Atlantic Technological University

Official Websites

• https://atu.ie
• https://www.atu.ie

Brand Guidelines

2022

Brand Summary

Mission

• Atlantic Technological University aims to educate and inspire in the West and North-West region, delivering impact far beyond it. The university serves a diverse group of learners, staff, communities, and organizations, offering academic and research excellence, quality of life, and opportunity in a beautiful part of Ireland. It is dedicated to enabling sustainable economic, social, and cultural development, connected to its region and with a mindset that reaches far beyond it [^1].

Core Values

• Togetherness
• Optimism
• Excellence
• Consideration

Target Audience

• Prospective students, staff, communities, alumni, partner organizations, and stakeholders from the West and North-West region of Ireland and beyond [^2].

Personality Traits

• Engaged
• Interdependent
• Connected
• Collaborative
• Open
• Involved
• Responsive
• Genuine
• Forward-thinking
• Ambitious
• Always learning
• Driven
• Welcoming
• Warm
• Trustworthy
• Empathetic

Visual Identity Overview

• The visual identity is minimalistic and modern, emphasizing geometric shapes, rhythmic wave patterns, and a limited color palette inspired by nature. The logo features an abstract letter A with waves and a sun, and the brand uses a primary palette of navy, dark green, teal, sand, and orange. Typography is robust and lively, with Halyard as the primary typeface. Layouts use visible grids for order and balance, and imagery includes natural landscapes and informal, friendly photography of people [^3].

Categories

Brand Voice

• Brand personality traits guide tonality and style, and are a useful to sense-check the tone of communication and creative work – what the brand is known for.
• Is: Engaged Interdependent Connected Collaborative Is not: Exclusive Inaccessible Demanding
• Is: Open Involved Responsive Genuine Is not: Atlantic Technological Vague Dishonest Uptight
• Is: Forward-thinking Ambitious Always learning Driven Is not: Resigned Know-it-all Defeatist University
• Is: Welcoming Warm Trustworthy Empathetic Is not: Close-minded Unforgiving Harsh
• Our language identity facilitates the delivery of compelling, relevant, strategy-aligned messaging across the university’s communications.
• Messaging is the substance of what we say, working in harmony with tone of voice to create clarity and distinction in written and spoken communication.
• Tone of voice is the manner and style in which we write and speak, informing how the brand personality comes through in communication. Our tone of voice guides the level of formality or familiarity in our verbal communication, which informs word choice and structure.
• We use the brand personality as a way to capture the desired tone in written and spoken communication.
• Collaborative Do Celebrate shared achievements We achieve great things together, so when we talk about our achievements, make sure to enthusiastically credit those who made them possible.
• Invite Dialogue The university is a place for community, criticality, personal growth and engagement with social values. In language, through direct or rhetorical questions, we show our openness and curiosity.
• Don’t • Rely on comparisons to look good • Hide our passion and energy
• Genuine Do Write as you would speak Recognising that some communication is more formal by necessity, we aim to use language in a natural way. Cadence should be flowing, sentence length should be reasonably short, and jargon should be avoided.
• Be direct and frank We are entitled to a position and to opinions, and should be direct and frank, while remaining cordial and respectful. In headlines and introductions, we can use bold statements that command attention and show that our point of view is grounded in experience.
• Don’t • Over-embellish • Make unsupported claims
• Driven Do Communicate with passion We use powerful words to communicate our energy drive and passion. Inventive word choice should always trump heavy use of adverbs that distract from the point, such as “truly” and “very.”
• Invite others to join us We close with an optimistic idea or call to action, adding language to our message and a sense of momentum to our communication.
• Don’t • Over-do enthusiasm • End on a down beat
• Empathetic Do Centre individual experience Our communication should invite people to imagine their part in that community. We care about the individuals experience and knowledge and centre it in our writing.
• Use inclusive language We have a global mindset so our writing avoids language that could alienate readers. We seek to be as clear as possible, without losing the energy that makes us who we are.
• Don’t • Remove individuals from the story • Exclude groups or individuals with careless word choice

