Hartlepool College Corporate Identity Guide

Hartlepool Collegeof Further Education

HCFE Design and Media IdentityOverview and Guidelines for Use

www.hartlepoolfe.ac.uk | or search online for HCFE

Excellence in Further and Higher Education

Important notification for all HCFE staffNo content whatsoever pertaining to any College courses, activities, students or resources should ever be published (in print or electronically) without having been submitted to Marketing in the first instance to ensure that both style and content meet expected quality standards and conform to the style outlined in this guide.

All materials that may be seen by any student or member of the public must first be approved by Marketing and/or the College Executive before they can be used or released. There are no exceptions to this. If you have a specific idea or requirement, please arrange a meeting with the Marketing Manager to discuss whether it will work with the College’s design style or within the strategies outlined in the Marketing Plan.

Materials created for teaching / training activities should conform to approved templates only, which are available from Marketing. Contact details for the Marketing Manager can be found on the rear of the document.

Adequate working time must be allowed for all jobs. Short notices can sometimes be accommodated depending on current workloads, but as these services utilise specialised services quick turnaround is sometimes technically inviable, especially for film production which requires significant setting up and post-production.

Guidelines for UseHartlepool College Design and Media Identity


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Contents Introduction / Media MattersHCFE Marketing: Who is Responsible? / Hartlepool College’s Design EthicThe College Logo: A Brief HistoryThe New College Logo: The “Luminary”Luminary Basic Forms / Proportions (Aspect Ratio) / Type ElementsColours / RGB Colour MatchingCross College Use: Colour Scheme / Colour Variations / Minimum SizeCross College Use: Reversal / Single ColourSpecific Area Use: Limited ColourUnacceptable UseAuthorisation to use the Luminary / Obtaining the Luminary / Distributing the LuminaryCorporate Font - Swiss 721 Family / Swiss 721 Family SubvariationsSwiss 721 Exceptions / Other Swiss Fonts / Replacement Fonts / Obtaining the FontEmbedding Fonts within Documents / Font Sizes: General Rules / Text AlignmentDocument Design Style (the “look”) / Document Frontage (Covers, Posters etc.)Document Reverses (Back Covers/Sheets)Internal SpreadsStandard Document SizesPaper Stocks - Selection & SupplyCollege Stationery / Business Cards / Safeguarding & Business CardsCompliments Slips / LetterheadFax Cover Sheet / HCFE Internal Sub Brands / Unauthorised Sub BrandsCommercial/Partnership Sub BrandsAdditional Logos/AccreditationsCompromises to the Corporate IdentityDigital Media / The College Website / Integrated Third Party ResourcesSelf-Produced Videos / Photos / The College Smartphone App / QR / Email SignaturesPowerpoint Presentations / PC Desktops / In-Film Graphics & DVD / Vehicle LiveriesSignage (External) / Signage (Internal, Permanent)Signage (Internal, Temporary) / Signage (Internal, Digital)Third-Party Posters within Rooms / Flags / Uniforms / Staff Badges & LanyardsPhotography / Stock Photography / Self-Produced Photography & Safeguarding

Appendices

Appendix 1: Working with Preset Templates / FilesAppendix 2: Alignment and Monitoring of Artwork ElementsAppendix 2b: Working Flexibly with Graphic ElementsAppendix 3: Working with MS Office TemplatesAppendix 4: Image Selection and UseAppendix 5: Headlines and ParagraphsAppendix 6: Marking or Correcting Hard CopyAppendix 7: Things to Watch or AvoidAppendix 8: Submitting or Supplying Graphics, Images and Text to Marketingfor use in documents or presentationsGallery

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IntroductionHartlepool College of Further Education has existed, in various forms and locations, for well over a century. During the 1960s it found a permanent home on Stockton Street when a modern, purpose-built facility was constructed to meet the demands of the age. As this new College was created to serve not only our home town but also a large part of the surrounding region, Stockton Street was selected for its central location, excellent access in and out of town and proximity to public transport hubs.

The College’s programmes, facilities and support mechanisms have consistently evolved in response to changes in technology, working practices, skills needs and economic/social trends, ensuring that we have always met the varying and changing needs of businesses, partners, staff and students. Expansion into areas such as apprenticeships, employer engagement, international opportunities and higher education, amongst many others, has enabled us to refine, grow and enhance our remit considerably. In 2011 a brand new Hartlepool College was opened on the site of the old, once again custom-designed to meet the challenges of a changing society, culture and marketplace.

Media MattersUp until the mid 1990s the College’s promotional materials were largely restricted to press advertising, posters, leaflets and a prospectus, with occasional radio campaigns. Today, while “traditional” press and print formats continue to be vital elements in our marketing strategy, digital media and high-speed communication technology have broadened the ways in which we can present ourselves to prospective students and partners.

For example, web-based technologies allow access to promotional materials and College information at all times, and without any restriction in geographical boundaries. Digital video, audio and photography allow these specialised forms of media to be created and used without the considerable financial and time commitments that once restricted them. Even printed matter can now be designed, produced, edited and output with maximum flexibility and cost-effectiveness thanks to desktop-based artworking and digital printing processes, and the College has an on-site print centre equipped with a variety of rapid response equipment and a large-scale photo-quality plotter.

Hartlepool College of Further Education takes full advantage of all the tools and means at its disposal for the delivery of its message and image. The further and higher education sectors are highly competitive, and most of the people who form our target areas are design and media literate. With these factors in mind it is vital that the College uses a consistent and coherent design approach across all materials it produces.

Right: the College main campus on Stockton Street gained an exemplary reputation and record for service from the 1960s through to its decommissioning in 2011.


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HCFE Marketing: who is responsible?On a wider level, we all are. Every person who works at the College is reflecting and representing it. It is a duty for all members of staff to be friendly and approachable to all students and visitors, and to answer any queries politely and positively, or if unable to do so to instead direct them to someone who can (such as Reception or Customer Services) rather than just saying “I don’t know”. Similarly, any materials representative of the College should be helpful, clear and conforming to the guidelines laid out in this manual.

Marketing is the specific in-house team responsible for maintaining the integrity of the College’s image, the quality of its materials and the organisation and expansion of promotional activities.

It is this team’s role to provide the Principalship and the Schools with materials that are effective, creative, aesthetically attractive and consistently applied. This is achieved through an approved style of design and imagery, which is known as a “corporate identity”. The Hartlepool College of Further Education corporate identity is outlined in detail in this document, and must be adhered to at all times.

Hartlepool College’s Design EthicThe College’s mission statement of “Excellence in Further and Higher Education” is one that has be reflected not only in our courses, facilities and support activities, but also in the materials employed to inform and attract students, employers and partners. Any materials regarding the College are effectively a representation of its principles, abilities and objectives, and have great potential to affect perception of the organisation.

Hartlepool College of Further Education’s corporate identity aims to present the College truthfully, and to reflect many of its key qualities. Our design is aimed at appearing modern, clean and stylish; to present us as an organisation that is professional, dedicated, forward-thinking, and diverse but unified. One that works to the highest standards, with a broad scope and complete attention to detail.

Information is presented clearly, and supported by imagery that features as many bona-fide students and resources as possible. HCFE materials should be designed to appear neither dated nor jumping on trends and bandwagons. Above all, they should never be “dumbed down” or made patronising on the misguided assumption that their target audience may not otherwise understand them.

With this in mind we carefully avoid arbitrary stylistic choices such as excessive and obvious typography, overly busy materials and instances of “showing off”; for example, unnecessary flourishes, clutter, distracting animations and other elements included simply because we have the option, as opposed to the need or justification.

Ultimately, the College aims to present itself as stylish, mature and sophisticated, more akin to the level of a university or corporation. To ensure this, and also to prevent any potential waste of resources (in the form of unapproved print work that needs to be discarded etc.), it is therefore vital that ALL documents and media are designed as specified within this publication, and approved by Marketing and Media before they are duplicated or distributed. The majority of artworking will be undertaken by the Design team.

Our design is aimed at appearing modern, clean and stylish; to present us as an organisation that is professional, dedicated, forward-thinking, and diverse but unified. One that works to the highest standards, with a broad scope and complete attention to detail.


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The College Logo: A Brief HistoryThe official mark of the College is its logo. It is the primary visual means of identifying the organisation. The College logo has evolved over the decades, as this brief reflection shows.

Fig. 1 Fig. 2

Fig. 3 Fig. 4

Fig. 5 Fig. 6

Fig. 1The first College logo was a stylised “CFE” - the word Hartlepool was originally at the rear of the name, as can be seen in the title above the logo.

Fig. 2The “Chevron” logo in use for the majority of the “old” College’s operational life was originated in the 1980s, when HC and FE were applied onto a wireframe 3D cube in CAD software (when such technology was still novel).

Fig. 3In the late 1980s this was refined into a more graphic form. The basic “icon” would remain in use until 2011, although text and colour would vary - note that at this stage the diamond is yellow and it is the background that is burgundy, and that only the word “Hartlepool” is given prominence.

Fig. 4In the mid-1990s an experiment was made to reverse to logo into a box, although at this stage the burgundy colour was locked down as the primary College colour. This was the first version to give the words “Hartlepool” and “College” equal emphasis, although Further and Education were of equal size too.

Fig. 5Between 1995 and 1999 the icon was centred above the text, and horizontal lines were added as a framing device.

Fig. 6In use from 1999 to 2011, this last version of the logo was the longest standing incarnation, with the icon positioned beside the text. This allowed the logo to be used at smaller sizes without text becoming unreadable, and to fit into a greater variety of positions on pages, vehciles, adverts etc.


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The New College Logo: The “Luminary”As the new College building was being constructed throughout 2010 the decision was taken to also refresh the logo as it approached the quarter-century mark. The update was intended to bring it into line with the clean and modern appearance of the building, and be brighter, more colourful, and more flexible to the many facets of our facilities and resources. In addition, the new visual identity needed to reflect the innovative and inspirational quality of our organisation.

