Brand System

The brand system we use to build our visual collateral is inspired by the shape of the University crest. The  system is extremely flexible, allowing us to create varied brand communication design layouts.

By deriving the tripod shape from the centre of the crest, this was viewed as being an aerial view, in which a fourth spoke of the line device was hidden. By changing angle and perspective, this fourth spoke is revealed. This additional spoke gives the line device the ability to move and stretch in different directions.

This shape and movement is reflective of how the University is able to step back, assess a situation and then with active intent, seek out new solutions, the brightest minds and advanced thinking to take on the biggest challenges. With this in mind, we refer to the line device as the ‘lines of intent’.

To provide structure around where and how the lines of intent are placed on any format, an underlying dot matrix grid has been developed. The facilitates purposeful placement of the brand device because the centre point and endpoints of each line should always sit on a dot of the grid.

Please note the dot matrix should not be visible on any final branded collateral. Instead, it is a foundational tool to help structure design layouts.

There is a wide range of digital and print templates ready for use. These have been created with the optimal space between dots of the dot matrix. There will, however, be instances where additional templates need to be created, depending on format or brief.

We use two types of dot matrix grid formats, depending on the collateral size and format. For smaller digital and print formats, the dot matrix grid is built without columns. For medium and large digital and print formats, we create a dot matrix grid that aligns with an underlying column grid for text boxes.

Here you can find step-by-step guides for setting up a simple dot matrix grid. It’s important they are followed closely to ensure a level of consistency exists across the entire brand. The steps shown here may have to be slightly adapted depending on the shape of the format you are working on, but the fundamental direction will remain the same. This process applies to formats created in InDesign, so the process will differ in other applications.

There is no definite rule on how many dots should be used to create a dot matrix. However, it’s important not to flood the grid with dots. If there are too many dots to apply the lines of intent to, then the positioning of the device becomes arbitrary. Please refer to existing templates as a guide when creating collateral. A variety of sizes exist to help which can provide a sense of size and spacing for the dot matrix.

This section outlines examples of small digital set formats where a gutter isn’t required, because a limited amount of text can fit on these formats. Larger digital presentation sizes such as our 1920 x 1080px template do use gutters. Small print formats such as A6 and DL sizes and below do not use gutters.

It is recommended that A5 be the starting size point for gutters to be utilised. There is no definite rule around the threshold where gutters are or aren’t used in digital and print formats, so please use the templates created as a guide to what is deemed the best case scenario and make a design evaluation from that point.

When creating large document formats, where increased volumes of text or multiple images are required, it is important that we create a template that allows this to happen while keeping a solid structure in place. To do this, we create an underlying column grid that also aligns with the dot matrix grid.

This is a slightly more complicated process compared to the smaller format method and requires some trial and error and basic maths to get the best setup. It’s key to remember the number of columns and vertical ruler lines that have been applied to the format being created. A simple A4 format is being used in the example below to demonstrate the method, which can be adapted for different sizes of formats.

The step-by-step guide will give more detail, but as a basic summary, if you decide you want to use a 6 column grid for your bespoke format, then the amount of vertical ruler lines you add, must be perfectly divisible by 6. These lines must sit within the margins of the format and be equally distributed across the width of this area. The amount of vertical lines you choose will be an indicator of how wide you want your text columns to be. If you choose 48 ruler lines, this means 8 lines per column (6×8=48). You would then add another 6 vertical ruler lines to 48 for 54 lines, to give you the gutters that sit between your text columns.

If you find that the gutters are too big or too small, you will need to add or subtract vertical lines, to decrease or increase the column widths. If you want to decrease the column width, then add 6 (or any number equally divisible by 6) more vertical lines to make 54. If you want to increase the column width, then subtract 6 (or any number equally divisible by 6) vertical lines from 54 to make 48.

If you wanted to make a 7 column grid, the number of vertical lines needed would have to be perfectly divisible by 7 (42 for example) and you would need to add an another 7 lines for your gutters, giving a total of 49 vertical lines. If you wanted to make a 10 column grid, the number of vertical lines needed would have to be perfectly divisible by 10 (50 for example) and you would need to add an another 10 lines for your gutters, giving a total of 60 vertical lines.

Once you are happy with the visual spacing between the vertical ruler lines, add in your horizontal ruler lines. These too will have to sit within the margins of the template. Use the Step and Repeat function (Option+Command+U) to create the amount of lines you think is correct. There is no set number for the amount of horizontal lines you use but we suggest that what ever number you use ends up forming roughly square shapes when they overlap with vertical ruler lines and not rectangles. Please refer to the visual examples given as to the correct ratio you are looking to achieve.

You are now able to add the dot matrix pattern to your template using the same process set out in the previous section.

This section outlines the details on how to create the lines of intent when building a bespoke format. When creating your own lines of intent, please first reference the existing pre-set templates and source one which closely matches the dimensions of your new format. The pre-set templates have built-in stroke weights and can act as a guide for stroke point size and what should be used to draw the new required version of the lines of intent.