Brand Imagery

• Images should be professionally taken and be high resolution, with plenty of extra space to allow for cropping. Photography of people should feel natural and un-posed. Aim to capture moments where staff and students are relaxed in their environments. Consider colour and composition when choosing a photo to create a contemporary and natural feeling. Backgrounds should imply a feeling of depth and space.
• Portraits should be informal and friendly, and capture the energy and camaraderie of interaction. This approach should be extended to images of groups and events -images should depict natural moments and a lively atmosphere where possible.
• Avoid overuse of props and gimmicks -these are fine in the context of Public Relations images but alternatives should be taken for use in other communication outputs. Wide angle shots that dramatically scale the spaces they show should be avoided.
• The ATU campuses are situated in places of exceptional natural beauty, and it is important that imagery of landscapes and the Atlantic coast are part of treatments. That said, the role of landscape is as a framing device. It is less the focus of the visual output, instead acting as a background or supporting element. This can be in a single image, where people are shown in the context of landscape, or in layouts where the landscape image sits in the background behind a separate image of a student or staff member.

Color Palette

• Our primary colour palette is drawn from nature -from the ocean, shore, flora and land. It consists of two darks of Navy and Dark Green, with a strong Teal. Alongside these are a neutral Sand and a strong Orange. These colours are the first choice in most applications, used in combination for text and backgrounds, along with black and white.
• Colour should be used as a tool to differentiate rather than to identify. We recommend against using colours as an identifier for organisational units such as faculties.
• NB: There may be some visible difference between the colours depending on the mode (Process I Spot / RGB) in which they are set up.

• Navy CMYK 100/92/51/0 RGB 0/26/121 #001a79 Pantone Blue 287 U

• Sand CMYK 0/10/15/0 RGB 255/232/212 #ffe8d4 Pantone 7604 U

• Teal CMYK 50/12/16/0 RGB 123/185/203 #7bb9cb Pantone 7458 U

• Orange CMYK 0/65/100/0 RGB 255/121/30 #ff791e Pantone 151 U

• Green CMYK 100/68/63/0 RGB 0/91/94 #005b5e Pantone 328 U

• The secondary palette supports the primary colours and can be used to extend the palette when needed; for example in statistical graphs or illustrations. These should always be used as an accent colour rather than a dominant tone.

• Yellow CMYK 0/0/42/0 RGB 248/255/142 #f8ff8e

• Warm Grey CMYK 22/22/22/0 RGB 200/190/191 #c8bebf

• Light Green CMYK 30/0/36/0 RGB 172/245/189 #acf5bd

• Purple CMYK 82/100/51/0 RGB 77/8/87 #4d0857

Typography

• The Halyard superfamily is beautifully robust and lively, ready to work at any size. It has extensive language support.
• ATU’s visual identity uses the Display and Text versions of the typeface. Halyard Display is designed for elegance for shorter and bigger applications of type. It should not be used for longer or smaller applications -that is the role of Halyard Text. In a single layout, Halyard Display and Text should not be used at the same size.
• The Halyard family has a range of stylistic alternates. In professionally­created layouts, a single-story ‘g’ should be used as the default for ATU. This can be enabled across a document by selecting Stylistic Set 6 in Adobe Illustrator or Adobe lnDesign. In both cases this is found in the OpenType panel.
• Halyard Display is designed by Joshua Darden. Halyard Text is designed by Joshua Darden, Eben Sorkin and Lucas Sharp.
• The DashieII family of typefaces is elegant and designed to be read easily. Like Halyard it has extensive language support.
• ATU’s visual identity uses two cuts of Dashiell: Bright and Text. Their use should broadly map to the approach described for using Halyard Display and Halyard Text: the former being for shorter or larger applications and the latter for longer pieces of writing.
• Dashiell plays a minor role in the ATU visual identity: it should be used very sparingly and almost all layouts can be created using Halyard only.
• Dashiell is designed by Max Phillips of Signal Type Foundry.
• An emphasis on the correct use of type reflects the importance of language to us in how we communicate. A clear hierarchy, demonstrated by contrasting applications of type, reflects a clarity of vision and expression.
• We should make type both legible and readable – not only should it be easy to read, our audience should want to read it. This means that we avoid squashing too much information into a small space, editing as much as we can. It also means that we never set paragraphs of type in all caps, italic, or bold, or use all caps or underlining for emphasis.
• Using an economy of styles and elements forces us to be clear in what we hope to express through type. Establishing a clear hierarchy by reviewing content allows us to do this.
• Left-aligned type (not justified) is preferred, a relatively short line length is encouraged, and title case (not all caps) should be used for titles.
• Large areas of pure white can dazzle readers with certain visual impairments and the advice is to avoid these. For the same reason, paper should be uncoated or matte, not glossy.
• Arial and Georgia are our fall-back typefaces, for when our primary typefaces are not available, and in cases where a cascading stack of typefaces can be applied. When sending emails, Halyard and Dashiell should be avoided as recipients who do not have the font installed will not be able to view the mail as it is written. A system default such as Arial or Georgia should be used instead. Fall-backs should not be used for ATU’s own website.

