Cape Breton University

Official Websites

• https://www.cbu.ca

Brand Guidelines

2019

Brand Summary

Mission

• We push the boundaries of innovation and thought leadership to create a global academic experience and build a sustainable future for our island [^1].

Core Values

• Opportunity
• Ingenuity
• Solidarity
• Stewardship [^2]

Target Audience

• Prospective students, government officials, internal teams, external partners, and key audiences with a global perspective and a diverse, inclusive community [^3].

Personality Traits

• Professional
• Intelligent
• Human
• Passionate
• Inspiring
• Friendly
• Accessible
• Warm
• Bright
• Authentic
• Honest [^4]

Visual Identity Overview

• The visual identity is comprised of logo, imagery, typography, colours, and graphic design elements, reflecting a unique brand positioning and promise. It emphasizes boldness, simplicity, angular graphics, and a vibrant colour palette, ensuring consistency and clarity across all touchpoints [^5].

Categories

Brand Voice

• As an academic leader, we speak in a professional manner that demonstrates our intelligence and humanity. We are passionate and inspiring, but also friendly and accessible.
• Our tone is warm and bright and exudes the natural charm and intelligence of Cape Breton. After all, we are people first, so we must speak in a voice that is authentic, honest and true to who we are.
• Whenever possible, we use simple language and clear, concise messaging. We are always mindful that our audiences range from prospective students to government officials, so we communicate in a voice that is relevant and accessible to all.
• While we are proud to share our collective and individual achievements, we are never boastful. Rather, we focus on the benefits to the wider community. Our sense of community is present in everything we communicate.
• Most importantly, our voice should be consistent throughout all of our communications so that each brand touch point builds trust and creates a deeper relationship with our audience.
• Through consistent language, tone and messaging, brand voice expresses who we are and what we stand for.

Brand Imagery

• Photography is one of the greatest elements within our brand toolbox. Surrounded by pristine natural landscape, vibrant culture, and welcoming communities, CBU is proud of who we are and our island home.
• Our sense of place is brought to life through our imagery. The tonality needs to be personable, inviting and aspirational. Our natural surroundings are a key differentiator. Wide-open spaces reflecting themes of innovation and community bring life to our brand.
• The CBU ‘chevron’ is a critical graphic element of the visual brand identity. The 45° angle pointing to the north east defines the chevron and can be incorporated into secondary visual support graphics.
• These accents help add movement, vibrancy and vitality to any visual communications piece. Circle grids are another element that can be used to soften the sharp-edged angular graphics.

Color Palette

• Our two primary colours are the foundation of our visual identity. They combine an optimistic outlook for the future with a respectful nod to our past.
• The primary brand colours used in our logo are at the core of our visual identity. Where possible, one or both of our primary colours should be present in any application.
• Our secondary colours are a complementary evolution of the primary CBU colours.
• The accent colours support the secondary colours and help bring the visual language to life.
• To maintain the integrity of the visual identity, always adhere to the colour breakdowns for both primary and secondary colour palettes.
• The primary logo is used in Pantone 166 C.
• The sub-brand logos are used in Pantone 349 C.
• The Unama’ki College logo uses Pantone 193 C (red), Pantone 7408 C (yellow), and 100% black.
• All logomarks may be reversed out using CBU brand colours. The reverse application is a white logomark on either primary or secondary brand colours (see page 23).
• All other brand spatial and composition rules apply when using reverse applications.
• Solid, bold colours or simple, angular tone-on­tone backgrounds can be used to support the secondary identity. It becomes the primary identity used on promotional items.

Typography

• Gibson is our primary brand font family. Use this font for both print and digital content applications. Gibson is available in a range of weights: light, book, medium and bold with corresponding italics.
• Our secondary brand font, Roboto Slab, is a geometric slab serif that complements our primary font Gibson. Roboto Slab is available in a range of weights: light, medium and bold with corresponding italics. The secondary font allows for a variety of style options across more involved applications.
• For better readability online and on mobile, Roboto condensed is a good font choice.
• When the primary brand fonts are unavailable, the Arial font family is an acceptable substitution. For tighter fitting compositions, Arial Narrow can be utilized.
• Headlines and titles are short and large Headlines and titles can be varied.
• Sub-headlines are larger than body copy, but never larger than headlines.
• Colour can be utilized to punctuate copy points. It offers another visual style element to pull the audience into the communication.
• Department sub-branding typography is to be displayed in all caps, Gibson Book. The primary colour is CBU’s Pantone 349C.
• The department descriptor should align underneath the primary logo and should not extend out beyond the ‘y’ in university. The department can drop down on two or three lines to fit. The distance from base of CBU text to the top of department should be the twice the height of the cap size of the department descriptor.
• The descriptor height should be 1/2 the x-height for “University.”

