The Brand The Partners Brand Guide The Hague & Partners ......city logo developed by Anton Corbijn...

The BrandThe PartnersThe Hague Brand Guide The Hague & Partners

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Index Introduction

1. Brand & Corporate

1.1 Sign Off

1.2 Logos & Colours

1.3 Typefaces

1.4 Corporate Materials

2. Printed Materials

2.1 Books & Flyers

2.2 Exhibition Materials

2.3 Merchandise

3. Digital

3.1 Social Media

3.2 Films & TV

4. Illustration & Data

4.1 Graphs & Charts

4.2 Icons

4.3 Illustrations

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6

8

23

52

62

92

93

100

110

126

127

132

136

137

142

144

Publication The Hague & PartnersPostbus 854562508 CD Den Haag

DesignHappy Folk, Arnhem

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About The Hague & Partners

The Hague & Partners (TH&P) is an umbrella organisation for three foundations: The Hague Marketing Bureau (THMB), The Hague Convention Bureau (THCB)and The Hague Business Agency (THBA). These three organisations are tasked with promoting the city of The Hague as a prime destination for leisure, conferences & meetings, as well as for business.

In the ambition to establish and maintain the status of The Hague as a destination among its target groups, The Hague & Partners work in cooperation with each other to share knowledge and resources as well as to generate the many benefits of combined effort.

In this cooperation, consistency in approach is vital and this is especially true of the approach to visual branding in the promotion of a city. Visuals, when used consistently over time, play the most important role in shaping awareness, recognition and in nurturing emotional bonding with the destination.

About This Brand Book

The main aim of this brand book is to provide a robust foundation for the consistent implementation of The Hague & Partners brand: both in corporate and in marketing communication. This is achieved through detailed explanation on how the brand is built, by showing examples of use and by offering inspiration for further creative design, which could not be pre-empted at the time of creation of this brand book.

The brand book is meant for designers who will be on the forefront of creating consistent and memorable designs. It is also a useful tool for brand and marketing managers, who will be creating briefings for external agencies and monitoring the overall consistency in the implementation. Finally, this book can be used as an informative reference tool for anyone who is interested in how the brand is built or has involvement in the development of branded materials.

Finally, it is important to mention that while this brand book locks down all the essential rules of the TH&P brand, it leaves space for creative implementation. This “space” was built in to give the brand the necessary durability and to make it work for the incredibly diverse target group that TH&P address in their activities.

Introduction

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Brand & Corporate1Our Brand & Corporate Identity

As an organisation, The Hague & Partners has a great diversity of objectives – defined by the goals of the individual foundations under its umbrella.

On a strategic level, these organisations have the common goal of strengthening and positioning The Hague in their respective markets and creating wide-spread awareness about the city. This context calls for a clear and well-balanced visual brand which can be applied widely and be the binding component across all means of communication and marketing.

On a more tactical level, these organisations have a great variety of individual needs, determined by their business objectives and target audiences. This context calls for a diverse visual vocabulary and a system of rules to maintain overallbrand consistency.

In the development of this brand, both strategic and tactical needs have been taken into account. Additionally, it was important to achieve a feeling of visual simplicity and lack of clutter - an essential consideration when creating such a complex brand architecture.

Our Brand Story

The Hague – a city with a very unique character. A city that captures your attention should you happen to make its acquaintance. A city that wins your heart slowly but surely, should you happen to build a relationship with her. A city that will continue to inspire and support you, should you make it your home.

The Hague is a city, whose subtle qualities are like the many faces of a diamond.They reveal themselves when they hit a spotlight – but always in balance with the rest.

How do we reveal this character to the rest of the world, confidently, and in a memorable way? How do we tell the story of uniqueness and diversity in a manner that is not too literal, captures the attention of the audience, and garners the support of the stakeholders, businesses and individuals within the city?

We do so by introducing the Sign Off, a visual brand element that is placed on all TH&P materials: from corporate and marketing materials to merchandise and internal communication.

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The Sign Off1.1

The Sign Off consists of three components: the Word Trio, the Rhombus and the Sticker (container of colour).

This section explains the concept behind the Sign Off and its geometry.

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1. Uniqueness | The Word Trio

The Hague is unique, which is reflected in the name of the city itself. The definitive article ‘The’ sets it apart from many famous destinations: Amsterdam, Frankfurt, Berlin, New York, Barcelona, Paris, Milan … The Hague.