Logo Usage

• The ATU logo is a central part of the visual identity, providing a memory trigger for what ATU represents. It consists of two parts: an icon made up of an abstract letter A, and lettering to show the university name. The abstract letter A depicts the waves of the Atlantic ocean with the sun overhead. The logo comes in a number of versions, designed to suit a range of applications.
• The most commonly applied version is the Full Logo. This is the only version of the logo which can be supplied to third parties.
• The Icon version of the logo is used where the context shows the ATU name (for example online) or where the application benefits from a more distilled treatment (for example on merchandise).
• The layout version of the logo establishes a clear relationship between the icon and the bilingual name. It responds to context in application, with flexibility in colour and the placement of the bilingual name. The size and placement of the bilingual name should relate to other elements in the layout. It is available as an outlined artwork asset. NB: the bilingual name should never be set in an alternative weight of Halyard or in another typeface. The overall height of the bilingual name should never be taller than the height of the icon.
• The Initial version of the logo uses the Icon as the letter A in the initials ATU or OTA. It can be used in applications where there is less explanatory context (in related information or in situation) as to what ATU is. It can also be used on merchandise, in which case the full bilingual name need not always be used.
• The Word version of the logo uses the Icon as the letter A in the word Atlantic. It can be used in applications where there is less explanatory context (in related information or in situation) as to what ATU is. It can also be used on merchandise.
• The international version of the logo shows only the English language name, with ‘Ireland’ added for clarity. It can be used in contexts where the audience is international.
• The Small version of the logo has been prepared for use at very small sizes. It shows the ATU Icon with the university name alongside it. The Small Logo is treated in a single language, so versions of it have been prepared in Irish and English.
• All faculties, departments and groups within the university must use the Full Logo where possible. The Full Logo can be used in conjunction with a faculty, department, unit or research centre name, as illustrated, using a lock-up approach. There are a small number of approved sub brand logos. You should never try to reproduce a logo type yourself. NB Any proposal for new sub-brands must follow the same format and will require the approval of the Executive.
• The logo (all versions) can be used in White, Black, Navy, Dark Green or Teal. The Icon can also be used in Orange.
• The logo should act as an anchoring device in layouts and will typically have a clear relationship with the text on a page or surface. The icon is drawn to work well at large sizes and to retain clarity when it is smaller.
• Minimum size for use of the logo is 20mm high. The ATU Icon and the ATU Small Logo can be used as small as they are needed, with special care taken with reproduction.
• Do Not: • Create your own version of any part of the logo, including the type • Create a sub brand version without consulting the marketing team • Show the logo in a different colour to the associated type – with the exception of the Layout Logo • Rotate the logo in any layout • Apply a background colour or tint to the logo • Stretch or compress the logo artwork • Place more than one Icon in a single layout or surface • Use the logo to contain an image