Given the College’s philosophy of learners being at the centre of every aspect of our operation, it made perfect sense to organise a competition open to the College’s design students, who responded to this challenge with great vigour and creative verve.

The numerous entries were judged by members of the Executive team and the College’s in-house design and marketing specialists, and the standard of those submitted was excellent. After much deliberation the winning logo was one created by Krisit Indi (known as “Dto”, pronounced “Doh”), a second year student on the National Diploma in Art and Design.

The judging panel was impressed by Dto’s balance of refinement, elegance, adaptability and modernity. A multi-layered solution that is all at once simple and complex, it was described as a celestial body in the form of a sun or a burst of energy - the origin of a new dawn, which signifies Hartlepool College’s eminence and stature as a leading light in education and the fresh era that the new building heralds.

The old logo was often somewhat flatly referred to as just that - “the logo”. However, as Dto’s new logo is symbolic of such a major milestone in the College’s history, it was felt that it was worthy of a name by which it could be easily identified, and one that would epitomise all of the qualities it both contained and represented. The name chosen is Luminary, derived from the astronomical terminology for the two brightest objects in the sky, the Sun and the Moon - a fine and further representation of the College’s unending cycle in the pursuit of excellence.

Once selected, the logo was handed to Marketing for development and implentation, the result of which is this document.


The Luminary made its first ever appearance to the invited audience of the College’s Celebration of Achivement in November 2010, when it was segued from the old logo during one of the videos made for the evening. It made its first official public appearance on April 26th 2011, when a billboard carrying the new brand appeared on Powlett Road, marking its official introduction.

Below: Krisit Indi, designer of the Luminary and at the time a student on the National Diploma in Art & Design


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Luminary Basic FormsUnlike the older College logo, which could appear either as a logotype or an icon alone, the Luminary features its typographic element as an integral part and must be used in full “logotype” form (Fig. 1) wherever possible. However in some approved circumstances, for example limitations of space, sub-branding, some clothing, badges or specialised materials such as third-party forms, a special version using only the HCFE acronym (Fig. 2) or with no text at all (Fig. 3) can be applied by special Executive sanction only (see Exceptions, page 31).

Proportions (Aspect Ratio)The Luminary primary configuration has an aspect ratio of 23:12 - 23 parts long to 12 high. This simplifies to around 1.92 to 1, meaning that its length should always be approximately double that of its height.

Type ElementsThe Luminary’s typographic components are rendered in the font Swiss 721 Light, and are pre-proportioned and sized to integrate precisely with the graphic elements. They should always be scaled accordingly if the logo in enlarged or reduced. The Luminary will always be supplied from Marketing with its typographic components precisely positioned and scaled, and these should never be removed, changed or obscured.

Swiss 721 Light: ABCDabcd1234?@£%See page 15 for more details.

Fig. 1 - Luminary Primary Use (Logotype) Figs. 2 & 3 - Luminary Exceptional Use (Logo)


12 (1)

23 (1.92)


HCFE HCFE


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ColoursThe Luminary has been designed to utilise a number of colour schemes, dependent on requirement and association. Seven colours are attached to the Luminary, formed of six hues and one neutral (plus black and white). These colours are:

RGB Value(Red Green Blue, for use on computer screens i.e. within PowerPoint)

CMYK(Cyan, Magenta, Yellow, blacK for four colour process printing)

Hexadecimal (website colour reference)

Pantone System(pre-mixed inks for spot colour - “C” for coated [gloss] papers, “U” for uncoated [absorbent] papers)

Red

R = 226 G = 0B = 26

C = 0M = 100Y = 100K = 0

#e2001a

485 C032 U

Gold

R = 248 G = 179B = 52

C = 0M = 35Y = 85K = 0

#f8b334

142 C123 U

Purple

R = 101 G = 38B = 103

C = 69M = 97Y = 22K = 12

#652667

260 C2593 U

Green

R = 0 G = 150B = 97

C = 96M = 0Y = 76K = 0

#009661

340 C334 U

Magenta

R = 226 G = 0B = 122

C = 0M = 100Y = 0K = 0

#e2007a

226 CRubineRed U

Blue

R = 0 G = 100B = 173

C = 100M = 55Y = 0K = 0

#0075be

300 C300 U

60% Grey

R = 135 G = 136B = 138

C = 0M = 0Y = 0K = 60

#87888a

877 CCool Grey 9 U

Black and white components use standard printer specifications and/or knock-out. In some cases Black may require a double overprint. In special circumstances such as the use of signmakers’ adhesive vinyl etc., the most approximate match will be used.

PLEASE NOTE: professional printing processes use colour management systems to ensure the accurate reproduction of colour. However, be aware that variations in make and model of computer monitors, projectors, copiers and inkjet/laser printers can result in up to a 25% variation in the way the colour appears.

RGB Colour Matching: To match elements (for example text, lines or shapes) within a Microsoft Office document or PowerPoint presentation to any of the colours used in the Luminary, simply click the small triangular arrow to the immediate right of the colour tool (in the example shown at right, the text tool). Choose “More Colors” (the software is Americanised) and a dialogue box will appear in the middle of the screen. Under the tab marked “Custom” is an option to numerically enter the RGB value. This allows for complete fidelity with the Luminary colours.


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Cross-College Use: Colour SchemeThe main cross-College variant of the Luminary utilises full colour with black primary and 60% grey secondary text, in the configuration as shown below. It is only to be used on a white field (background). All unmarked components are black.


60% GreyBlue

PurpleGreen

Gold

Red

Magenta

Blue

Cross-College Use: Colour VariationsThe colours used within the graphic component of the Luminary for cross-College use are set, and cannot be changed in any way. However, the secondary text line (“of Further Education” can be altered to black or purple instead of grey depending on specific circumstances and permissions, for example where additional strength or clarity is needed.

Minimum SizeThe Luminary cannot be used below a print size of 35mm wide (shown below). If used below this size the text component can be rendered unreadable.




35mm


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Cross-College Use: ReversalWhen necessary, the Luminary can be reversed to work on a black background. In this instance all colours remain the same, and all black and grey components become white. Note that this can only be used on a black background, as to do so on other colours may lead to parts of the Luminary losing clarity. This version will only appear under specific circumstances (for example, on the College’s information display screens which are set against white walls) and is not to be considered the primary version.


Cross-College Use: Single ColourWhere a single colour only is available due to limitations of printing, the Luminary can be used in pure black or white-only forms (i.e. mass-duplicated forms, QAPPS, situation vacant adverts etc.) This variation is only permissible when there is no other option. In all other instances the Luminary should be used in an appropriate colour form.




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Specific Area Use: Limited ColourThe Luminary can be assigned to specific areas within the organisation or special circumstances such as decorations (i.e. small banner flags), and when so assigned can be used in limited colour variation. In such instances, use is dependent on the material or circumstances involved. Please consult Marketing for guidance.














Hartlepool CollegeHartlepool Collegeof Further Education Hartlepool College

of Further Education






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Unacceptable UseUnder no circumstances should the Luminary colours, typestyle, proportions or angle be changed. EVER. Nor should small low-resolution versions such as those optimised for website use be simply stretched to fill larger spaces. They will “pixellate”, or appear blocky and untidy. Print resolution versions of the logo are available from Marketing, see page 14.

Below are completely unacceptable Luminary uses:

Horizontal or vertical stretching; Keyline box added

Text elements misproportioned; text elements misaligned; secondary text removed

Unauthorised colours; unauthorised font; low resolution version (i.e. extracted from website and scaled)

“Squeezed” into small shape or overlapping boundary; placed directly over image; rotated or skewed



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Authorisation to use the LuminaryAny appearance of the Luminary must be authorised, as its use implies that any document carrying it has been officially sanctioned by the organisation. Any internal use (i.e. staff to staff or staff to student documents) must feature the Luminary and not any older versions of the logo (as shown on Page 6), and to the guidelines featured throughout this document.

In the interests of cost effectiveness and value, stocks of older materials pending update may be used at the discretion and sanction of the Executive only. Any external use of the Luminary must be approved before publication. Students, except in exceptional authorised circumstances, are not allowed to use the Luminary on any work.

Obtaining the LuminaryDigital copies of all varieties of the Luminary can be obtained from Marketing and Media in Raster (non-scaleable) and Vector (fully scaleable) formats. Permission from Executive or the Marketing Manager must be confirmed before any file will be supplied. Do not approach any of the design team directly, they cannot give you a copy without such clearance.

Formats available are:

.jpg (Joint Photographic Experts Group: raster, for general use such as Office, PowerPoint)

.tif (Tagged Image Format: raster, for high resolution print)

.eps (Encapsulated PostScript: vector, for professional print)

.ai (Adobe Illustrator: vector, for large signage, screenprint etc.)

.pdf (Adobe Portable Document Format, for emailing)

Other formats for specialised use can be rendered on request.

Distributing the LuminaryOn occasion third parties may request the Luminary (for example supplements, technical features, advertorials etc.) Usually such requests come to Marketing, but sometimes members of staff are approached directly. If this is the case, before any file is delivered or transmitted it is vital that Marketing be contacted and given full details of the request so that it can be evaluated and correct useage of the Luminary can be ensured.

Under no circumstances is the Luminary to be sent to any person or organisation without Marketing’s knowledge and consent. If permission is obtained, a PDF copy of this guide should accompany the file.

Exceptions to the LuminarySee page 31.


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Corporate Font - Swiss721 FamilyThe College has adopted a set font style for consistency and clarity of written information. Swiss 721 is a sans-serif typeface adapted from the font Helvetica, which originated in Switzerland in the 1950s (hence the name) as an attempt to design a typeface which could be incredibly clear and legible, but also elegant and attractive.