Logo Usage

• Our primary logo is the main visual representation of the CBU brand. The new logo is bold, strong and aspirational.
• The primary logo is used in Pantone 166 C.
• The chevron within the logo points to the north east, denoting our geographic location, forward thinking and our vision for the future. The modern crest shape represents our commitment to academic excellence and achievement.
• The chevron shape is inspired by the eight-point star, a traditional symbol in Indigenous culture.
• Our visual identity’s strength relies on the boldness and simplicity of two separate, one-colour logomarks.
• This is our primary identity used to visually represent our master brand. Use only supplied files. Do not try to replicate or adjust font size or position.
• A secondary logomark with our abbreviated name has been developed for specific cases where CBU’s full name is not necessary or where the primary identity is already used on another portion of its application. The secondary identity is primarily focused on student-directed collateral or promotional items.
• Use this orientation where space limitations call for a horizontal application (i.e. signage). For this alternate version, the typography can extend across two lines rather than its recommended stacked three-line version.
• When space is limited and a vertical application is required, the stacked alternate logomark is recommended.
• Note that both alternate logomark versions should only be used when the primary and secondary identities don’t represent the visual brand in its best light.
• All logomarks may be reversed out using CBU brand colours. The reverse application is a white logomark on either primary or secondary brand colours (see page 23).
• All other brand spatial and composition rules apply when using reverse applications.
• The clearspace is defined by double the cap height of the typography of the logomark.
• To ensure the best display of the visual identity, no objects, visuals or typography should infringe upon the clearspace zone.
• The minimum size for all logo versions is based on the height of the shield in the logomark. These sizes help maintain the integrity of the logomarks. For primary logo variations, do not reduce the height to less than 10 mm for print or 30 pixels for digital applications.
• For secondary logo variations, where possible, do not reduce the height to less than 15 mm for print or 35 pixels for digital applications. For favicons and other digital and small social applications, use the secondary logo without the typography to help with readability.
• To help ensure consistency in logo use and reproduction, please use the guide above to find the optimal file format for each use case.

Tone And Messaging

• Our tone is warm and bright and exudes the natural charm and intelligence of Cape Breton. After all, we are people first, so we must speak in a voice that is authentic, honest and true to who we are.
• As an academic leader, we speak in a professional manner that demonstrates our intelligence and humanity. We are passionate and inspiring, but also friendly and accessible.
• Whenever possible, we use simple language and clear, concise messaging. We are always mindful that our audiences range from prospective students to government officials, so we communicate in a voice that is relevant and accessible to all.
• While we are proud to share our collective and individual achievements, we are never boastful. Rather, we focus on the benefits to the wider community. Our sense of community is present in everything we communicate.
• Most importantly, our voice should be consistent throughout all of our communications so that each brand touch point builds trust and creates a deeper relationship with our audience.
• Through consistent language, tone and messaging, brand voice expresses who we are and what we stand for.
• The tonality needs to be personable, inviting and aspirational.