Tone And Messaging

• Brand values offer a shorthand that helps to align operational aspiration and communication output. They are a distilled representation of the values underpinning the university, and guide our choice of medium and messaging – how the brand behaves.
• Togetherness, Optimism, Excellence, Consideration
• We work as a community, thriving on the strength of our connections. Everyone is welcome to join us on this journey. Through collaboration and interdependence we will achieve great things together.
• We believe in the transformative power of education. We are ambitious, energetic and engaged in our interactions. We look forward, and our work creates real opportunity for the region and beyond it.
• We are tenacious in pursuing high standards. We celebrate our achievements, both individual and shared. We are open to change and challenges because they are opportunities to learn.
• We act with high regard for personal well-being and advancement. We value each individual and treat them with respect and an open mind. We are thoughtful in our interactions with others.
• Brand personality traits guide tonality and style, and are a useful to sense-check the tone of communication and creative work – what the brand is known for.
• Is: Engaged Interdependent Connected Collaborative Is not: Exclusive Inaccessible Demanding
• Is: Open Involved Responsive Genuine Is not: Atlantic Technological Vague Dishonest Uptight
• Is: Forward-thinking Ambitious Always learning Driven Is not: Resigned Know-it-all Defeatist University
• Is: Welcoming Warm Trustworthy Empathetic Is not: Close-minded Unforgiving Harsh
• Our language identity facilitates the delivery of compelling, relevant, strategy-aligned messaging across the university’s communications.
• Messaging is the substance of what we say, working in harmony with tone of voice to create clarity and distinction in written and spoken communication. Our messaging includes specific guidance around naming, alongside a variety of content points. These include messages for any audience, as well messaging for specific audiences.
• Tone of voice is the manner and style in which we write and speak, informing how the brand personality comes through in communication. Our tone of voice guides the level of formality or familiarity in our verbal communication, which informs word choice and structure.
• The designation of ATU in April 2022 marks the end of LYIT, GMIT, and IT Sligo. With that in mind, the institute names should not be used in any context from then onward.
• Used where context provides clarity, where space is limited, and in less formal settings the initialised versions and familiar versions of the university name can be used.
• Clarity and differentiation in communication ensures that prospective students are aware of programmes and informed of their advantages. Clear messaging also has an impact in attracting and retaining strong candidates for academic, research and non-academic roles.
• The need for awareness and understanding extends to partners in academia, alumni, national and international funding and research organisations, the media, and government. It is also important in our interactions and communication with communities in the northern and western regions.
• While Atlantic TU brings together a large number of groups and individuals under one university banner, it will not homogenise their identity or experience.
• ATU will be a celebration of the diverse identities and proud traditions of staff, students and the communities around them.
• ATU is a technological university of true distinction and excellence.
• Borders between viewpoints and counties can act as meeting points for collaboration and shared benefit. This will stimulate innovation and ideas to be provoked, challenged and shared.
• The university staff have an emphasis on community, and high regard for student well-being and advancement.
• Connections that start at university grow into partnerships, lifelong friendships, collaborations and enterprises. They are made possible by the respectful, collaborative and inclusive college environment.
• Tag lines are more explicitly aligned to audiences with one for universal use and two more for more targeted messaging. Audience-aligned tag lines are intentionally flexible. Pivoting from the concepts of future and here in the brand idea, they can be adapted to many differing contexts.
• The future is here
• Here for …
• Examples: Here for you / Here for opportunity / Here for the journey / Here for what’s next
• Here in …
• Examples: Here in the West and Northwest / Here in our ambition / Here in our achievement
• We use the brand personality as a way to capture the desired tone in written and spoken communication.
• Collaborative Do Celebrate shared achievements We achieve great things together, so when we talk about our achievements, make sure to enthusiastically credit those who made them possible.
• Invite Dialogue The university is a place for community, criticality, personal growth and engagement with social values. In language, through direct or rhetorical questions, we show our openness and curiosity.
• Don’t • Rely on comparisons to look good • Hide our passion and energy
• Genuine Do Write as you would speak Recognising that some communication is more formal by necessity, we aim to use language in a natural way. Cadence should be flowing, sentence length should be reasonably short, and jargon should be avoided.
• Be direct and frank We are entitled to a position and to opinions, and should be direct and frank, while remaining cordial and respectful. In headlines and introductions, we can use bold statements that command attention and show that our point of view is grounded in experience.
• Don’t • Over-embellish • Make unsupported claims
• Driven Do Communicate with passion We use powerful words to communicate our energy drive and passion. Inventive word choice should always trump heavy use of adverbs that distract from the point, such as “truly” and “very.”
• Invite others to join us We close with an optimistic idea or call to action, adding language to our message and a sense of momentum to our communication.
• Don’t • Over-do enthusiasm • End on a down beat
• Empathetic Do Centre individual experience Our communication should invite people to imagine their part in that community. We care about the individuals experience and knowledge and centre it in our writing.
• Use inclusive language We have a global mindset so our writing avoids language that could alienate readers. We seek to be as clear as possible, without losing the energy that makes us who we are.
• Don’t • Remove individuals from the story • Exclude groups or individuals with careless word choice