Swiss is also outwardly very similar to Arial (also derived from the font Helvetica), but the latter font has slightly different proportions and shaping and should not be assumed to be the same as Swiss 721.

Swiss 721 family members used within the HCFE corporate identity are:

Swiss 721 Thin (default HCFE headline font #1)Swiss 721 Thin ItalicSwiss 721 Light (default HCFE body font)Swiss 721 LightSwiss 721 BTSwiss 721 BT Bold (default HCFE headline font #2)Swiss 721 BT ItalicSwiss 721 BT Bold ItalicSwiss 721 BlackSwiss 721 Black Italic

Swiss721 Family SubvariationsOn occasion, for example when a large amount of text must be squeezed into a very small space or a layout is in a very wide, thin shape, the Zurich Condensed and Extended sub-families can be used. However, these are to be used only when absolutely necessary and with Executive/Marketing approval.

Swiss 721 Light CondensedSwiss 721 CondensedSwiss 721 Black CondensedSwiss 721 Light ExtendedSwiss 721 ExtendedSwiss 721 Black Extended


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Swiss721 Family ExceptionsThe Swiss 721 Font Family is large, but the College’s identity makes use of only a limited selection as outlined on the previous page. No other variations are permitted under any circumstances in the interests of clarity and coherence. Primarily, these are Outline or Rounded variations.

Swiss 721 Outline Example - not to be usedSwiss 721 Rounded Example - not to be used

Replacement FontsExcept in rare circumstances of necessity (i.e. to maximise browser compatibility to the website, accommodate conversion to embroidery on clothing or for use on pre-set documents such as payslips), Swiss 721 should be used by default. Heavier and Italicised versions can be used for highlighting phrases or words. If a replacement font is needed to be used because Swiss is unavailable, Arial is permissible due to its relatively close appearance.

Arial is an acceptable substitute for Swiss 721 if necessary.Times New Roman, Verdana, Comic Sans etc., are not.

Obtaining and Installing theSwiss 721 Font Family Copies of the Swiss 721 font family in TrueType format (for general PC use and fully scaleable) can be supplied by Marketing. Simply close all applications, and copy the supplied .ttf files to the folder C:/WINDOWS/Fonts (assuming that your hard drive is the default labelling of C). Windows will automatically be able to read them, and the font will read as installed in software such as Word.

Other Swiss FontsAside from Swiss 721, other Swiss Fonts are available, such as Swiss 911, 921 and 924. These are similar in form but have subtle unique characteristics, notable straighter ascenders which make them appear more compressed. It is essential that care is taken to ensure that only Swiss 721 is used. The font number is embedded in all filenames and will be identifiable from Font menus.

Swiss 911 Example - not to be usedSwiss 921 Example - not to be usedSwiss 924 Example - not to be used


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Embedding Fonts within Documents Most document creation software (such as Microsoft Office, Adobe Acrobat PDF) features within its options or preferences an instruction along the lines of “embed TrueType Font in document”. If this option is available, it should be applied. This will embed a copy of the Swiss fonts directly into your document rather than merely linking to the copies installed on your hard drive. This means that your work can be opened on another PC without “font matching” occuring - that is, the destination PC automatically replacing Swiss with another font (usually Arial, Courier or Times New Roman) if it does not find it on the host machine.

Font matching can cause text and layouts to look radically different and even for paragraphs to run off edges, as even similar looking fonts have different scales, spacing and proportions that can easily take up more or less space.

Font Sizes: General RulesThe size of text used varies from document to document. Font sizes are measured in points (pt), an archaic scale that has its origins in the age of early moveable metal type (when each letter was cast in lead from standardised pellets called points. The larger the letter being cast, the more points of lead were needed). The vertical space between lines of text is called “leading”, from the practice of using uniformly sized thin bars of lead to manually space lines out from one another. Most design software still refers to this vertical spacing as leading, as the term is common amongst creative professionals. However, to accommodate those from other backgrounds, MS Office products more logically call it “line spacing”.

The most comfortable size for balancing the legibility of the text with the ability to fit more than just a couple of paragraphs on an average A4 page is 9pt text, with 12pt leading to avoid paragraphs appearing too densely packed (this equates to roughly one and a half line spaces in MS Office products).

In most instances, 9pt body text with 12pt leading should be used on reports and other general documents. Other College documents use differing text sizes depending on the amount and size of information they contain. For more details refer to the Appendices and/or Template library.

Text Alignment

Most College written material uses a layout called “Ranged Left - Ragged Right”, where the left margin of the copy is aligned while the text is allowed to fit as it falls on the right margin. Some specialised instances, such as advertising, uses “Ranged Right - Ragged Left”. “Ranged-Ragged” allows the spacing between letters to be uniform, which aids those with visual impairments and reading challenges. When “Justified” text is used, that is both left and right margins are aligned, paragraphs can appear neater but can prove vastly difficult to read as the spacing between letters and words becomes uneven to compensate (see the repeat of this sentence below, and how much more difficult it is to read comfortably).

When justified text is used, that is both left and right margins are aligned, paragraphs become neater but can prove more difficult to read as to compensate the spacing between letters and words becomes uneven.


Document Design Style (“the look”)With obvious exceptions such as some forms, payslips, clothes etc., where third party software, production considerations or security protocols are paramount and design concessions are necessary (see Exceptions, page 31), all College materials are designed to conform to an approved style of visual identity. This “look” is intended to ensure that all materials not only instantly identify themselves as belonging to the College, but that they also work as part of a wider “set”.

Differing formats (A4, A5, posters, prospectuses, the website, vehicle livery to name but a few) means that the style has to be flexible enough to accommodate their differing demands but remaining visually consistent. It is the intention of the Corporate style that all materials produced within it are immediately identifiable as being part of the Hartlepool College “family”.

Document Frontage (Covers, Posters etc.)The front-facing side of any document (most commonly covers, but technically this also includes publications such as single page leaflets, posters or a website’s homepage) has to serve two main purposes. It must present its information clearly and usefully, but also appear attractive in order to gain the attention of prospective readers. The application of appropriate imagery and typography can alter a person’s response to a document greatly. A typical College front-facing document is divided into three or four zones; for example on major “front line” documents such as prospectuses it appears like this:

“Identity” zone:This is fixed and common to all promotional / information documents. The white area contains the Luminary to the right. Immediately above it, aligned to the left and right on its Y Axis, is a strip featuring its six colours (the “Riley Bar”) and the Mission Statement supported on a black frame that delineates the top of the page.

Image:This part of the page is where a single image or multiple images side-by-side appropriate to the document are featured. To maximise visual power, the image(s) must fill the entire available space, and bleed at the page edges.

Heading:A black box featuring the title of the document, centred horizontally and Ranged Left. Up to three lines of text can be accommodated (as defined by available Templates).

Website and anciliary logo zone:A strip in one of the College colours, normally the purple, with website / online details and a repeat of the Riley Bar aligned again to left and right. White boxes can be added to accommodate third party logos.

Fig 1:

Life of Riley

The multi-coloured strip seen at the top of most documents and between sections on inner pages is nicknamed “the Riley Bar”, as it was inspired by the OpArt pictures of Bridget Riley, the artist showcased on the College’s second floor north wing. It takes its six colours from those used in the Luminary, and is representative of the College’s diverse areas working together as one unified whole.


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The selection of materials below shows how the primary identity can be utilised in differing ways for various formats/types of document while maintaining a consistent style, for example headlines using thin and bold fonts for secondary and primary information. Refer to the Appendices for exact sizes, placing and proportions of elements.

Fig 1:An A4 Document. Like 210mm x 210mm documents, publications with content presented on the interior with the cover for introduction only are best served by a large single image. This applies to documents such as Reports, Employer Engagement Materials etc.

Fig 1: Fig 2:

Fig 3:

Fig 4:

Fig 2:An A4 Information Sheet. Where information has to be presented in a limited space, the image can be cropped short to accommodate body copy in a white space below. This version is a “bleed” variant for external print, where elements flow off the edges of the page.

Fig 3:An A4 Poster. Similar to Fig 2., but using a four-column grid to present information in the format of a list. This document has been prepared for internal print, and features a 10mm border so that no elements spill into the “handling area” of local printers, where they risk being cropped off.

Fig 4:An A4 landscape document for employers in the Engineering & Management. Notice how the standard layout has been adapted to suit this shape. The use of three pictures instead of only one allows a broader range of areas to be visually represented.

Keeping it Right.

The Luminary is designed to work on the right-hand side of a page or presentation only - it should never be placed in the centre or to the left. On most occasions it will be towards the top too (however there are some necessary exceptions to this, on Executive authorisation).

More examples of how the corporate identity works in a variety of contexts and media can be seen throughout this document, and in the Gallery on page 47.


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Document Reverses (Back Covers/Sheets)The majority of College documents feature contact details and supplementary logos on their back cover, to allow front covers to remain as visually clear and direct as possible.

On “front line” documents these components are positioned at the bottom of the page, in line with the continuation of the black main heading area from the front cover as it wraps over the spine of the document onto the back. In most cases, a map of the campus fills the space above this line.

Carryover:Black bar from front cover wraps over to back, with Riley Bar and mission statement positioned to left of layout.

Image:Generally this area is taken up with a directional map of the College campus, although in some circumstances alternative imagery maybe be used (see example below).

Logos & Accreditations:Featured in this white strip are the logos the College is allowed to display.

Details and Social Network Logos:The main black strip, wrapping again from the cover, features core contact details to the left, aligned with the Riley Bars above and below it, and the logos of the College’s social networking/media presence.

Below this is another strip in the chosen College colour and a repeat of the Riley Bar aligned again to left. As website details are featured prominently on the cover, they do not need repeating here.

On leaflets, newsletters and other A4 documents, an additional white space can feature at the top (wrapped around from the logo area on the front cover) to contain supplementary logos or headings. In addition, if the document is not created for marketing purposes but rather as an information document, the use of a map may be deemed unnecessary and an appropriate image or images used in its place.

