORY
AS USUAL KEEP OUT PREPARATION
START DATE DATE
August 2015 October 2015
AREA
PROJECT IS BEING THIS PROJECT
IS BEING
WASH YOUR
MANAGED BY
Estates Project DELIVERED BY
Estates Project OUT OF WET HANDS ON
Administrator:
Neil Wilson Administrator:
Neil Wilson ORDER FLOOR ENTRY AND
EXIT
For further information
please contact
Estates, Property &
Facilities Division
Helpdesk
01603 (59)2121

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6 HOARDING DESIGN
6.4 OVERVIEW

Any questions please contact:

AUSTEN WILLIAMS
[email protected]

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