In the ‘Brand in Action’ section of the portal, you will see examples where the lines of the brand device utilise both black and white, when it crosses over a dark/black area to a light/white area of a layout. To replicate this look, please ensure that a line doesn’t change colour more than once. Please also ensure the lines of intent retain visual strength and don’t overly complicate or distract within a design layout. If in doubt, please use the ‘less is more’ philosophy.

The examples here are to provide insight into the thought process used to achieve the most striking result.

When using the lines of intent as containers for imagery or text to sit in, there are different ways that they can be utilised. In all cases, it’s important to remember that where the spokes of the lines of intent meet, they use the ‘Round Join’ to ensure that the points where the spoke meet are seamless, as seen in the ‘Creating Lines of Intent’ section.

The brand system has been developed to enable dynamic and flexible layouts. The range of visual styles that can be achieved with the lines of intent will ensure brand communications remain contemporary yet consistent.

When working with the lines of intent, please carefully consider the content and context of what you are designing and who are you designing for. The lines of intent brand device has been created to interact with other elements within a layout. Consider the angles, shapes and objects within an image and how the lines of intent could interact with, frame, mimic or align. The lines of intent can also point to or interact with typography.

The lines of intent do not need to appear on every single piece of brand collateral. Instead, other elements from the toolkit can be used on their own. Generally, only one brand device should be used per format, however this is open for interpretation when special cases arise.

There are instances where the lines of intent can be represented through our imagery. For example, architectural lines/detailing or light and shadows can act as visually compelling ‘natural’ lines of intent.

Whilst there are no set rules around exact lengths of each line, the central point and endpoints should ideally sit on a dot within the underlying dot matrix grid. However, there will be instances where this is not always possible, and so design discretion should be used.

The stroke thickness of our lines of intent has been pre-set in the templates and should be adhered to as closely as possible. There may be occasions where alterations to thickness are required. In these special case instances, please consult with the Brand Team for further direction.

When designing for our University, please think about how our brand system can be used to create contemporary layouts. Consider the use of white space, placement of typography, image cropping and placement and how the lines of intent brand device is carefully placed and positioned. Approaching each layout with this careful consideration of each element will ensure our brand collateral feels relevant and modern.

The examples shown here introduce some of this thinking, while also showing how any number of the spokes from the lines of intent can remain on the format, depending on what works best for that particular design.

Finding a point of focus within an image and positioning the lines of intent in ways that align or interact will bring this system to life. The lines of intent can sit simply over an image or can become more interactive and playful, if appropriate.

The brand device aligns with naturally occurring lines, shapes or angles within imagery or blocks of text. If a line crosses over light to dark background areas, it can change from dark to light for legibility.

The lines of intent can interact with imagery in many different ways to give the impression of existence within a 3D space. The lines can cut in front of or go behind key elements of an image. Lines can also cut behind image containers. This flexibility facilitates interesting perspectives.

The lines of intent can be positioned to refract imagery by cutting through a format at acute and obtuse angles. This allows imagery to be offset at different sizes and scales, which result in rich, dynamic visual layouts. Careful consideration should be given when selecting imagery so that refraction strengthens the overall visual concept as opposed to complicating or distracting from the message.

The lines of intent can be broken by text or an object within an image. It can cut in front and behind the contents of an image, while also sitting in front and behind image containers. The line can also be broken by text or an object in an image and doesn’t have to always appear to be running directly behind a subject.

The structural nature of the lines of intent means you will be able to find natural instances in the built world where these lines are present. Using the lines of intent in this way demonstrates an understated confidence in our creative decision making. Please refer to examples below for inspiration.

When designing for any brand, special case scenarios will arise where the set guidance that applies for everyday use must be adapted in order to come to the best design solution. This requires making good design judgement to ensure the overall essence of the brand is held brand remains intact.

As previously stated in the ‘Using Our Brand’ section of the portal, the lines of intent brand device does not need to be utilised on every single piece of collateral, where other parts of the toolkit may be more appropriate. On the first example shown below, you can see how the elements of the brand toolkit are split across a group of three flags. This decision was made because of a) limited space on each flag and b) the close proximity of the flags with one another.

On the second example below, the format is split across multiple window panes. Adding an additional set of lines of intent helps create an overall dynamic feel across this expansive area.

Special case scenarios should happen only when absolutely necessary and other solutions do not result in the same visual strength. Please speak to the Brand Team for further guidance.

Our flexible brand system facilitates endless creativity. With the ability to design so freely, there is also potential for the system to be misused, resulting in inconsistency and dilution of the brand identity. Familiarise yourself with these guides and use your creative instinct to create on-brand collateral. Some sample incorrect executions are shown below.

– Poorly placed lines of intent
– Illegible text placement
– Awkward image crops
– Lines of intent that are too thick/thin
– Misuse of colour