In the example illustrated at left, an employer Service Level Agreement, an Apprenticeship logo is used, and a quote from Ofsted is boxed over an image to further reinforce the remit of the document.


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Internal Spreads The internal structure of a document follows what is known as a “grid” - that is, the layout of text and images conforms to a defined set of margins and columns.

Most HCFE publications are designed and produced by Marketing with specialised design software, commonly Adobe products including InDesign, Illustrator and PhotoShop, working to a set of established templates for the various shapes and sizes of publications the College employs. The College uses a mix of one, two, three and four columns grids, depending on the size of document and the information required - a single grid cannot be used for all, as one designed for A4 may not necessarily translate effectively to A5 or 210mm2, though all grids do conform to the same general layout, typestyle and margin proportions. Templates for most internal documents produced by general staff are composed in Microsoft Word, and use a single column layout. Some rules of thumb in place for producing pages/spreads:

1. In keeping with the College’s commitment to minimising environmental impact and the wastage of resources, wherever possible documents should use double sided printing. By using both sides of a sheet of paper, production costs and volume of stock required are reduced significantly.

2. Where double sided pages are used, the College uses a ”facing page” layout, with the main column / columns of text set closer to the inside of the page (meaning the document fold) than the outer edge. Facing pages can be flexible enough to work with both symmetrical and asymmetrical components, as they allow information across double-page spreads to be visually balanced, and incorporate “negative space” (that is, blank areas that allow the eye to “breathe”).

As demonstrated throughout this document, the extra-wide outer margin also allows for the presentation of images, captions or supplementary information to be located outside of the main body copy, as it is desirable to leave the flow of the main text uninterrupted.

Below:One of an extensive library of templates created by Marketing and Media to allow documents to be created quickly, and with complete coherence to the Corporate Identity. This is one of six variations alone for Prospectuses, which in combination allow the Design Team to integrate all manner of information throughout a document as it is assembled.


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Top:Template for Part-time Prospectus spreads where concise, table-style presentation is required.

Above:Interior spread for form-based document.


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Standard Document SizesThe College most commonly uses the international standard ISO 216 (or “A”) paper sizes for its printed documents. Originating in Germany in 1922 and adopted in the UK in the 1960s, the A Size system is metric, and allows for consistency with commercially available paper supplies, envelopes, printing technology and standard postal/direct mail sizes.

The most common sizes used by Hartlepool College are:

“Front Line” publications (i.e. Prospectuses) and special documents:Square (210mm x 210mm) and A4 (297mm x 210mm) Landscape

Reports and Newsletters / Small PostersA4 (297mm x 210mm), portrait format - both bleeding edge (external print) and inset 10mm (internal print) - see page 19.

Leaflets and FlyersA5 (210mm x 148mm), portrait and landscape formats - both bleeding edge (external print) and inset 10mm (internal print) - see page 19. Includes Saddle Fold documents (A4 folded once to A5).DL (210mm x 99mm, or 1/3rd A4), portrait and landscape formats - portrait and landscape formats - see page 19. Includes Concertina (A4 folded twice to DL).

Intermediate PostersA3 (420mm x 297mm), portrait and landscape formats - both bleeding edge (external print) and inset 10mm (internal print) - see page 19.

Business Cards85mm x 55mm

Additional sizes and shapes (i.e. A2, A1, A0 Large Format Printouts, Billboards, Gussetted/Walleted Folders, Adshels, Folding Stands etc.) are used when necessary, pending approval and financial viability.

Left:ISO 216 “A” sizes laid out for quick reference. The overall boundary of this image is A1, which is double A2.


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Paper Stocks - Selection & SupplyThe College as a rule uses white paper and card stock on all publications, of a standard necessary to reflect the organisation’s image, goals and dedication to quality.

External Print

All documents printed externally are produced on professional-standard stock with a wove (smooth) texture. Generally the paper is opaque and of a sufficient weight to avoid “show-through” (where print on one side of a page can be seen on the other due to translucency). HCFE materials generally use stock ranging from 125 g/m² to 300 g/m² (paper thickness is measured in grammes per square metre, referred to as g/m², GSM or Grammage - the higher the number, the thicker the stock). Paper varies in finish between matt, gloss and silk stocks, depending on application. Frontline documents such as prospectuses often have a varnish seal applied to their covers to resist fingermarks.

Paper selection and specification on external work is co-ordinated exclusively by Marketing. All exceptions to the general rule of “wove, white” must be endorsed at Executive level, and are generally in relation to special materials such as invites, certificates etc. For example, some materials use textured (laid) stock or “brilliant white” (non-chemically bleached) for specific impact. College materials are, where possible, printed on stocks that conform with our environmental policy with regards to chemical and recycled content.

News Media

Newspapers generally use very low grade “newsprint” stock, which is very fibrous in nature and off-white in colour. This can lead to images and text experiencing “dot gain”, where the liquid ink seeps into the fibres and blurs and darkens rather than forming a sharp, clean image in the surface. There is little than can be done to compensate (PhotoShop has dot gain controls but their effect is limited) other than be aware that small text and low-contrast images are especially vulnerable, and should be avoided when press ads are artworked.

Internal Print Internal print is operated primarily by the Print Centre, for the printing of large volume runs, printing on non-standard sizes, or for special finishes such as binding and lamination.

All staff also have access to networked, user-account operated local printers in Staff Centres and some learning rooms, for low-run general output and drafting. Paper for internal use is co-ordinated via the Print Centre, and is of the best available office grade available within a reasonable budget (paper prices fluctuate, and can be very expensive). Generally, office-grade paper is white and 80g/m², which is relatively thin and thus may suffer from “show-through” and dot-gain (in the latter case when used with liquid inkjet technology, but not laser-print which uses electrostatic/heat-adhered dry powders).

Print work for use in the promotion and marketing of courses should be printed on white stock only. Coloured stocks are restricted to certain forms, handouts, learning materials, tickets etc.

The Print Centre is able to duplicate from originals, or from digital artwork in the form of Adobe Acrobat PDF files delivered via email, CDROM or USB Memory Stick (media used by staff between College PCs and their home PCs or laptops must be Virus checked). All materials duplicated or used on College premises must comply with relevant copyright legislation and College QAPPs and be correctly authorised.

Above:An example of dot gain, and how clarity and brightness of print is different on low-absorbency art stock (left) and high-absorbency newsprint (right).


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College StationeryCollege stationery (letterhead, compliments slips, business cards) is produced centrally through Marketing to strict parameters set at Executive level. As the use of any of these items is a direct and official representation of the College, permission for use and access to stocks is carefully evaluated. Requests should be made in the first instance to the Marketing Manager. Stocks are maintained by the Print Centre.

Business CardsHartlepool College Business Cards use the standard business card dimensions of 85mm x 55mm, and are formatted in a landscape shape. Cards are allocated primarily to members of staff who need to make regular contact with employers, businesses or partners, or who have recruitment within their specific remit.

The cards are printed single-sided. The white area should never be defaced, and if notes are required to be made they should be done so on the reverse. Cards should be carried in a protective case or card holder if possible to ensure that they are in mint condition when presented.

Cards should be distributed prudently to avoid wastage and unnecessary reprint costs. If a staff member’s request for a card or a reprint is approved, be aware that there may be a delay in delivery as they are produced externally in batches.

Under no circumstances should self-produced business cards be used.

Safeguarding & Business CardsTo conform to the College’s safeguarding policy, unless approved by Executive all business cards should carry only College-provided numbers, and not the number of a home address or personal mobile even if it is more convenient to do so. Staff must request and demonstrate the reasoning, advantages and safety measures of such a dispensation before any request will be approved.

Sample, at actual size (85mm x 55mm)


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Compliments SlipThe College compliments slip contains the same information as the letterhead and is used primarily as an enclosure with other material, i.e. in response to a request for a prospectus or leaflet. Since they are informal, compliments slips are never substitutes for those instances where a formal letter is required.

The Compliments Slip is sized at DL (210mm x 99mm), is landscape oriented, and fits into standard DL sized envelopes (220mm x 110mm). It carries the pre-printed salutation “With Compliments” in English and, to reflect the College’s international ambitions and partnerships, also in French, German, Spanish, Italian, Polish and Chinese. The remainder is space for a handwritten message if needed, which should be rendered as clearly and neatly as possible.

LetterheadThe College letterhead is an extremely vital resource, and its use is restricted to authorised persons only, as any correspondence utilising it is generally regarded as formal and binding. The letterhead uses the European A4 format (see page 23), and templates for those who use it are available for MS Word, allowing them to create a standardised document that can be overprinted onto Letterhead stock as shown opposite.

This template must be adhered to precisely, and any member of staff using the Letterhead but who doesn’t have access to the Swiss 721 LT font should contact Marketing to arrange installation (see page 16).

The letterhead can, in special circumstances carry a sub-branding and additional details, such as correspondence from The Flagship Restaurant. Such instances are entirely pre-approved, and no additional logos should ever be added to the letterhead without permission.

Instructions for correct use are presented opposite in the form of an actual letter.

Hartlepool College of Further EducationStockton Street, Hartlepool TS24 7NT

01429 295111 | www.hartlepoolfe.ac.uk

[email protected] email and telephone contacts:www.hartlepoolfe.ac.uk/contactus

Principal and Chief ExecutiveMichael Bretherick MBA BA PGCE MIoD


Sample NameAddress Line OneAddress Further DetailsPO57 CDE(address no deeper than 30mm to fit window onstandard DL envelope, or too long to fit in 35mmx90mm, or it will go off like this!)