We emphasise the uniqueness of The Hague by placing it in the context of other words, creating powerful slogans, for example:

By doing so, we actively promote the fact that The Hague is not just any destination, but The Place to be. Here, you will not just have a fun experience, but The Time of your life. Here you will organize The Conference that truly makes a difference, and not just any event. It is in The Hague that you will build The Business of great impact.

Originally developed by Corke Wallis for The Hague Convention Bureau, this concept was further implemented and adopted for use by The Hague & Partners, The Hague Marketing Bureau and The Hague Business Agency.

The CityThe PartnersThe Hague.

The CityThe BeachThe Hague.

The ImpactThe ConferenceThe Hague.

The CityThe BusinessThe Hague.

2. Diversity | The Rhombus

The Rhombus is a graphical component of the Sign Off, and is used to signify the diversity found within the city. The shape has four equal sides, some in opposition to each other, some in close proximity, but always in perfect balance.

The Hague harmoniously combines seemingly opposing concepts. It has both city life and beach culture. It is home to the Royal Family and is a perfect example of a down-to-earth working city. It embraces the Dutch culture and at the same time it is friendly to expats who come to work in many international organisations. Many more examples can be used to illustrate this appealing quality of The Hague.

The Rhombus has a long history and legacy in The Hague. It takes inspiration and builds on the history of many preceding design elements. The shape of the kite – the city logo developed by Anton Corbijn in 2006 – which supported the city for over a decade. The rhombus of This Is The Hague – the official tourist information platform for the city.

The diagonal cut of the Rhombus can be seen also in many of the recent designs: from the current city logo to the designs of such high-profile events as One Young World and Volvo Ocean Race. The Rhombus is the basic strong shape that supports this legacy but takes it into new age.

Brand & Corporate | Sign Off

Concept

Additionally, the Rhombus plays an important function in creating brand consistency and awareness. Being a graphic element, its function is to achieve instant visual recognition.

In contrast, the Word Trio takes the viewer a longer time to associate with the branding. This is because the word combination is a typographic component that must be interpreted on a cognitive level (it needs to be read, understood, and related to).

In comparison with the Word Trio, the Rhombus is something that audiences can quickly interpret on an emotional level.

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Concept

3. Applicability & Brand Consistency | The Sticker

While the Rhombus and the Word Trio provide a strong conceptual foundation, the Sticker is used as a container that binds these two elements. Furthermore, it is used to maintain consistency and immediate recognition by providing a background of colour, individual for each partner.

Another important functionality was taken into account when designing the Sign Off: visibility and applicability across various platforms. The Sign Off when contained in the Sticker can be placed on nearly any background and visually serves as a point of attraction.

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Sign Off

The Sign Off represents the uniqueness of The Hague. The words in the Sign Off are chosen carefully for use by each partner. It is advisable that each partner uses their standard Sign Off in 80% of cases.


Sign Off Construction

Every new Sign Off must be constructed according to the same grid rules, to ensure consistency and a balanced appearance. This is important because the length of words in each individual Sign Off may vary. It is therefore not possible to use a fixed size Sticker for all of the Sign Offs.

The Rhombus

The Word Trio

The Sticker

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Step 1 - The Typeface Begin with the three lines of text. The type should be left aligned.

The Sign Off is typeset using Boreal Extra Light except for the word ‘Hague’ which is typeset using Boreal Bold. The word spacing is equal to the approximate width of the lower-case letter ‘e’.

The leading is expressed at 120% of the actual font size, and is perfectly scalable.

Kern the text by hand and refer to the examples found in this book for optimal letter-spacing.

Step 2 - Creating The Rhombus Draw a square equal to the height of the upper-case letter ‘T’.

Make sure that the square is horizontally aligned with the first line of the Sign Off.

Step 3 - Creating The Rhombus

Rotate the square 45 degrees around its center point.

Position the rotated square directly to the left of the upper line of text and separated by a space equal to half of its own width.


Sign Off Construction

Step 3 - Text Block Padding

The text block has padding added to both the right hand and lower edges. The paddingis used to ensure compositional balance.

The padding is equal to the height of the descender of the ‘g’ in the word ‘Hague’ and maintains this width horizontally and vertically.

Step 3 - Adding the ‘full stop’

The full stop positioned after the word ‘Hague’ is a smaller version of the Rhombus. The height of the full stop is four and a half times smaller than the Rhombus.

The full stop is aligned to the letter ‘e’ of the word ‘Hague’. It should be positioned to its right by a space equal to 1/2 the width of the text block padding.