Brand Values

• Brand values offer a shorthand that helps to align operational aspiration and communication output. They are a distilled representation of the values underpinning the university, and guide our choice of medium and messaging – how the brand behaves.
• Togetherness, Optimism, Excellence, Consideration
• Togetherness We work as a community, thriving on the strength of our connections. Everyone is welcome to join us on this journey. Through collaboration and interdependence we will achieve great things together.
• Optimism We believe in the transformative power of education. We are ambitious, energetic and engaged in our interactions. We look forward, and our work creates real opportunity for the region and beyond it.
• Excellence We are tenacious in pursuing high standards. We celebrate our achievements, both individual and shared. We are open to change and challenges because they are opportunities to learn.
• Consideration We act with high regard for personal well-being and advancement. We value each individual and treat them with respect and an open mind. We are thoughtful in our interactions with others.

Visual Style

• Our visual identity comprises a selection of elements, and the correct application of each is equally important. Every execution is an opportunity to do things right, and best represent who we are and what we do.
• The ATU logo is a central part of the visual identity, providing a memory trigger for what ATU represents. It consists of two parts: an icon made up of an abstract letter A, and lettering to show the university name. The abstract letter A depicts the waves of the Atlantic ocean with the sun overhead. The logo comes in a number of versions, designed to suit a range of applications.
• The most commonly applied version is the Full Logo. This is the only version of the logo which can be supplied to third parties.
• The logo (all versions) can be used in White, Black, Navy, Dark Green or Teal. The Icon can also be used in Orange.
• Minimum size for use of the logo is 20mm high. The ATU Icon and the ATU Small Logo can be used as small as they are needed, with special care taken with reproduction.
• Do Not: • Create your own version of any part of the logo, including the type • Create a sub brand version without consulting the marketing team • Show the logo in a different colour to the associated type – with the exception of the Layout Logo • Rotate the logo in any layout • Apply a background colour or tint to the logo • Stretch or compress the logo artwork • Place more than one Icon in a single layout or surface • Use the logo to contain an image
• Our primary colour palette is drawn from nature -from the ocean, shore, flora and land. It consists of two darks of Navy and Dark Green, with a strong Teal. Alongside these are a neutral Sand and a strong Orange. These colours are the first choice in most applications, used in combination for text and backgrounds, along with black and white.
• Colour should be used as a tool to differentiate rather than to identify. We recommend against using colours as an identifier for organisational units such as faculties.
• Navy CMYK 100/92/51/0 RGB 0/26/121 #001a79 Pantone Blue 287 U
• Sand CMYK 0/10/15/0 RGB 255/232/212 #ffe8d4 Pantone 7604 U
• Teal CMYK 50/12/16/0 RGB 123/185/203 #7bb9cb Pantone 7458 U
• Orange CMYK 0/65/100/0 RGB 255/121/30 #ff791e Pantone 151 U
• Green CMYK 100/68/63/0 RGB 0/91/94 #005b5e Pantone 328 U
• The secondary palette supports the primary colours and can be used to extend the palette when needed; for example in statistical graphs or illustrations. These should always be used as an accent colour rather than a dominant tone.
• Yellow CMYK 0/0/42/0 RGB 248/255/142 #f8ff8e
• Warm Grey CMYK 22/22/22/0 RGB 200/190/191 #c8bebf
• Light Green CMYK 30/0/36/0 RGB 172/245/189 #acf5bd
• Purple CMYK 82/100/51/0 RGB 77/8/87 #4d0857
• The Halyard superfamily is beautifully robust and lively, ready to work at any size. It has extensive language support. ATU’s visual identity uses the Display and Text versions of the typeface. Halyard Display is designed for elegance for shorter and bigger applications of type. It should not be used for longer or smaller applications -that is the role of Halyard Text. In a single layout, Halyard Display and Text should not be used at the same size.
• The Halyard family has a range of stylistic alternates. In professionally­created layouts, a single-story ‘g’ should be used as the default for ATU. This can be enabled across a document by selecting Stylistic Set 6 in Adobe Illustrator or Adobe lnDesign. In both cases this is found in the OpenType panel.
• Dashiell plays a minor role in the ATU visual identity: it should be used very sparingly and almost all layouts can be created using Halyard only.
• An emphasis on the correct use of type reflects the importance of language to us in how we communicate. A clear hierarchy, demonstrated by contrasting applications of type, reflects a clarity of vision and expression.
• We should make type both legible and readable – not only should it be easy to read, our audience should want to read it. This means that we avoid squashing too much information into a small space, editing as much as we can. It also means that we never set paragraphs of type in all caps, italic, or bold, or use all caps or underlining for emphasis.