Ref: Reference in Here

16th December 2011 (format date in this manner please)

Dear addressee name

This copy is indicative of typing onto the letterhead. The font is Swiss 721 Lt 10 point, with 12pt leading. This allows for roughly three to five average-sized paragraphs of text, which encourages the writing of clear and concise content. If the letter requires it, it can overflow onto additional sheets (in which instance, pages should be numbered, and/or end with “continued overleaf”).

Unlike other documents, the College letterhead should not be printed double-sided, as the light weight of the paper used (to make folding easier and keep weight down in the case of bulk-mailings) can allow “show-through” - that is, words printed on one side are visible as a “ghost” image on the reverse.

Typed or overprinted text uses a ranged-left, ragged-right configuration, with a wider offset left margin. Text should NEVER be justified or centred. The right margin is 12mm in from the edge of the paper (or aligned to the logo at the top in other words). The left margin is 30mm from the left edge, to allow exact positioning for the use of windowed envelopes. The top margin is 62mm from the top edge of the paper for the same reason. The lower margin is flexible to the length of the text, but should not allow elements to go over the Riley Bar at the bottom.

Finally, the signatory should ensure that they are clearly declaring themselves to be acting for the College, with a line before the name as follows:

Yours faithfully or sincerelyon behalf of Hartlepool College of Further Education

Name ShouldbetypedSchool of Engineering

30mm

12mm

62mm

Window57mm

from top

Window19mm

from leftNote: this tinted arearepresents 35mm x 90mm window on

windowed DL envelope.

No text below this line, at 267mm down (or 30mm from bottom of page)

97mm


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Fax Cover SheetWhile most transmission of documents is now conducted via email attachment, on the occasions where a fax is used a cover sheet is employed to ensure that the recipient is aware of the origin of the document and has all necessary contact / reply details. The College fax cover sheet is of the standard European facsimile size of A4, and supplies are kept at College fax terminal points. The fax cover sheet should be filled in with dark ink (preferably black), and printed on clearly. The font and line used on the fax sheet are heavier than on most other HCFE documents to compensate for the lower resolution of facsimile transmissions.

HCFE Internal Sub BrandsThe College sometimes gives special projects or resources their own sub-brand identity to work within the context of the main College design style (some examples are shown below). This can aid in public awareness and support targeted marketing, and usually involves the creation of a logo and colour scheme specific to the project/resource being promoted. However, the main College logo and contacts details must be included somewhere on the publication, within the accepted framework outlined by this document, so that viewers are clearly aware of the College’s ownership or stake, and the overall appearance of materials should not contradict the design ethic the College employs (see page 5).

Unauthorised Sub BrandsOn occasion members of staff have created their own “sub-brands” or logos to identify a particular course or scheme. This is fine provided the sub-brand is approved at Executive level first, and also it may require “tidying” by the Design team. Under no circumstances should sub-logos should be created or used without permission. Please contact the Marketing Manager in the first instance.


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Commercial/Partnership Sub BrandsThe College sometimes gives commercial and partnership endeavours their own brand identity to aid in public awareness and targeted marketing. These can work independently of the College main brand, though usually with a stylistic link of some sort, and will normally apply to areas where a unique identity is beneficial to the operation of the facet.

Sub-brands are used following their own set of aesthetic conditions and proportions, again determined at Executive level and implemented through Marketing. The sub-brands should not be applied to anything without express consent.

The main external sub-brands employed by Hartlepool College are:

The Flagship Restaurant logo is based on one of the shards of the Luminary, duplicated into its six component colours and rotated and scaled to represent the field of coloured flags located at the College’s main entrance. The Flagship logo is optimised for use on a black background on menus, signage, front of house uniforms etc. A reversed version for Chef’s White’s only and a white-only version for condiments are also in use.

The Luminary is the generic name given to the College’s Health and Beauty facilities located on the first floor. This logo is based directly on the Luminary logo by logical association, but broken into white and gold on a black background (with a mono version for special use). The logo can be used with or without the secondary slogan “Health. Life. Style.” This slogan was selected as it plays on the three primary areas within the remit of the Centre.

Coffee Rapport is located in the main entrance atrium of the College, and is operated as a franchised partnership with Café Rappor, based on Hartlepool Marina. As such the logo utilises elements from Rappor’s existing brand in combination with the College’s own to create an identity that reflects both partners but carries its own distinct style. The primary use is in reverse, but a version set on white is available for paraphernalia such as napkins.

The FlagshipR E S T A U R A N T




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Additional Logos / AccreditationsThe College is sometimes entitled (or even required) to use additional logos within its publications, for example accreditations it has gained and partnerships it has forged (see below for a small selection). Additional logos frequently come with brand-use guidelines as laid down by their respective owners, which Marketing ensure are strictly adhered to.

It is vital, both out of professional courtesy and often for legal reasons, that all additional logos are used only with proper permission and validation, and never altered in any way. The use of any logo on documents is not allowed unless to the guidelines laid out in this document (see page 18), and proper clearance for its use has been obtained, preferably in writing - contact the Marketing Manager for details.

Hartlepool Business Development Centre is the business arm of the College, and from its inception in 1999 to 2011 used its own logo. However, it now uses a special variation on the Luminary, in keeping with a closer integration to the College’s employer and business strategy.

Hartlepool Sporting Association is a rapidly expanding partnership of sporting clubs launched in 2009, of which Hartlepool College was a key founding member. The logo was created by College design students to be robust enough for use in a variety of contexts (i.e. alongside existing teams logos, as fine embroidery etc.), and is applied to all HSA materials, training clothing, strips etc. It can be used in both positive and and negative forms.


Compromises to the Corporate IdentityLogo: There are no exceptions to the correct use of the College logo EVER, and it must appear on ALL promotion or publicity where the College is involved: see pages 5-7.

Special Projects and Dispensations: On occasion the primary College identity can be subordinated to a different design style, for example if a particular project is a partnership where the College does not wish to give the appearance of dominance (such as the Hartlepool Sporting Association), or if it is for an event of a special nature. Such instances are decided at Executive level and implemented by Marketing.

Limitations of Practicality: By necessity, the College corporate design style cannot always be implemented in full on all materials. For practical reasons exemptions include:

Lanyards: The logo cannot be scaled small enough to fit, and so is omitted in favour of the text and primary colours.

Staff Badges: Badges have a slight variation to the standard identity due to limitations within the layout software used by the encoding/manufacturing machinery.

QAPPS and Internal Forms: These have to be able to contain often complex layouts, and so the logo is kept discrete to allow maximum functionality.

Pay Slips, Post Franking and Envelopes: These use special machinery and/or pre-printed materials for production, which limits what can be done in terms of layout or design.

Clothing: where the identity is converted to silk-screen or embroidery, compromises may have to be made to colours etc. Embroidery especially sometimes means a reduction in sharpness, or limits what can practically be reproduced.

Third-Party IT and web-based media: some of the digital resources used by HCFE limit the amount of options for layout and text, and as such the corporate identity must be compromised by practical necessity.

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Left:Clothing is a good example of how the College identity must sometimes be adapted by practical concerns. For example, the Luminary on uniforms has the words “of Further Education” enlarged as they need to be above a certain size to be embroidered, while lanyards use only the “Riley Bar” as the logo would be too small to render on the limited space available.


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Digital MediaThe College makes full use of digital media in the form of a dedicated web presence, third party resources such as Blackboard and YouTube, social networking sites such as FaceBook and Twitter, and as aids to teaching and business in the form of PowerPoint presentations, productivity tools and promotional DVDs. The specialised nature of these media and limitations in the layout options on occasion means that the College identity must sometimes be compromised or adapted.

Given that these forms of media can be very user-focused and easy to create and update, all materials intended to placed online in any form must be properly approved and conform to the College design identity as closely as possible.

The College WebsiteThe College website is solely the responsibility of Marketing, steered by Executive via a website action team. Suggestions, material for inclusion or any required updates must in the first instance be submitted to Marketing. Once approved, alterations will be made as quickly as possible.

Integrated Third Party ResourcesHCFE online makes fully integrated use of third party web-based resources for a number of purposes, centrally updated by Marketing. These include:

A Virtual Learning Environment which allows staff and students to communicate, share resources and organise their interaction and calendars. This resource requires a unique valid user account to be set up.URL: www.blackboard.hartlepoolfe.ac.uk

Hartlepool College has an established Channel which contains dozens of High Quality videos about life and courses at the College.URL: www.youtube.com/HartlepoolCollege

Our flickr page has galleries of images relating to life and events at Hartlepool College, which are updated regularly.URL: www.flickr.com/HartlepoolFE

The latest HCFE information is posted in real-time on Facebook, the world’s leading social networking site.URL: www.facebook.com/hartlepoolfe

The College is developing a network of contacts and opportunities via this business networking site.URL: http://www.linkedin.com/company/492327

The College also uses the micro-blogging site Twitter for the purposes of information and marketing.URL: www.twitter.com/hartlepoolfe


Self-Produced Videos / PhotosMost modern smartphones can record video and take pictures, with fast links to popular social media sites. However, NO VIDEO OR IMAGERY of the College or anybody within is to be posted to any site without express permission. There are specific and legal reasons for this, and potentially severe consequences. See page 38 for more information or refer to QAPP 2.4.1 on the use of the Internet and Email by staff.

The College SmartPhone AppThe College has a downloadable Application, or “App”, available for SmartPhones using either the Android or iPhone platforms. This App features course and facility information, direct communication links and an interactive floor plan, with the content and version updates being determined by Executive. It can be downloaded from the College website, or via “QR” panels located around the College (see below). Suggestions for content and updates are welcomed, and should be made in the first instance to Marketing & Media.

QR (Quick Response) ResourcesThe College is supporting the use of technology in many ways, including the use of supplementary information encoded into QR format. Panels with useful information or links feature throughout the College and on our marketing materials, which can be decoded by SmartPhones using their integrated cameras and free reader Apps such as i-nigma.