Brand Values

• Brand pillars create the foundation of our brand platform. Like our mission, vision and values, brand pillars remain constant and should be reflected in everything we do.
• Opportunity Ingenuity Solidarity Stewardship
• With an incredible history, rich traditions, vibrant communities, and an abundance of pristine landscape, Cape Breton Island serves as a living laboratory of opportunity. The culture, heritage, and natural environment of the island are woven into the very fabric of the university. And it enriches every aspect of CBU, from innovative multidisciplinary programs to unprecedented research opportunities for our undergrads. CBU is also a truly diverse campus with a decidedly global perspective that creates a unique, inclusive academic experience for all. Therefore, the unprecedented opportunity it offers is also an equal one.
• The natural ingenuity of the island is engrained in everything we do. It’s why we believe in the power of innovation, and leading the way to find new, sustainable solutions for our communities, our island, and our environment. Ingenuity means never saying it can’t be done. But rather, persevering and adapting until we find a way. It’s our commitment to academic excellence, thought leadership, and experiential learning opportunities. It comes from a place of necessity, creativity, and self-reliance. And it guides us as one of Canada’s youngest and most innovative university, as we carve our own path towards a sustainable future.
• As one of Canada’s most diverse campuses, we celebrate and embrace our differences, and are united in a solidarity of spirit. Our collective challenges bring us together to find solutions for the greater good. Solutions that will help enable a sustainable future for our communities, our island, and the world. We don’t believe in academic silos, or silos of any kind. When we work and stand together, anything is possible. We prove it day in and day out. We are committed to the promotion and preservation of Indigenous culture and heritage, and to creating a united Unama’ki for all. And we welcome the world to join us.
• We believe in the protection of our island home, our natural environment, and our economic future. It’s what led us to becoming the first energy self-sufficient campus in North America, and to our creation of the first MBA program in North America with a specialization in community economic development. It also propels us to innovate environmental solutions from the ground up at the Verschuren Centre, and to be an Atlantic Canadian leader in Indigenous studies. We understand the value of our natural resources, our unique culture and heritage, and our people. And we’ll do everything we can to safeguard their future.

Visual Style

• Our visual identity, comprised of our logo, imagery, typography, colours and graphic design elements reflects our unique brand positioning and promise.
• Our primary logo is the main visual representation of the CBU brand. The new logo is bold, strong and aspirational.
• The primary logo is used in Pantone 166 C.
• The chevron within the logo points to the north east, denoting our geographic location, forward thinking and our vision for the future. The modern crest shape represents our commitment to academic excellence and achievement.
• The chevron shape is inspired by the eight-point star, a traditional symbol in Indigenous culture.
• Our visual identity’s strength relies on the boldness and simplicity of two separate, one-colour logomarks.
• Use only supplied files. Do not try to replicate or adjust font size or position.
• All logomarks may be reversed out using CBU brand colours. The reverse application is a white logomark on either primary or secondary brand colours (see page 23).
• All other brand spatial and composition rules apply when using reverse applications.
• The clearspace is defined by double the cap height of the typography of the logomark.
• To ensure the best display of the visual identity, no objects, visuals or typography should infringe upon the clearspace zone.
• The minimum size for all logo versions is based on the height of the shield in the logomark. These sizes help maintain the integrity of the logomarks. For primary logo variations, do not reduce the height to less than 10 mm for print or 30 pixels for digital applications.
• For secondary logo variations, where possible, do not reduce the height to less than 15 mm for print or 35 pixels for digital applications. For favicons and other digital and small social applications, use the secondary logo without the typography to help with readability.
• To help ensure consistency in logo use and reproduction, please use the guide above to find the optimal file format for each use case.
• The visual identities for CBU’s family of schools offer an opportunity for personalization, while supporting the strength of the university’s primary identity.
• Their equal visual representation safeguards against visual clutter and promotes consistency and strength.
• Since the University is represented by the chevron shape taken from CBU’s primary identity, the Family of Schools’ sub-brands are best displayed alone without an accompanying CBU primary or secondary logo.
• The sub-brand logos are used in Pantone 349 C.
• All logomarks may be reversed out using CBU brand colours. The reverse application is a white logo mark on either primary or secondary brand colours (see page 23).
• All other brand spatial and composition rules apply when using these reverse applications.
• To highlight the college’s unique offering and positioning, the logomark is portrayed in a unique colour application and represents the sacred Indigenous colours of white, yellow, red and black.
• The Unama’ki College logo uses Pantone 193 C (red), Pantone 7408 C (yellow), and 100% black.
• Department sub-branding typography is to be displayed in all caps, Gibson Book. The primary colour is CBU’s Pantone 349C.
• The department descriptor should align underneath the primary logo and should not extend out beyond the ‘y’ in university. The department can drop down on two or three lines to fit. The distance from base of CBU text to the top of department should be the twice the height of the cap size of the department descriptor.
• The descriptor height should be 1/2 the x-height for “University.”
• Our two primary colours are the foundation of our visual identity. They combine an optimistic outlook for the future with a respectful nod to our past.
• The primary brand colours used in our logo are at the core of our visual identity. Where possible, one or both of our primary colours should be present in any application.
• Our secondary colours are a complementary evolution of the primary CBU colours.
• The accent colours support the secondary colours and help bring the visual language to life.
• To maintain the integrity of the visual identity, always adhere to the colour breakdowns for both primary and secondary colour palettes.
• Gibson is our primary brand font family. Use this font for both print and digital content applications. Gibson is available in a range of weights: light, book, medium and bold with corresponding italics.
• Our secondary brand font, Roboto Slab, is a geometric slab serif that complements our primary font Gibson. Roboto Slab is available in a range of weights: light, medium and bold with corresponding italics. The secondary font allows for a variety of style options across more involved applications.
• For better readability online and on mobile, Roboto condensed is a good font choice.
• When the primary brand fonts are unavailable, the Arial font family is an acceptable substitution. For tighter fitting compositions, Arial Narrow can be utilized.
• Headlines and titles are short and large Headlines and titles can be varied.
• Sub-headlines are larger than body copy, but never larger than headlines.
• Colour can be utilized to punctuate copy points. It offers another visual style element to pull the audience into the communication.
• The CBU ‘chevron’ is a critical graphic element of the visual brand identity. The 45° angle pointing to the north east defines the chevron and can be incorporated into secondary visual support graphics.
• These accents help add movement, vibrancy and vitality to any visual communications piece. Circle grids are another element that can be used to soften the sharp-edged angular graphics.
• Maintaining discipline with our visual standards regarding digital applications is important. Larger dynamic imagery drives the visual presentation.
• Always be mindful of the visual representation on mobile executions. Readability is paramount for promoting our messages.
• These visuals are supported with our bold CBU colour palette and accented with our angular design elements.
• Striking the right balance between all visual elements is one of the greatest challenges in print applications. Large, cropped, striking visuals are the best way to represent the CBU brand. Dynamic, angular graphics and colour overlays offer solutions to provide optimum readability. Always be mindful ofoptimizing the best quality regarding the reproduction of applications.
• Never underestimate the power of simplicity. Our bold, dynamic identity is best represented through clean, straightforward a ppl icati ons.
• Solid, bold colours or simple, angular tone-on­tone backgrounds can be used to support the secondary identity. It becomes the primary identity used on promotional items.

