INTO

📋 1 Guidelines

🔗 Connections

Sector

E learning edtech Education

Region

United kingdom

Guideline Year

2017

Language

English

Tags

Education

Official Websites

Brand Guidelines

2017

Brand Summary

Mission
  • To bring together ambitious, international students and leading universities from across the world, enabling global reach, recruitment, support, and progression for students and partners.
Core Values
  • partnership
  • experience
  • success
Target Audience
  • Ambitious, international students and leading universities seeking global reach and enhanced recruitment and support.
Personality Traits
  • dependable
  • progressive
  • adaptable
  • individual
  • bold
  • positive
Visual Identity Overview
  • The visual identity is characterized by a bold, minimal color palette, adaptable Neo Sans typography, a straightforward logo and brand mark, geometric roundel symbolizing forward movement, consistent partner logo systems, direct and people-oriented photography, and clear iconography for cross-media communication.

Categories

Brand Imagery
  • Our photographic style is direct, people orientated and regularly refreshed.
  • Photography can be one of the most powerful ways of illustrating our brand’s personality. It should always be of a high quality and specific to the content it supports.
  • Our policy is to show only the reality of INTO centres, students and staff. However, we do use library and other third party images to illustrate the geography and local features of interest. We also call on our university partners to supply images from their publications if we feel they support our messages.
  • When we photograph groups of students we select as broad a cultural range as possible, as well as a gender balance. University and JV branding is evidenced using university branded clothing and/or JV brochures or apps.
  • Whenever possible, our images should communicate our world-class standards: • state-of-the-art facilities • happy engaged student communities • enthusiastic and credible teachers • security and comfort • multicultural integration, especially with domestic students.
  • Profile shots show engagement with the reader (eyes to camera). For interaction between groups a journalistic style is used.
  • We use relevant backgrounds with a focus on subjects.
  • Poor quality imagery must never be applied to our visual communications.
  • Where poorly crafted, badly composed, irrelevant or generic stock library photography is used, it indicates an organisation that takes short cuts or worse, has no confidence to display its facilities, services and people.
  • The pictures shown here typify the kind of pictures we must avoid using: • stock images of students in non-INTO joint venture environments • images showing irrelevant and inappropriate background • images that show old technology • with respect to the sensitivities of some of our audiences, we are careful not to show female students and staff in overtly short skirts or with uncovered shoulders • bars or alcoholic drinks • mixed gender couples alone in residential accommodation • over-used three students walking/under a tree composition • little interaction between students or students not engaged with the activity.
Color Palette
  • The INTO colour palette is bold, positive and minimal, enabling strong visual connection across all applications.
  • Consisting of INTO red backed up with two further shades of red plus black, the primary colourway is bold yet reflects the mature nature of the brand -especially with the use of reversed-out white text.
  • Pantone: 1795 C CMYK: 0-100-100-0 RGB: 237-28-36 Hex: #edlc24
  • Pantone: 1805 C CMYK: 15-100-100-10 RGB: 190-31-36 Hex: #belf24
  • Pantone: 704 C CMYK: 35-100-100-10 RGB: 160-38-42 Hex: #a0262a
  • Pantone: Black C CMYK: 0-0-0-100 70-50-30-100 (rich black)’ RGB: 0-0-0 Hex: #000000 * For large printed areas of solid black, the ‘rich black’ colour values should always be used
  • The INTO secondary colourway should be called upon when a layout using the primary colourway requires the support of graphics (pie charts, graphs etc.) or colour coding systems that will help clarify the communication. Two metallic inks are included for specialist print effects.
  • Pantone: 7466 C (INTO turquoise) CMYK: 100–0–40–0 RGB: 0–170–173 Hex: #00aaad
  • Pantone: 2593 C (INTO purple) CMYK: 50–100–0–0 RGB: 146–39–143 Hex: #92278f
  • Pantone: 158 C (INTO orange) CMYK: 0–70–100–0 RGB: 243–111–33 Hex: #f36f21
  • Pantone: 7687 C (INTO dark blue) CMYK: 100–80–15–0 RGB: 39–66–133 Hex: #274285
  • Pantone: 647 C (INTO blue) CMYK: 85–50–20–5 RGB: 51–107–155 Hex: #336b9b
  • Pantone: 376 C (INTO green) CMYK: 50–0–100–0 RGB: 161–191–55 Hex: #a1bf37
  • Pantone: 226 C (INTO pink) CMYK: 0–100–0–0 RGB: 207–0–114 Hex: #cf0072
  • Pantone: 130 C / 116 U (INTO yellow) CMYK: 0–35–100–0 RGB: 250–187–0 Hex: #fabb00
  • Pantone: 872 C (INTO gold) CMYK: 36–44–69–29 RGB: 133–114–77 Hex: #85724d
  • Pantone: Silver C (INTO silver) CMYK: 37–28–28–7 RGB: 166–167–167 Hex: #a6a7a7
Typography
  • The Neo typeface is extremely adaptable. It can be formal or informal depending on the typographer’s intention. It is geometrically pure yet still has an individual character, as distinct from standard typefaces such as Helvetica. Neo helps to differentiate us from our competitors.