• Using an economy of styles and elements forces us to be clear in what we hope to express through type. Establishing a clear hierarchy by reviewing content allows us to do this.
• Left-aligned type (not justified) is preferred, a relatively short line length is encouraged, and title case (not all caps) should be used for titles.
• Large areas of pure white can dazzle readers with certain visual impairments and the advice is to avoid these. For the same reason, paper should be uncoated or matte, not glossy.
• Arial and Georgia are our fall-back typefaces, for when our primary typefaces are not available, and in cases where a cascading stack of typefaces can be applied. When sending emails, Halyard and Dashiell should be avoided as recipients who do not have the font installed will not be able to view the mail as it is written. A system default such as Arial or Georgia should be used instead. Fall-backs should not be used for ATU’s own website.
• A set of icons has been created to represent the university campuses and fields of study, as a partner element to typography to provide clarity and differentiation. These are not logos for the various campuses or fields of study. Their role is for use within documents to help signal and identify a campus or field of study, or for use in an infographic. They should not appear on document covers.
• Where icons are being used outside of this specific set, the recommended set from which they should be taken is Google Material Icons.
• Two patterns have been created for use in layout and as treatments that can appear on merchandise. Both connect with the logo, and indicate forward motion: an abstract wave treatment and an arrow based on the letter A. Patterns shouId not overlap each other or images.
• Images should be professionally taken and be high resolution, with plenty of extra space to allow for cropping. Photography of people should feel natural and un-posed. Aim to capture moments where staff and students are relaxed in their environments. Consider colour and composition when choosing a photo to create a contemporary and natural feeling. Backgrounds should imply a feeling of depth and space.
• Portraits should be informal and friendly, and capture the energy and camaraderie of interaction. This approach should be extended to images of groups and events -images should depict natural moments and a lively atmosphere where possible.
• Avoid overuse of props and gimmicks -these are fine in the context of Public Relations images but alternatives should be taken for use in other communication outputs. Wide angle shots that dramatically scale the spaces they show should be avoided.
• The ATU campuses are situated in places of exceptional natural beauty, and it is important that imagery of landscapes and the Atlantic coast are part of treatments. That said, the role of landscape is as a framing device. It is less the focus of the visual output, instead acting as a background or supporting element. This can be in a single image, where people are shown in the context of landscape, or in layouts where the landscape image sits in the background behind a separate image of a student or staff member.
• An underlying layout grid is a great way to bring order and balance to applications of the brand. Using a grid allows us to use the placement of elements as a way to indicate hierarchy or to express their relationship to each other.
• Grids facilitate the use of a smaller number of type styles, and this more refined approach expresses a clear and confident outlook -it is more effective than a frenetic layout with very many styles. Where more impact is needed, choosing a single element (such as a headline or image) to ‘burst’ out of the grid provides a moment of interest in layout.
• In the ATU visual identity, layout grids can also be made visible on the page -further emphasising a calm and ordered approach, and again giving something for a single element to cross over for emphasis. The grid can be made visible through the use of colour blocking, outline, image placement, pattern use, or a combination of these.
• In all treatments that use a grid, the ATU Icon should sit on the grid and can be used as an anchoring element within it.
• The Cut-out Frame is based on the shape of the letter A. It can be used in layouts as a device into which images can be placed. A set of artwork assets has been created to support this.
• An animated version of the logo has been created for use at the end of video on social media and other contexts. Where it is used, the animation should be allowed to play in full, resolving with the logo at the centre of the frame. The animation can be used on a flat colour background or overlaid on video, provided there is enough contrast for it to be read clearly.
• Most items should be printed in four colour process, on a high-quality brilliant white uncoated paper.
• Where two or less colours are used -for example in stationery-using Pantone Spot colours is recommended.
• For all output, there is a preference for FSC certified and recycled paper. Paper should be uncoated. Varnishes or other high-gloss finishes should be avoided.