Layout And Composition

• Use only supplied files. Do not try to replicate or adjust font size or position.
• All logomarks may be reversed out using CBU brand colours. The reverse application is a white logomark on either primary or secondary brand colours (see page 23).
• All other brand spatial and composition rules apply when using reverse applications.
• The clearspace is defined by double the cap height of the typography of the logomark.
• To ensure the best display of the visual identity, no objects, visuals or typography should infringe upon the clearspace zone.
• The minimum size for all logo versions is based on the height of the shield in the logomark. These sizes help maintain the integrity of the logomarks. For primary logo variations, do not reduce the height to less than 10 mm for print or 30 pixels for digital applications.
• For secondary logo variations, where possible, do not reduce the height to less than 15 mm for print or 35 pixels for digital applications. For favicons and other digital and small social applications, use the secondary logo without the typography to help with readability.
• To help ensure consistency in logo use and reproduction, please use the guide above to find the optimal file format for each use case.
• All logomarks may be reversed out using CBU brand colours. The reverse application is a white logo mark on either primary or secondary brand colours (see page 23).
• All other brand spatial and composition rules apply when using these reverse applications.
• The department descriptor should align underneath the primary logo and should not extend out beyond the ‘y’ in university. The department can drop down on two or three lines to fit. The distance from base of CBU text to the top of department should be the twice the height of the cap size of the department descriptor.
• The descriptor height should be 1/2 the x-height for “University.”
• To maintain the integrity of the visual identity, always adhere to the colour breakdowns for both primary and secondary colour palettes.
• Headlines and titles are short and large Headlines and titles can be varied.
• Sub-headlines are larger than body copy, but never larger than headlines.
• Striking the right balance between all visual elements is one of the greatest challenges in print applications. Large, cropped, striking visuals are the best way to represent the CBU brand. Dynamic, angular graphics and colour overlays offer solutions to provide optimum readability. Always be mindful ofoptimizing the best quality regarding the reproduction of applications.
• Never underestimate the power of simplicity. Our bold, dynamic identity is best represented through clean, straightforward a ppl icati ons.
• Solid, bold colours or simple, angular tone-on­tone backgrounds can be used to support the secondary identity. It becomes the primary identity used on promotional items.