  • NEO SANS ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 *?@%:
  • Titles, headings, body copy, etc. is specified in Neo Sans for INTO-branded communications.
  • The Neo Sans font family can be purchased from www.linotype.com. Latin, Greek, cyrillic and Arabic versions are available – the Paneuropean (W1G) version supports at least 89 languages.
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Neo Sans Light
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Neo Sans Light Italic
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! AbcDEFGHIJKLmNOPQrSTUVWXYZ Neo Sans (Regular)
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Neo Sans (Regular) Italic
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Neo Sans Medium
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Neo Sans Bold
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Neo Sans Black
  • We specify Arial as the secondary typeface for applications where INTO colleagues create their own files in INTO corporate style in the Microsoft Office suite of programs.
  • Applications for the use of Arial include: • letters • emails • PowerPoint presentations • reports • business proposals.
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Arial
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Arial Italic
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Arial Bold
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Arial Bold Italic
  • Arial Unicode MS includes Latin, Greek, Cyrillic, Arabic, Hebrew, Vietnamese, Japanese, Simplified and Traditional Chinese, Korean, Thai, Georgian, Kannada, Malayalam and Telugu characters and supports many languages.
  • In our websites, we use Neo Sans in web font format for headings in corporate style. For all other text we specify Lato for its greater legibility and proportions better suited to being used for small text on screen.
  • Lato is only used as a text face in website applications and in no other applications.
  • The Lato font family is a free to download or embed Google font and can be accessed from fonts.google.com. It is also available through Typekit for Adobe Creative Cloud subscribers.
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Lato Light
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Lato Light Italic
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Lato (Regular)
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Lato (Regular) Italic
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Lato Bold
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Lato Heavy
  • abcdefghijklmnopqrstuvwxyz 1234567890 £&*?! ABCDEFGHIJKLMNOPQRSTUVWXYZ Lato Black
  • For Chinese translations and original corporate material in China, Source Han Sans Simplified Chinese is used as an alternative to Neo Sans.
  • In page layout applications such as Adobe InDesign, to ensure correct punctuation, set tracking to zero in the Character options.
  • The Source Han Sans Simplified Chinese font family is available through Typekit for Adobe Creative Cloud subscribers.
  • 天地玄黄宇宙洪荒日月盈昃辰宿列张寒来暑往秋收冬 藏闰馀成岁律吕调阳云腾致雨露结为霜金生丽水玉出 昆冈剑号巨阙珠称夜光果珍李柰 Source Han Sans CN Light (Use for Neo Sans Pro Light)
  • 天地玄黄宇宙洪荒日月盈昃辰宿列张寒来暑往秋收冬 藏闰馀成岁律吕调阳云腾致雨露结为霜金生丽水玉出 昆冈剑号巨阙珠称夜光果珍李柰 Source Han Sans CN Regular (Use for Neo Sans Pro Regular)
  • 天地玄黄宇宙洪荒日月盈昃辰宿列张寒来暑往秋收冬 藏闰馀成岁律吕调阳云腾致雨露结为霜金生丽水玉出 昆冈剑号巨阙珠称夜光果珍李柰 Source Han Sans CN Medium (Use for Neo Sans Pro Medium)
  • 天地玄黄宇宙洪荒日月盈昃辰宿列张寒来暑往秋收冬 藏闰馀成岁律吕调阳云腾致雨露结为霜金生丽水玉出 昆冈剑号巨阙珠称夜光果珍李柰 Source Han Sans CN Bold (Use for Neo Sans Pro Bold)
  • 天地玄黄宇宙洪荒日月盈昃辰宿列张寒来暑往秋收冬 藏闰馀成岁律吕调阳云腾致雨露结为霜金生丽水玉出 昆冈剑号巨阙珠称夜光果珍李柰 Source Han Sans CN Heavy (Use for Neo Sans Pro Black)
Logo Usage
  • It is essential that all applications of the INTO logo should use authorised graphic files. It should never be typeset with live type, as kerning has been applied in each case.
  • The INTO and all JV logos on the following pages must always appear in proportion with the examples shown here, i.e. the logo must not be stretched, squeezed or distorted in any way. The logo must always be reproduced from master artwork.
  • Only the INTO brand design team is authorised to create electronic files for JV logos. To establish a new INTO JV brand, the master INTO typeset logo should be used, without adjusting kerning.
  • The background panel should be set to the university’s prime brand colour (the tinted sections behind the INTO logo automatically adjust).
  • The open logo format is the only approved JV mark for US partners. It should be used along with a standalone version of the university logo on publications. The university logo is available by request to and with approval from the US design team.
  • For all other partners, the open logo format is only to be used when it is impractical to use the lock-up/boxed format, for example when appearing small (brochure spines, Associate JV business cards); when you want less prominence on the page (application forms within brochures) and branded merchandise (USB sticks, clothing etc).
  • For agencies and third parties working with INTO specifically promoting the JV centres, but not the university partners, the open logo is also the format to use. In these cases the open logos are used in isolation with no accompanying university partner logo.