Iconography

• A set of icons has been created to represent the university campuses and fields of study, as a partner element to typography to provide clarity and differentiation.
• These are not logos for the various campuses or fields of study. Their role is for use within documents to help signal and identify a campus or field of study, or for use in an infographic. They should not appear on document covers.
• Where icons are being used outside of this specific set, the recommended set from which they should be taken is Google Material Icons.

Layout And Composition

• The layout version of the logo establishes a clear relationship between the icon and the bilingual name. It responds to context in application, with flexibility in colour and the placement of the bilingual name. The size and placement of the bilingual name should relate to other elements in the layout. It is available as an outlined artwork asset. NB: the bilingual name should never be set in an alternative weight of Halyard or in another typeface. The overall height of the bilingual name should never be taller than the height of the icon.
• The logo should act as an anchoring device in layouts and will typically have a clear relationship with the text on a page or surface. The icon is drawn to work well at large sizes and to retain clarity when it is smaller.
• Minimum size for use of the logo is 20mm high. The ATU Icon and the ATU Small Logo can be used as small as they are needed, with special care taken with reproduction.
• Do Not: • Create your own version of any part of the logo, including the type • Create a sub brand version without consulting the marketing team • Show the logo in a different colour to the associated type – with the exception of the Layout Logo • Rotate the logo in any layout • Apply a background colour or tint to the logo • Stretch or compress the logo artwork • Place more than one Icon in a single layout or surface • Use the logo to contain an image
• Two patterns have been created for use in layout and as treatments that can appear on merchandise. Both connect with the logo, and indicate forward motion: an abstract wave treatment and an arrow based on the letter A. Patterns shouId not overlap each other or images.
• An underlying layout grid is a great way to bring order and balance to applications of the brand. Using a grid allows us to use the placement of elements as a way to indicate hierarchy or to express their relationship to each other.
• Grids facilitate the use of a smaller number of type styles, and this more refined approach expresses a clear and confident outlook -it is more effective than a frenetic layout with very many styles. Where more impact is needed, choosing a single element (such as a headline or image) to ‘burst’ out of the grid provides a moment of interest in layout.
• In the ATU visual identity, layout grids can also be made visible on the page -further emphasising a calm and ordered approach, and again giving something for a single element to cross over for emphasis. The grid can be made visible through the use of colour blocking, outline, image placement, pattern use, or a combination of these.
• In all treatments that use a grid, the ATU Icon should sit on the grid and can be used as an anchoring element within it.
• The Cut-out Frame is based on the shape of the letter A. It can be used in layouts as a device into which images can be placed. A set of artwork assets has been created to support this.

Brand Architecture

• Sub Brands and Organisational Units All faculties, departments and groups within the university must usethe_ Full Logo where possible. The Full Logo can be used in conjunction with a faculty, department, unit or research centre name, as illustrated, using a lock-up approach. There are a small number of approved sub brand logos. You shouId never try to reproduce a logo type yourself. NB Any proposal for new sub-brands must follow the same format and will­require the approval of the Executive.
• Colour should be used as a tool to differentiate rather than to identify. We recommend against using colours as an identifier for organisational units such as faculties.

Motion Graphics

• An animated version of the logo has been created for use at the end of video on social media and other contexts. Where it is used, the animation should be allowed to play in full, resolving with the logo at the centre of the frame. The animation can be used on a flat colour background or overlaid on video, provided there is enough contrast for it to be read clearly.
• A .mov file with an alpha channel (transparency), and a number of worked examples are in the Brand Assets folder.

Print Guidelines

• Most items should be printed in four colour process, on a high-quality brilliant white uncoated paper.
• Where two or less colours are used -for example in stationery-using Pantone Spot colours is recommended.
• For all output, there is a preference for FSC certified and recycled paper. Paper should be uncoated. Varnishes or other high-gloss finishes should be avoided.
• Minimum size for use of the logo is 20mm high. The ATU Icon and the ATU Small Logo can be used as small as they are needed, with special care taken with reproduction.
• The logo (all versions) can be used in White, Black, Navy, Dark Green or Teal. The Icon can also be used in Orange.
• Create your own version of any part of the logo, including the type
• Create a sub brand version without consulting the marketing team
• Show the logo in a different colour to the associated type – with the exception of the Layout Logo
• Rotate the logo in any layout
• Apply a background colour or tint to the logo
• Stretch or compress the logo artwork
• Place more than one Icon in a single layout or surface
• Use the logo to contain an image
• CMYK 100/92/51/0 RGB 0/26/121 #001a79 Pantone Blue 287 U
• CMYK 0/10/15/0 RGB 255/232/212 #ffe8d4 Pantone 7604 U
• CMYK 50/12/16/0 RGB 123/185/203 #7bb9cb Pantone 7458 U
• CMYK 0/65/100/0 RGB 255/121/30 #ff791e Pantone 151 U
• CMYK 100/68/63/0 RGB 0/91/94 #005b5e Pantone 328 U
• Large areas of pure white can dazzle readers with certain visual impairments and the advice is to avoid these. For the same reason, paper should be uncoated or matte, not glossy.