Brand Architecture

• The visual identities for CBU’s family of schools offer an opportunity for personalization, while supporting the strength of the university’s primary identity.
• Another form of visual communication is through our family of schools. The chevron shape at the core of the CBU visual identity defines the sub-brand identities.
• Their equal visual representation safeguards against visual clutter and promotes consistency and strength.
• Since the University is represented by the chevron shape taken from CBU’s primary identity, the Family of Schools’ sub-brands are best displayed alone without an accompanying CBU primary or secondary logo.
• The sub-brand logos are used in Pantone 349 C.
• All logomarks may be reversed out using CBU brand colours. The reverse application is a white logo mark on either primary or secondary brand colours (see page 23).
• All other brand spatial and composition rules apply when using these reverse applications.
• Unama’ki College embraces the knowledge, wisdom and traditions of the Mi’kmaq and helps Indigenous students build rewarding futures. To highlight the college’s unique offering and positioning, the logomark is portrayed in a unique colour application and represents the sacred Indigenous colours of white, yellow, red and black.
• The Unama’ki College logo uses Pantone 193 C (red), Pantone 7408 C (yellow), and 100% black.
• All other brand spatial and composition rules apply when using reverse applications.
• Departmental sub-branding provides an opportunity for additional clarity of messaging.
• It should only be utilized when it’s important to differentiate one area of CBU from another (i.e. signage, official letters and specific course or event notifications).
• Department sub-branding typography is to be displayed in all caps, Gibson Book. The primary colour is CBU’s Pantone 349C.
• The department descriptor should align underneath the primary logo and should not extend out beyond the ‘y’ in university. The department can drop down on two or three lines to fit. The distance from base of CBU text to the top of department should be the twice the height of the cap size of the department descriptor.
• The descriptor height should be 1/2 the x-height for “University.”

Digital Guidelines

• DIGITAL 35PX
• The minimum size for all logo versions is based on the height of the shield in the logomark. These sizes help maintain the integrity of the logomarks. For primary logo variations, do not reduce the height to less than 10 mm for print or 30 pixels for digital applications.
• For secondary logo variations, where possible, do not reduce the height to less than 15 mm for print or 35 pixels for digital applications. For favicons and other digital and small social applications, use the secondary logo without the typography to help with readability.
• How our visual identity is represented in digital applications is our greatest opportunity to connect with our audiences.
• Maintaining discipline with our visual standards regarding digital applications is important. Larger dynamic imagery drives the visual presentation.
• Always be mindful of the visual representation on mobile executions. Readability is paramount for promoting our messages.
• These visuals are supported with our bold CBU colour palette and accented with our angular design elements.
• Gibson is our primary brand font family. Use this font for both print and digital content applications. Gibson is available in a range of weights: light, book, medium and bold with corresponding italics.
• For better readability online and on mobile, Roboto condensed is a good font choice.
• When the primary brand fonts are unavailable, the Arial font family is an acceptable substitution. For tighter fitting compositions, Arial Narrow can be utilized.

Print Guidelines

• PRINT: 10MM
• PRINT 15MM l lU
• The minimum size for all logo versions is based on the height of the shield in the logomark. These sizes help maintain the integrity of the logomarks. For primary logo variations, do not reduce the height to less than 10 mm for print or 30 pixels for digital applications.
• For secondary logo variations, where possible, do not reduce the height to less than 15 mm for print or 35 pixels for digital applications. For favicons and other digital and small social applications, use the secondary logo without the typography to help with readability.
• Gibson is our primary brand font family. Use this font for both print and digital content applications. Gibson is available in a range of weights: light, book, medium and bold with corresponding italics.
• When the primary brand fonts are unavailable, the Arial font family is an acceptable substitution. For tighter fitting compositions, Arial Narrow can be utilized.

Additional Properties

Revenue History

Employees History

Total Assets History