  • The structure is the INTO core brand mark paired with the university name or location, depending on the JV. The INTO brand mark is an INTO colour if for a wholly owned centre (default INTO red) otherwise the university prime brand colour. The university name or location is black.
  • The single line is the preferred format but use the multi-line if space is an issue.
  • The INTO and all JV logos must always appear in proportion with the master files shown here, i.e. the logo must not be stretched, squeezed or distorted in any way. The logo must always be reproduced from master artwork.
  • Only the INTO brand design team is authorised to create electronic files for JV logos. To establish a new INTO JV brand, the master INTO typeset logo should be used, without adjusting kerning. The university name or location is typeset over the master file, with the design team making character pair kerning adjustment as needed.
  • These boxed logos contain the INTO brand mark and the location of the INTO centre set in INTO’s brand font Neo Sans.
  • Construction is similar to the JV lock-ups with the same margin on the left being used after the variable width location text. The default background colour is INTO red but other colours from INTO’s corporate colourway can be used to help distinguish the brand.
  • Marketing or clarification straplines can be added using an additional grey panel at the base of the logo which contains continuations of the tinted shapes. Strapline text is ranged right and aligned with the end of the location text.
  • Only the INTO brand design team is authorised to create electronic files for JV logos. To establish a new INTO JV brand, the master INTO typeset logo should be used, without adjusting kerning. The location text is typeset over the master file, with the design team making character pair kerning adjustment as needed.
  • These logos are for joint ventures offering courses in partnership with an INTO-owned centre. The INTO centre logo is used in conjunction with the grey strapline panel below, with continuations of the tinted shapes. The strapline starts ‘IN PARTNERSHIP WITH’ followed by the name of the university partner. Strapline text is ranged right and aligned with the end of the location text.
  • Only the INTO brand design team is authorised to create electronic files for JV logos. To establish a new INTO JV brand, the master INTO typeset logo should be used, without adjusting kerning. The location text and university partner name is typeset over the master file, with the design team making character pair kerning adjustment as needed.
  • The INTO Affiliate logo does not change from the example shown here and can be used in marketing materials by universities who accept students progressing from our INTO Choice Centres.
  • The INTO sub-brand logos follow the same format but contain the name of the sub-brand, for example KNOWLEDGE and SPACES as shown. The default background colour is INTO red but other colours from INTO’s corporate colourway can be used to help distinguish the brand.
  • Only the INTO brand design team is authorised to create electronic files for JV logos. To establish a new INTO JV brand, the master INTO typeset logo should be used, without adjusting kerning. The sub-brand name is typeset over the master file, with the design team making character pair kerning adjustment as needed.
  • INTO logos should be reproduced with an area around them which is clear from all other graphic elements. This is referred to as the ’exclusion zone’. For lock-up/boxed format logos this is calculated by twice the cap height of the word ‘INTO’. For open format logos this is calculated by the cap height of the word ‘INTO This exclusion zone also represents the minimum distance from the cut or folded edge of any format to which the logo is applied.
  • The minimum height for the lock-up logos is 14 mm.
  • The minimum height for the text-based boxed logos is 7 mm.
  • The minimum width that the INTO core brand mark can appear in isolation or in any joint venture arrangement (open or lock-up format) is 9 mm.
  • There is no maximum size but as a guide designers should refer to all published documents used as examples in this manual. The INTO logo must be used to express authority and to support university brands where they appear together.
  • The full lock-up logos appear at the top left of the page as shown.
  • INTO AssociateJV logos are placed top left alongside the university partner logo top right. The usage of the university partner logo follows their style guide.
  • Wholly owned centre logos are place top left as shown.
  • The open formatJV logo appears bottom left with the university logo taking prime position at the top. The usage of the university partner logo follows their style guide.
  • INTO US Associate JV logos are placed bottom left with the university logo taking prime position at the top. The usage of the university partner logo follows their style guide.
  • Wholly owned US centre logos are placed top left as shown.
  • This is also the positioning for agencies and third parties working with INTO specifically promoting the JV centres where it is not permissible to use the university partner logos.
  • For higher education promotional materials the INTO reverse-out open logo supports the university logos in a non-competitive way. The usage of the university partner logo follows their style guide.