As free resources are readily available for the creation of QR panels, please be aware that only authorised examples are allowed in Hartlepool College or on any documents.

Email Signatures & Email StyleEmail signatures are uniformly presented, and automatically generated by Computer Services when a staff email account is set up. The default settings and appearance of emails should not be altered (i.e. adding backgrounds, changing fonts, adding clip-art etc.)

Only standard HCFE email templates and signatures (the default ones when Outlook is started) are to be used for College emails. Email templates from third parties (such as ones themed around holidays such as Christmas etc.) can not only give the wrong professional impression but cause security issues such as virus attack and increase the chances of your email being picked out as junk by spam filters.

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PowerPoint PresentationsPowerPoint is a common tool used by staff in the delivery of courses and strategic or training presentations. A standard PowerPoint template has been designed to reflect the College identity, and also maximise clarity of information in comparison to the often cluttered and overly busy layouts of the pre-supplied templates included in the package itself. Copies of the template are available from Marketing and Media Services, and a guide to its use can be found at Appendix 7.

PC Desktops & ScreensaversThe College does not determine the Desktop image of individual user workstations, allowing staff to choose their own - although it is required that images be appropriate and inoffensive. Corporate desktops (see example left) can be supplied by Marketing should they be required. The same user-flexibility applies to screensavers, although again they should conform to propriety, especially screensavers that allow customised messages.

In-Film Graphics and DVD MenusPromotional film and DVD production, duplication and distribution are specialised roles co-ordinated and undertaken by Marketing, and they conform to a very specific set of visual and legal rules. Staff who wish to use or commission a film or DVD should contact the Marketing Manager in the first instance. An DVD copies supplied by Marketing should be carefully looked after, as costs will be incurred should replacement copies for one lost or damaged by required.

Vehicle Liveries / AdornmentsVehicle liveries are another specialised circumstance, co-ordinated by Marketing. The College vehicles are designed to reflect the corporate identity, and as such are a direct representation of the College’s style and standards. Any damage to a livery or vehicle paintwork should be reported immediately so that it can be repaired. No unauthorised stickers or graphics should be placed anywhere on any vehicle, either internally or externally.


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Signage (External)College External signage is a permanent fixture, co-ordinated through Marketing & Media. If any damage or, in the case of illuminated signs, electrical failure is spotted, please report it immediately so that it can be rectified.

Signage (Internal, Permanent)College internal signage conforms to a set style within the corporate identity, and has been designed to be attractive, clear and user-friendly. No changes or alterations should be made to any sign, for example in the form of materials, notes or directions attached over the printed graphics, even temporarily. If any vandalism or damage is noticed, please report it immediately so that it can be rectified.

Permanent internal signage takes three primary forms:

Top: Individual room plates, which conform to a set style and consistent positioning (height, orientation and distance from door, where practicable) from room to room;

Lower left: An orientation board made of acrylic and “stood off” from the wall on metal pegs, with one positioned near each lift to give a broad overview of the building, plus large steel numbers indicating floors on each staircase;

Lower right: Acrylic “street names” - signs above access ways into each section of the building, again stood off from the wall on metal pegs.


Signage (Internal, Temporary)In the event of temporary signs being needed (i.e. a change of room or to highlight an event etc.), an approved HCFE template must be used correctly and permission sought before application any surface. Permanent signs must never be obscured by a temporary sign, and any temporary signage must be affixed by a means that will not damage a surface finish or leave a mark. Please consult Facilities for acceptable methods and materials.

The style of the template must be adhered to. Text should be ranged to the right (fig 1), as shown, and centred within the space. Do not allow the text to “float” randomly (fig 2).

All Temporary Signage must be authorised by the Marketing Manager before being placed. Even if a sign is required at short notice there can be no exceptions to this.

Signage (Internal, Digital)The College is fitted with digital information display screens in key locations, which can present a variety of media including split screen video and imagery feeds. The content of these screens is co-ordinated by Marketing and implemented by Facilities, and adheres to a style template based on the College identity but partially defined by the limitations of the operating system running the feeds.

As well as acting as general information systems, they can also be used to promote specific events and activities. Please contact the Marketing Manager to discuss.

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Fig. 2 - Wrong; text is placed randomly in the white area, and is aligned to the left

Fig. 1 - Right; text is aligned correctly to the right (down from the logo), and centred vertically


Third-Party Posters within RoomsThe College’s general policy is to avoid the placing of posters in any teaching or social spaces (outside of designated boards and frames) in order to maintain the ambience and neatness of the decoration and facilities. If a poster is required to be mounted, Executive or Head of School approval must be obtained. If permission is gained, all information posters should be positioned carefully and neatly, perpendicular to the wall, and be in good condition. Methods of fixing that will damage or leave permanent marking on wall finishes or glass surfaces must be avoided at all costs.

FlagsThe College uses International Flag Standard sizes. The flags will typically feature the Luminary and College colours, as well as international flags from relevant countries. On occasion, flags representing stakeholders, partners or visitors will be flown, and staff can submit suggestions for flags for consideration via Marketing.

UniformsSome members of staff and students are issued uniform clothing (including Personal Protective Equipment). The uniforms are designed by Marketing in co-operation with individual Schools and should not be altered or personalised, nor any graphic or identity components obscured. Items such as ties and cravats should be worn properly.

Staff Badges & LanyardsAll staff are issued with a photo-ID badge for the purpose of identification as part of our Safeguarding policy. Each badge is also a keycard to open magnetic locks within the College. The badge comes with a protective plastic holder and a College lanyard in a complementary style. For clear identification as College staff from a distance, this lanyard must not be changed for any other lanyard (i.e from an event like Tall Ships, or a lanyard from any other organisation you may deal with who have issued you with ID on visits, such as the Council or NHS).

Each badge is custom-made, and should not be defaced or amended in any way. If the badge is damaged or lost, Facilities must be informed immediately so the individual lock code can be deactivated and a new one issued. It is vital that staff must wear their badges in a manner that is clearly visible at all times.

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PhotographyCollege documents and publications, wherever possible, use photographs of bonafide College students, staff and facilities. Marketing & Media are responsible for the majority of photography, although external agencies are sometimes employed under special circumstances. The College favours a naturalistic style of photography, emphasising people in positive and genuine scenarios and avoiding scenes that appear staged.

To organise photography, contact the Marketing Manager to arrange a briefing meeting. This is important as some photography requires specialised lighting or has safety or privacy issues that need to be addressed beforehand. Please note that several days notice is required for all photography. If events are outside of normal hours or located off-site then requests must be made as early as possible to ensure cover can be provided.

Stock PhotographyThe College occasionally uses images from stock libraries, for example of places or scenarios where it is not practical to take our own pictures. When stock photography is used it must conform to the following criteria:

a/ be from a source the College is legally entitled to use, i.e. CDROM or online resources that have been properly purchased or arranged;

b/ of sufficient resolution and clarity - some images found on websites are at “preview” resolution, but have found their way into documents where they appear “pixellated”. Please ensure that print resolution copies are used.

Self-produced Photography / SafeguardingStaff who take photographs during visits, residentials etc., where a College photographer cannot be present, can submit images for use in marketing materials, but are requested to keep in mind the following (see also Appendix 4):

a/ ensure that you have proper permission from the venue where you are taking pictures, and also from any students. From a safeguarding perspective, if you intend to submit your images to Marketing then ensure that students are aware of this. Note anyone who would not like their image used for publicity, even if they do not object to having their picture taken as a memento. If this is the case then it may be that you need to take two similar shots, one as a souvenir with any objectors included, and one with them out of shot for HCFE marketing use.

b/ take documentary photos of activities in progress, as well as “posed groups”.

c/ take as many pictures as possible, including multiple shots of the same scenarios, as this maximises the chance of usable images being taken;

d/ use the highest quality setting available on the camera. Modern compact cameras and even some camera phones are of excellent quality, but feature settings that reduce image filesizes to allow more images to be stored on internal memory. However, this will also reduce quality, and may render pictures unusable as they could be below the minimum requirement for print. If you would like assistance with your camera, make an appointment with Marketing.

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Appendices

Appendix 1:

Working with Preset Templates / Files

Appendix 2:

Alignment and Monitoring of Artwork Elements

Appendix 2b:

Working Flexibly with Graphic Elements

Appendix 3:

Working with MS Office Templates

Appendix 4:

Image Selection and Use

Appendix 5:

Headlines and Paragraphs

Appendix 6:

Marking or Correcting Hard Copy

Appendix 7:

Things to Watch or Avoid

Appendix 8:

Submitting or Supplying Graphics, Images and Text to Marketing and

Media for use in documents or presentations

Gallery

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Appendix 1 -Working with Preset Templates / Files

HCFE’s Marketing & Media team provide a specialised service and use specialised tools. The majority of work is generated in Adobe Creative Suite software, as this is the industry standard for the creative industries. Key resources within CS include:

InDesign - a highly flexible page layout and document creation package;PhotoShop - the world’s leading image editing and montaging software;Illustrator - the world’s leading digital illustration and vector drawing tool;Acrobat Pro - converts most files to a universal standard for distribution and artworking;Premiere Pro - powerful video editing system;Encore - comprehensive DVD authoring software;Flash - powerful and flexible animation and web software;Media Encoder - allows conversion of media files for use across varying platforms;Soundboard - multi-channel audio editing and cleanup resource;And many others.

To allow work to be completed as quickly as possible most common uses of the College corporate identity have had template documents created. If a document is required where no template exists, a new format can be based on a precedent template e.g. adapting existing artwork with new text and illustrative content.

There are several factors to be kept in mind when using templates or adapting existing artwork into a new job.

All HCFE Marketing & Media work is placed on a shared resource on the network, designated Drive R: Columba. This drive is in place for two primary reasons. Firstly, it allows all members of the Marketing & Media team, plus other authorised persons, to access all materials and resources. Secondly, it provides a secure back-up of all jobs, should individual workstations fail or be offline for any reasons.