Merchandise Guidelines

• The Icon version of the logo is used where the context shows the ATU name (for example online) or where the application benefits from a more distilled treatment (for example on merchandise).
• The Initial version of the logo uses the Icon as the letter A in the initials ATU or OTA. It can be used in applications where there is less explanatory context (in related information or in situation) as to what ATU is. It can also be used on merchandise, in which case the full bilingual name need not always be used.
• The Word version of the logo uses the Icon as the letter A in the word Atlantic. It can be used in applications where there is less explanatory context (in related information or in situation) as to what ATU is. It can also be used on merchandise.
• Sweatshirts appear in brand colours, with the ATU Icon and ATU Word logo on the front.
• This umbrella combines the ATU Icon and arrow pattern.
• The tote bag combines the OTA and ATU treatments in a playful treatment, with some items sitting ‘behind’ them in the bag.
• The sports tops use the arrow pattern to create a sense of movement and action.
• T-shirts appear in brand colour, with the ATU Icon and ATU Word logo on the front.
• This hat uses a reduced version of the ATU Initial Logo and the navy brand colour.
• This simple mug shows the ATU Icon at a generous size.
• The reusable coffee cup uses colour blocking that echoes layout treatments, along with the ATU Icon.
• The travel cup uses colour blocking that echoes layout treatments, along with the ATU Icon and arrow pattern.

Signage Guidelines

• On campus location signage uses the icon version of the logo alongside Faculty of a refined type treatment. The Engineering colour blocking here -visualised as being divided by material seams -echoes that used in layouts.
• A simple door sign uses the ATU icon and a refined colour and type treatment.
• Directional signage uses the icon version of the logo alongside a refined type treatment. The colour blocking here -visualised as being divided by material seams - echoes that used in layouts.
• Way finding prioritises simple bilingual messaging and is supported by the ATU logo.
• The podium offers a refined treatment within the identity, presenting the Icon at the top to help it being showed in photos of a speaker.
• The entrance monolith has space to accommodate the campus name with the ATU Icon show large at the base.
• Perimeter flags show the Layout 1e prIMdry Drd1U CO1OUr>
• Pull up banners showing a combination of brand, text and image.
• Banners for specific uses can highlight a partnership or an event.
• This large nomadic stand shows the ATU International Logo in use, along with a map showing campus locations.

Event Guidelines

• Banners for specific uses can highlight a partnership or an event.

Stationery Guidelines

• Most items should be printed in four colour process, on a high-quality brilliant white uncoated paper.
• Where two or less colours are used -for example in stationery-using Pantone Spot colours is recommended.
• For all output, there is a preference for FSC certified and recycled paper. Paper should be uncoated. Varnishes or other high-gloss finishes should be avoided.
• Print artwork files have been created for compliment slips, letterheads and business cards. These contain editable text fields for further roll-out across the university. A document and letter template have been supplied in Microsoft Word and Apple Pages.
• Along with the document templates supplied, a Powerpoint presentation template has been created. To complement this, there is a set of Teams/Zoom background files.

Social Media Guidelines

• An animated version of the logo has been created for use at the end of video on social media and other contexts. Where it is used, the animation should be allowed to play in full, resolving with the logo at the centre of the frame. The animation can be used on a flat colour background or overlaid on video, provided there is enough contrast for it to be read clearly.
• A .mov file with an alpha channel (transparency), and a number of worked examples are in the Brand Assets folder.
• Profile icons and backgrounds have been created for use on social, supplied along with original files so that they can be developed further over time.

Additional Properties

Revenue History

Employees History

Total Assets History