  • Where more than one JV brand is represented, the hierarchy is the same as for higher education materials above. The grouped partner logos are arranged in the order the universities joined the INTO network, whether in a vertical or horizontal arrangement. Wholly owned centre logos are arranged in the same way following on from the partner universities.
  • You may also group the partner university logos geographically -North America, United Kingdom, Asia, for example.
  • For corporate materials the INTO logo is generally placed top left of the page.
  • If the logo is a main feature of the cover then other positions are permissable.
  • The effectiveness of the INTO brand depends on its consistent application. Here are some examples of incorrect use of the brand marks which ultimately degrade the value of the brand. 1 Do not stretch the logo. 2 Do not place the logo on a similarly toned background or photograph where legibility is lost. 3 Do not try to recreate the logo -always use original artwork files. 4 Do not try to create translated versions of the logo. 5 Do not use only part of the logo. 6 Do not break apart or alter any part of the logo. 7 Do not alter the colour split of the logo. 8 Do not use the INTO logo in the run of text or as part of a headline unless as part of a specific campaign. 9 Do not place the logo too near edges or other graphic elements (see ‘The exclusion zone’). 10 Do not use the roundel as a bullet point. 11 Do not use the roundel as or within a web-page button. 12 Do not show the roundel pointing any other way than forwards (to the right).
Tone And Messaging
  • The INTO visual identity has several key elements. The consistent application of these will help to embed our brand values in the minds of our audiences.
  • The INTO name and brand mark (the logo) is straightforward and to the point. It characterises a dependable relationship – INTO is a partner brand.
  • The roundel is an expression of forward movement and geometric perfection. INTO does what this mark represents – we are instigators of progression, quickly and effectively.
  • The Neo typeface is extremely adaptable. It can be formal or informal depending on the typographer’s intention. It is geometrically pure yet still has an individual character, as distinct from standard typefaces such as Helvetica. Neo helps to differentiate us from our competitors.
  • The INTO colour palette is bold, positive and minimal, enabling strong visual connection across all applications.
  • Visual iconography transcends language barriers and works across media from apps to signage to quickly convey information.
  • Our photographic style is direct, people orientated and regularly refreshed.
Brand Values
  • The INTO visual identity has several key elements. The consistent application of these will help to embed our brand values in the minds of our audiences.
  • The INTO name and brand mark (the logo) is straightforward and to the point. It characterises a dependable relationship – INTO is a partner brand.
  • The roundel is an expression of forward movement and geometric perfection. INTO does what this mark represents – we are instigators of progression, quickly and effectively.
  • The Neo typeface is extremely adaptable. It can be formal or informal depending on the typographer’s intention. It is geometrically pure yet still has an individual character, as distinct from standard typefaces such as Helvetica. Neo helps to differentiate us from our competitors.
  • The INTO colour palette is bold, positive and minimal, enabling strong visual connection across all applications.
  • Our partner logo systems depend on the relationship and offering with INTO. The lock-up system pairs the INTO and partner university brands into one graphic device. The open logo format pairs the INTO brand with the partner name.
  • Visual iconography transcends language barriers and works across media from apps to signage to quickly convey information.
  • Our photographic style is direct, people orientated and regularly refreshed.
Visual Style
  • The INTO visual identity has several key elements. The consistent application of these will help to embed our brand values in the minds of our audiences.
  • The INTO name and brand mark (the logo) is straightforward and to the point. It characterises a dependable relationship – INTO is a partner brand.
  • The roundel is an expression of forward movement and geometric perfection. INTO does what this mark represents – we are instigators of progression, quickly and effectively.
  • The Neo typeface is extremely adaptable. It can be formal or informal depending on the typographer’s intention. It is geometrically pure yet still has an individual character, as distinct from standard typefaces such as Helvetica. Neo helps to differentiate us from our competitors.
  • The INTO colour palette is bold, positive and minimal, enabling strong visual connection across all applications.
  • Our partner logo systems depend on the relationship and offering with INTO. The lock-up system pairs the INTO and partner university brands into one graphic device. The open logo format pairs the INTO brand with the partner name.
  • Visual iconography transcends language barriers and works across media from apps to signage to quickly convey information.