The best practice for working on Marketing jobs is as follows:

1. When you create a new job, do so on a local drive (i.e. your hard drive, normally C:/) It is not advised that you work directly from files on Columba, firstly so that work will not be interrupted if network problems occur, and secondly so that you are not overwriting changes to the “master copy”, which will be the version stored on Columba for sharing and back-up.

2. If you need to amend an existing job, copy it from Columba to your local drive before working on it, and rename it if necessary using Save As. This will ensure that the “master copy” is safe from any errors that occur (such as PC crashes during saves, which can destroy files, or second users trying to access a file while it is being written to, which can cause conflicts. It also ensures that, should the original incarnation of the document need to be used again without the changes, it is available and will not need retro-working.

3. When a job is completed, Package it so that all linked files are stored with it. This will allow any team members who may be required to update or amend a job to save time locating files that are broken-linked.

4. Once a job is completed, or at the end of a working day, copy the folder back to Columba, clearly marked and located for ease of finding later by both yourself and other team members.

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Summary:Ensure there is always a back-up of everything you do; make jobs easy to find for others; and avoid changing or contaminating master files on the network drive in case others need to use them.


Appendix 2 -Alignment and Monitoring ofArtwork Elements The templates and artwork mentioned in Appendix 1 will by default have all elements pre-aligned correctly for balance and neatness of layout, but in some instances elements may need to be moved, rearranged or augmented. It is also possible that elements can be accidentally moved by stray mouse clicks. To prevent this, once an object is correctly positioned and arranged it can be locked using the menu Object > Lock Position. Objects can also be unlocked from this menus should further changes be needed.

Adobe products feature very powerful alingment and distribution tools, to ensure that elements line up accurately with one another, or can be spaced evenly, as shown below:

The HCFE corporate identity has been designed so that elements conform to a grid: a template of lines and boundaries that will not be visible when published but act as a guide for the designer artowrking the job. Grids and Guides can generally be accessed from the View menu of CS packages, and should be set to have assists such as Smart Guides and Snap to Guides active, so that elements “lock” into place or visually indicate when they align.

Artworkers should also toggle between Normal and Preview modes from Screen View so that they can continually check how a document is looking without the distraction of the Guides, as in this example:

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Adobe’s alignment and distribution tools as they appear in Illustrator, InDesign and Flash. They can be used by selecting all elements you wish to align or distribute and applying the tool required.

Example A: InDesign artwork in progress in Normal mode, with Guides and the Grid established in the document set-up visible so that the spatial relationship between elements can be monitored and adjusted accordingly. Additional guides can be created by dragging them from the rulers at the top and left edges. If Snap To and Smart Guides are activated, elements should align automatically when they are moved close to one another.

Example B: the same layout in Preview Mode, which allows the designer to see the page as the final audience will, and better evaluate its aesthetic and communicative qualities.


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Using a combination of design experience and the tools highlighted on the previous page, care should be taken to ensure that elements do align correctly, such as the examples highlighted in red below. It is worth bearing in mind that nothing within the College identity has been placed at random, and all elements will bear a relationship to others within the layout.

The zoom feature of the design tools should also be extensively used, as artwork when viewed from a greater zoom out (for example to see the full page or spread) may given false information about elements due to limitations in screen resolutions. For example:

A

B

C

Example A: The “Riley Bar”, text and Luminary have been aligned at their left and right edges. The elements within Example C are also aligned to these.

Example B: The images touch at the exact centre of the page, and the headline has been scaled slightly to align with this. This will not always be possible if headlines are too long or short, but if this kind of alignment can be accommodated with only minor scaling to the font sized necessary artistic judgement should be used.

Example C: Continuing the verticals established by example A, this ensures that the entire layout works cohesively. The Riley Bar horizontal is also 100% aligned to the top of the coloured block, with no overlap or underbite.

From a wider view, the headline “Equipped for the Job” appears to align perfectly with the grid column (Fig. 1). However, a closer zoom reveals it to be misaligned (Fig. 2) due to the screen misrepresenting the elements as pixels redrawn to compensate for the scale change. Remedial alignment can be accurately executed while zoomed to this degree (Fig. 3).

Fig. 1

Fig. 2

Fig. 3

Summary:Check element alignments regularly, and use zoom and preview tools to ensure that everything is correct. Artistic judgement is also vital to ensure all elements work and fit together.


Appendix 2b -Working Flexibly with Graphic Elements

The HCFE Design templates were largely created so that content could be added to them later, and as such may feature areas where little or nothing is present. Design is both a skill and an intuition, and where a template may not appear to suit the content provided (either because there is too much or too little, or it leaves spaces and arrangements of elements that do not “feel right”), the corporate style has been designed with a document-to document flexibility so that such problems can be accommodated or avoided.

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Left and Above: The template for adverts (left) is adapted to contain specific content. The image and text sizes are amended to fit spaces better, and balance negative space. The actual advert is also slightly shorter than the template, so elements are redistributed proportionally to one another, so spaces are consistent.

Summary:Ensure that the corporate identity is adhered to at all times in terms of component appearance, position and general spatial relationships, but use design experience and initiative to ensure that elements and negative spaces work together well if it is obvious they are not working “from stock”.


Appendix 3 -Working with MS Office TemplatesSome materials, notably general forms, internal documents and electronic presentations, use Microsoft Office templates that have been set-up for staff to use without the requirement for specialise design skills or software, and to ensure consistency of quality. The two most common are the Letterhead template (see page 26) and a PowerPoint template (see page 34). These are available for access on the College’s internal server system, and should not be altered in terms of style or layout. Simply copy and paste extra pages as needed. When importing elements from other sources, ensure 100% consistency to the template and corporate style contained within. Do not allow the existing style of the source to carry over.

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Correct: the HCFE PowerPoint template has been designed for clarity, and conformity to the Corporate Identity. It aligns to the right to match printed documents. If images are added, care should be taken to ensure they balance with text elements. Slide content should be presented in small sections for clarity. If a slide has a great deal of information it is better served by splitting it across several slides than squeezing it in, where it will appear uncomfortably dense and potentially illegible.

Unacceptable: other Powerpoint templates may not be used with the top and bottom elements of the HCFE template simply visible as header and footers. Clip-art and “fancy fonts” should always be avoided (see Appendix 7). College PowerPoints should always use a plain white background unless exceptional and approved circumstances dictate otherwise.

Unacceptable: if elements are copied in from other sources, such as existing PowerPoints or Word, ensure that their style is updated as per the template. The above varies in font, size and alignment (it is centred and should not be). If a slide has white spaces, do not add the logo, and especially not in a random manner to fill the gap. It’s appearance on the opening page is adequate representation, as the PowerPoint should be about presenting your content and not highlighting the Luminary.

Note: when copying slides either within an existing PowerPoint or from an external one, you may notice that the text may change style or background images disappear. Look out for the small clipboard icon that appears in the corner of the copied slide (shown above), and select either Keep Source Formatting (to restore a background) or Match Destination Formatting (to apply the font style from the receiving PowerPoint to the text being imported).


Appendix 4 -Image Selection and Use If your document or presentation requires imagery, Design and Media Services have a wide selection of HCFE images and legally sanctioned stock photography, and will be happy to advise and supply pictures. If time is available and approval given, bespoke photography can also be supplied. We can improve photographs with poor exposure or unwanted elements digitally to a degree (but these depend on the original image and we cannot guarantee results), but properly taken shots can eliminate a lot of remedial work.

Care is needed in sourcing imagery yourself. If using the internet (tools such as Google Image Search), be aware of copyright, especially if your presentation/document will be seen in the public domain. The College is allowed a certain educational dispensation for teaching resources, but this does not cover the use of materials for commercial gain. Also be aware that images for websites are often compressed to lower qualities, and may appear fragmented or pixellated. Never scale an image up, as this can also make it appear degraded. When using an image, ensure that it is of sufficient quality in terms of both pixel count and photographic content. Please consult Design and Media if advice is needed.

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Summary:Take care when selecting and choosing images, and ensure that copyright law is adhered to.

Unacceptable Photo 1 Reason: the subjects have been taken in silhouette, and their faces are barely visible. When taking a picture, ensure that lighting is adequate. This may involve moving people to accommodate this. If this can be done, do not be afraid to do so.

Unacceptable Photo 2 Reason: the shot has been lined up quickly, and the automated exposure meter in the camera has misread the shot from the white wall, over-exposed and thus bleaching the majority of it. When lining up a shot, carefully frame the part of you would like to highlight, to ensure that auto-focus and auto-exposure are accurate.

Unacceptable Photo 3 Reason: the shot itself isn’t bad, apart from the people on the edges almost disappearing. However, the photographer has left a lot of negative space above the group’s heads, which unbalances it and changes its focal point greatly. This image would appear better cropped to the red line.

Unacceptable Photo 4 Reason: this image has been sourced from the internet, and was a “thumbnail” - a small, low resolution image used within web layouts.It has been expanded to fit the frame on this page, but has “pixellated” due to its low quality. In addition, it has been cropped in a landscape manner wrong for a portrait image.

Unacceptable Photo 5Reason: It has been taken from a distance to the subject with people in the foreground, so the focal point is indistinct. Also, as a flash has been used the subject (a band on the stage) has been obscured into deep shadow while the camera prioritises the people in the foreground.

Unacceptable Photo 6 Reason: The photograph has been taken using autofocus, and the camera has detected a stray branch in the foreground and prioritised that. Note that “deep focus” photography (where the shot highlights one plane of the shot and blurs the others) is sometimes a legitimate aesthetic form, but in this case the subject is obscured in favour of a trivial detail.

Unacceptable Photo 7 Reason: The shot has been taken while the photographer is moving, and has severe motion blur. Again, this can be a legitimate technique, but normally for action shots only.