  • Our photographic style is direct, people orientated and regularly refreshed.
Iconography
  • Visual iconography transcends language barriers and works across media from apps to signage to quickly convey information.
  • Iconography is used to quickly communicate a concept or message where words may not -especially to an international be as effective audience. INTO’s icons and symbols are used in the following ways: • to represent social media channels • to highlight calls to action such as email and telephone • in signage for directions and facilities.
  • All icons have been designed to be legible from being used small in apps, to when used large seen from a distance in signage. They are created on the same square grid system enabling them to be used effectively alongside each other or individually.
  • All the icons referred to in this section are available to download from the INFOGRAPHICS AND ICONS category of our digital asset bank assets.intoglobal.com
Layout And Composition
  • The INTO visual identity has several key elements. The consistent application of these will help to embed our brand values in the minds of our audiences.
  • The INTO name and brand mark (the logo) is straightforward and to the point. It characterises a dependable relationship – INTO is a partner brand.
  • The roundel is an expression of forward movement and geometric perfection. INTO does what this mark represents – we are instigators of progression, quickly and effectively.
  • The Neo typeface is extremely adaptable. It can be formal or informal depending on the typographer’s intention. It is geometrically pure yet still has an individual character, as distinct from standard typefaces such as Helvetica. Neo helps to differentiate us from our competitors.
  • The INTO colour palette is bold, positive and minimal, enabling strong visual connection across all applications.
  • Our partner logo systems depend on the relationship and offering with INTO. The lock-up system pairs the INTO and partner university brands into one graphic device. The open logo format pairs the INTO brand with the partner name.
  • Visual iconography transcends language barriers and works across media from apps to signage to quickly convey information.
  • Our photographic style is direct, people orientated and regularly refreshed.
Brand Architecture
  • Our partner logo systems depend on the relationship and offering with INTO. The lock-up system pairs the INTO and partner university brands into one graphic device. The open logo format pairs the INTO brand with the partner name.
  • INTO is a higher education partnering brand and its relationship with universities is always expressed in that context Partnering with INTO enables universities to extend their global reach, recruit, support and progress students to the institution and provide enhanced services to recruitment partners. The INTO brand is particularly powerful as a means of enabling partners to access agent and third party recruitment relationships. As such, the INTO mark should always be represented in the relationship -although its positioning will change depending on the nature and location of the partnership.
  • There are three basic types of partnership. Deeply embedded joint venture (see section 2.2) This is the standard partnership with leading universities in North America and the United Kingdom. The relationship is a 50:50 relationship where INTO supports university internationalisation objectives, commonly through the development and operation of an INTO centre. This is represented here as INTO University of Anywhere. The joint venture UV) is seen as an integral part of the partner university -adopting partner brand colours and styles. There are small regional variations in the application of the logo.
  • The relationship is represented with a ’lock-up’ logo set in a colour box, using the university’s prime brand colour.
  • The US partnerships are represented in an open type logo, which is NOT set in a university colour box.
  • Wholly owned (see section 2.4) The boxed logo contains the INTO brand mark and the location of the INTO centre and uses INTO’s brand colours.
  • Associate relationship (see section 2.5) INTO partners with universities on a shorter term basis, usually ten years and may not include a university branded pathway centre (cf relationship with Nankai University in China and The University of Manchester in the UK). The boxed logo is used to describe this relationship.
  • Affiliate relationship (see section 2.6) INTO has a number of relationships, largely in the UK and mainland Europe, with institutions who formally recognise INTO preparation programmes for admission to further study at their own institution. These relationships are referred to as Affiliates. The university may only use the INTO Affiliate boxed logo in their marketing materials and the university brand must never be represented in a way which might confuse people with a deeply embedded relationship
Co Branding
  • Our partner logo systems depend on the relationship and offering with INTO. The lock-up system pairs the INTO and partner university brands into one graphic device. The open logo format pairs the INTO brand with the partner name.
  • The JV lock-up logo system communicates the spirit of partnership between INTO and the university by locking the two logos into a singular strong device (the lock-up). Through the use of shape and colour it also represents the transmission from INTO to the university.
  • The INTO and all JV logos on the following pages must always appear in proportion with the examples shown here, i.e. the logo must not be stretched, squeezed or distorted in any way. The logo must always be reproduced from master artwork.
  • Only the INTO brand design team is authorised to create electronic files for JV logos. To establish a new INTO JV brand, the master INTO typeset logo should be used, without adjusting kerning. The basic construction of the logo is illustrated to the right and uses a reversed-out version of the university partner logo of a comparable size to other partner logos in the same series. The background panel should be set to the university’s prime brand colour (the tinted sections behind the INTO logo automatically adjust).
  • The open logo format is the only approved JV mark for US partners. It should be used along with a standalone version of the university logo on publications. The university logo is available by request to and with approval from the US design team.
  • For all other partners, the open logo format is only to be used when it is impractical to use the lock-up/boxed format, for example when appearing small (brochure spines, Associate JV business cards); when you want less prominence on the page (application forms within brochures) and branded merchandise (USB sticks, clothing etc).
  • For agencies and third parties working with INTO specifically promoting the JV centres, but not the university partners, the open logo is also the format to use. In these cases the open logos are used in isolation with no accompanying university partner logo. For prime front page positioning see section 3.3, Wholly owned US centre and JV centre specific materials.
  • The structure is the INTO core brand mark paired with the university name or location, depending on the JV. The INTO brand mark is an INTO colour if for a wholly owned centre (default INTO red) otherwise the university prime brand colour. The university name or location is black.
  • The single line is the preferred format but use the multi-line if space is an issue.
  • The INTO and all JV logos must always appear in proportion with the master files shown here, i.e. the logo must not be stretched, squeezed or distorted in any way. The logo must always be reproduced from master artwork.
  • Only the INTO brand design team is authorised to create electronic files for JV logos. To establish a new INTO JV brand, the master INTO typeset logo should be used, without adjusting kerning. The university name or location is typeset over the master file, with the design team making character pair kerning adjustment as needed.
  • The minimum height for the lock-up logos is 14 mm.
  • The minimum height for the text-based boxed logos is 7 mm.
  • The minimum width that the INTO core brand mark can appear in isolation or in any joint venture arrangement (open or lock-up format) is 9 mm.
  • There is no maximum size but as a guide designers should refer to all published documents used as examples in this manual. The INTO logo must be used to express authority and to support university brands where they appear together.
  • The effectiveness of the INTO brand depends on its consistent application. Here are some examples of incorrect use of the brand marks which ultimately degrade the value of the brand. 1 Do not stretch the logo. 2 Do not place the logo on a similarly toned background or photograph where legibility is lost. 3 Do not try to recreate the logo -always use original artwork files. 4 Do not try to create translated versions of the logo. 5 Do not use only part of the logo. 6 Do not break apart or alter any part of the logo. 7 Do not alter the colour split of the logo. 8 Do not use the INTO logo in the run of text or as part of a headline unless as part of a specific campaign. 9 Do not place the logo too near edges or other graphic elements (see ‘The exclusion zone’). 10 Do not use the roundel as a bullet point. 11 Do not use the roundel as or within a web-page button. 12 Do not show the roundel pointing any other way than forwards (to the right).
Social Media Guidelines
  • Visual iconography transcends language barriers and works across media from apps to signage to quickly convey information.
  • Iconography is used to quickly communicate a concept or message where words may not -especially to an international be as effective audience. INTO’s icons and symbols are used in the following ways: • to represent social media channels • to highlight calls to action such as email and telephone • in signage for directions and facilities.
  • All icons have been designed to be legible from being used small in apps, to when used large seen from a distance in signage. They are created on the same square grid system enabling them to be used effectively alongside each other or individually.
  • All the icons referred to in this section are available to download from the INFOGRAPHICS AND ICONS category of our digital asset bank assets.intoglobal.com
  • AA selection of social media and generic icons
  • Back page of a QUB presentation folder shows icons grouped for social media
  • “’ Social media icons in intoglobal.com footer
🐛 Report