Unacceptable Photo 8 Reason: Aside from the subject being too distant, out of focus and framed badly, the horizon is skewed.

Note that of these examples, only shot 3 could be corrected. The rest would have to be rejected.

Guideliines for UseHartlepool College Design and Media Identity

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Appendix 6 -Marking or Correcting Hard CopyJobs can be accomplished much more quickly if significant amounts of body text are provided to Marketing pre-typed. While all of the Marketing Team are competent typists, they are not touch typists and their time is needed performing the tasks in which the specialise. Re-keying from hand-written originals or hard-copies takes extra time, which can affect delivery deadlines and divert creative staff from tasks which are a more effective use of their time and skills.

Text is best supplied directly as plain text with no embellishments (.txt format, what is known as ASCII) or in MS Word format. MS Word text should be set as plain Arial or Times New Roman. Be aware that when MS Word text is converted to the specialised artworking software Marketing uses, formatting such as colour, bold, italic or underlining may disappear, so it is vital that you include a hard copy of your document too, with any such words highlighted with a highlighter pen for cross-referencing.

Alterations to existing documents submitted by Markting for checking and proofing should be clearly marked up in RED ink only, with an asterisk in the margin directly opposite the correction as shown here. It is much easier to miss alterations that are written in black or dark blue amongst body copy, and that do not feature some way of drawing attention to their presence outside of the text itself. If the txt is two tite to mark in a change directly, an arrow can be used leading to the margin.

Any occasion where an alteration was made but later reversed should be marked with the word STET (Latin: let it stand).

If the page cannot be marked on directly (for example, the image area has no white space or is on gloss stock that resists pen ink), affix corrections directly where needed with Post-Its or on a separate sheet with exact location details.

Marketing*

*could be STET

* should read:text is too tight

Appendix 5 -Headlines and ParagraphsAll College printed documents use non-indented paragraphs separated by a full line space. All documents must be spell-checked and proof-read - it is amazing how many mistakes can slip through a “quick scan”, especially in places where you would think no typos would occur such as headlines (did you spot the deliberate one at the top of this page?)

The College encourages a clear, clean approach to writing. Short sentences that are to the point (or “front loaded”) are preferable to long, run-on sentences that extend almost to full paragraphs. When used, longer sentences should be correctly punctuated. A good tip for writing is to speak aloud any line you write, which will determine where natural pauses should appear. If you cannot say a line comfortably in a single breath, it is too long.

All “text” speak and email shorthand are forbidden in official communications and materials, except for Social Networking entries through the staff responsible.

Summary:Spellchecker is an important tool, but don’t rely on it and check copy by eye. If possible, have a colleague check too.


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Appendix 7 -Things to Watch or AvoidBy and large the correct generation and implementation of College printed and publicity materiel is dictated by this guide. Most jobs will be created by the Design Team directly using industry-standard creative software but, given the varied design and publishing tools at the disposal of many members of staff and the necessity of certain materials being self-produced, we ask that in such cases some simple guidelines be followed to ensure quality and consistency.

Cartoonish Clip Art is to be avoided. We mean always. Really, we mean ALWAYS!Icons are permissible if appropriate to the content and stylish or subtle in form.

Non-standard fonts, especially “fancy” fonts, are not to be used except in exceptional, approved circumstances. Microsoft Word Art (especially 3D Word Art) is to be avoided completely. See page 15 for College font details.

Legibility is paramount. Text where the contrast is too high, too low or on opposing colours is

to be avoided, especially in PowerPoints. For example:

Red Text is hard to see on Green Yellow Text is hard to see on White Dark Text is hard to see on Black

Above left: Acceptable clip-art icon;Above Right: Unacceptable clip-art cartoon;Below: Word Art. And that word is “No”.

Mr Nafcartoon says:“I have no business promoting HCFE,

especially with this sort of font too!”

Or being positioned somewhere random or the page or screen,

and having tipos, just becuase I’m in a hurry!


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Appendix 8 -Submitting or Supplying Graphics, Images and Text to Marketing and Media for use in documents or presentationsIf you need to supply a graphic, logo or image to Marketing and Media, we can work with most common formats such as .jpg, .tif, .png etc. There are some specific circumstances in which we cannot accept or work with supplied images. These are:

Microsoft Office Embedded Graphics: As many people work with MS Word, Excel or Powerpoint, they will use these packages out of familiarity. However, if a graphic or image is inserted into a Word file etc., it is re-encoded and compressed in a manner which renders it unusable to the specialist design software Marketing use for artworking. Under no circumstances show images ever be embedded in a Word, Powerpoint or Excel file before delivery - we need the raw original image file.

Low Resolution: Any graphic supplied to Marketing and Media muse be of a sufficient resolution and size for print use - this normally equates to 300 pixels per inch (ppi), and a minimum of the size it is intended to be used at (for example, if a logo is needed at 4cm long, the graphic supplied should be at least 4cm, so that it does not have to be scaled up which can cause pixelation).

Unendorsed: If a logo or picture is supplied, all permission and copyright clearance must be sorted beforehand. Marketing will not chase copyright holders, the responsibility is with the person submitting the image. If proof is required and cannot be given, we cannot use them. This is especially important for accreditations or endorsing body logos.

Tables: Complex table data is to be avoided unless absolutely necessary as it is difficult to convert into the design software we use and must be re-typed. If table data is received then a job may take considerably more time to complete due to the manual conversion this requires.

Non-ASCII Text: If you are supplying text for inclusion, the best format is a plain Word file with no font, alignment or colour settings added. These can carry over when the text is imported into InDesign, meaning that time-consuming remedial work is required.

Unsupported or Locked-Out File Formats: Excel and Powerpoint files are also to be avoided for the same reason. We cannot open or convert most MS Publisher or CorelDraw files, although we can try (and sometimes some elements can be extracted successfully depending on version and platform). MS Word is a far safer option.

Adobe PDFs. If PDFs are supplied for the extraction of elements, they must be UNLOCKED and have no security enabled. Please be aware that while elements such as text and some images can be copied out, PDF files are generally read-only and cannot be amended except by the original author.


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GalleryAs Appendix 2b notes, the Corporate Identity is designed to work flexibly within a variety of circumstances. Below are a few examples of advertsing, highlighting of how different strands can be implemented depending on the requirements of each individual job, and yet remain part of a cohesive whole.

Think again.Opening September, enrolling now.Call 01429 295000 for details.



Hartlepool College Golf AcademyBe the top of your game




Announcing the North East’s first Golf Academy, an innovative partnership between Seaton Carew Golf Club and Hartlepool College of Further Education.

For more information onHartlepool College Golf Academyemail [email protected]

or call 01429 292888

Students enrolling to the Golf Academy can expect to receive, in addition to their studies, coaching three times per week from Cliff Jackson, Seaton Carew’s resident PGA professional, access to the College’s new sports fitness facilities, athlete support from sports therapists and nutritionists, and access to Seaton Carew’s wonderful links course.

This is a wonderful opportunity for young people with a love of golf, and ambition to progress to higher education, and the ability to manage advanced level study with a sustained programme of improvement in golf.

ApprenticeshipsWe’re the biggest provider in the Tees Valley




The New Hartlepool College.Opening September, enrolling now.

For more information callBusiness Services on 01429 292888

Lecturing PostsHartlepool College is seeking to appoint lecturers at one of the most exciting times in its history. In August, our stylish and contemporary new town-centre campus opens to the public for the first time. As an employer-facing college that celebrates skills, we’re proud that skills development is at the heart of the building’s design.

These exciting opportunities offer enthusiastic, ambitious and committed individuals the chance to join this forward-looking college as it embraces change and responds to increased demands for its services.

For full details and application forms please go to www.hartlepoolfe.ac.uk/job-vacancies, or contact the Personnel Officer on 01429 404028. Completed application forms must be returned by Friday 1st July 2011. This appointment will be subject to a CRB disclosure

Required for September 2011, lecturing posts (Salary up to £33156 depending upon qualifications and experience).

Lecturer in Aerospace / Aircraft EngineeringTo join a quickly expanding team, using our aeroplanes and helicopter as the centrepiece of curriculum designLecturer in Automotive EngineeringIndividuals with experience in electric and hybrid technologies, main dealerships and high performance vehicles particularly welcomedLecturer in Hospitality and CateringThe new college boasts four high quality food outlets, and the College operates an expanding apprenticeship programmeLecturer in SportTo join the team working with the Hartlepool Sporting Association and our sports academiesLecturer in Games DevelopmentAn exciting post for a flexible individual with the ability to combine IT, media and creative disciplinesLecturer in EngineeringThe College is host to four National Skills Academies, operates one of the largest apprenticeship programmes in the north and a fast-expanding higher education offerLecturer in HealthTo join a professional and responsive team delivering health and care programmes



Left: A Billboard, utilising the primary form of the HCFE identity (see pages 18-22).

Left: A Billboard, utilising the secondary form of the HCFE identity so that the photography is highlighted (on white, the colours would appear more muted at this smaller scale).

Three Adverts: All three adverts derive from a primary master template based within the Corporate Identity, but have been adpated to suit their specific information and text/picture ratio. This flexibility allows the new identity to work in almost any circumstance.

Hartlepool College of Further EducationStockton Street, Hartlepool, County Durham TS24 7NT01429 [email protected]


Marketing:HELEN WATTS (primary contact)Marketing Manager Tel: 01429 283815Email: [email protected]

Creative Team:GARY KESTERDesign Manager / Creative DirectorTel: 01429 404020Email: [email protected]

ANDREW WALTONDesign & Marketing Co-ordinatorTel: 01429 404146Email: [email protected]

BRIAN BARNESMulti-Media Designer (Marketing/Respect)Tel: 01429 404232Email: [email protected]

CHRIS HAYTONMLE Co-ordinatorTel: 01429 404205Email: [email protected]