Step 3 - The Container

The text is contained within a solid colour block.

The left margin within the container is measured at two and a half widths of the Rhombus. On the right, the width of the margin is measured at 1 width of the Rhombus.

The top and bottom margins are measured at 1 width of the Rhombus.

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Standard Sign OffThe Hague Marketing Bureau


Partner Sign Offs

The words within the Sign Off have to be used for the majority of print and digital publications. Exceptions are:

1. This is the Hague [info] store products2. Merchandise3. Productions for joint promotions

Standard Sign OffThe Hague Convention Bureau


1. Promotion of special events (of more than 1500 attendants)2. Merchandise3. Internal publications

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Standard Sign OffThe Hague Business Agency

NGO Sign OffThe Hague Business Agency


Partner Sign Offs


1. Promotion of special events 2. Merchandise 3. Internal publications

Standard Sign OffThe Hague & Partners


1. Merchandise2. Internal publications

The CityThe PartnersThe Hague

The CityThe BusinessThe Hague

The CityThe FutureThe Hague

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Misused Sign Off Examples

The CityThe BeachThe Hague





The CityThe Beach

The Hague

False ColourDo not change the colour of the Sticker unless specified in the Brand Book.

Missing RhombusDo not take out the Rhombus while using the Sign Off.

TransparencyNever use the Sign Off with a transparent Sticker on images.

SkewingDo not skew or set the Sign Off in false perspective or isometric grids.

Irregular ScalingAlways scale the Sign Off proportionately. Never squeeze or squash it.

RotationThe Sign Off must always remain horizontal.

Logos & Colours1.2

The Sign Off is used to position The Hague as a unique and diverse destination – consistently across all the materials that TH&P produce for their respective target audiences. At the same time, each of the three partners within TH&P makes use of their individual corporate identity for the purpose of organisational representation and marketing. The corporate Logo were developed with reference to the Sign Off: sharing the colour, the typeface and the visual accentuation of the word The Hague.

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Brand & Corporate | Logos & Colours

Standard Logo

The corporate Logo of each partner is modern with a classical touch to ensure longevity. In its well-balanced and deliberate simplicity the Logo communicates maturity and confidence. A hint of playfulness is achieved through composition and the use of vibrant colours.


Logo Construction

The proportions of the Logo are guided by the dimensions of the Rhombus. 1. The dimension of the Rhombus is described on page 14 in the section “Sign Off Construction”.2. The left margin with the colour blocks is measured at 1/2 of the Rhombus. On the right, the width of the margin is measured by 1 Rhombus leaning on the small Rhombus.3. The bottom margin is measured by 1/4 of the Rhombus aligned to the descender of the letter ‘g’.4. The top margin is measured by 1/4 of the height of the colour block.

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Horizontal Logo

The horizontal version uses the same colour pallet and follows the same grid rules as the standard Logo.


Horizontal Logo Construction

To arrive at the horizontal Logo, attach the bottom colour block to the top colour block without any further modification.

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Use of White Space

White space is essential to ensure visibility of the Logo in relation to other elements on the page. It helps create the desired impact and plays a part in creating recognition through consistency.

The minimum white space around the Logo is the size of 1 Rhombus. Always make sure that there is enough white space around the Logo and never bleed it off the page.

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Use of Optional URL

Sometimes, a URL needs to be used together with the Logo, for example on banners, or one-page materials with only visual content. If you use a URL in proximity with the Logo, always place it underneath and maintain the commended white space ration.

marketingbureau.thehague.com marketingbureau.thehague.com

The URL should be positioned at the same distance from the Logo as the internal top margins within the blocks of the Logo.

The text of the URL should be left aligned to the text within the Logo.

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The Hague Marketing Bureau Logos

Standard Logo

This is the primary version of the Logo. It should always be given preference, unless the printing methods or size of the surface on which the Logo must be placed, do not allow for it to be used.

Standard Logo - Greyscale

The greyscale version of the primary Logo can be used in greyscale print. Its use in digital materials is not recommended.

Horizontal Logo

The horizontal version of the Logo should be used on prolonged print surfaces, such as pens. In digital materials, this Logo can also serve a purpose, for example in narrow advertising banners to improve legibility of the text within the Logo.

Horizontal Logo - Greyscale

The greyscale version of the horizontal Logo can be used in greyscale print. Its use in digital materials is not recommended.

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Logo Use on a Colour Background

Whenever using the Logo on a colour background, it is possible to use this reverse version. This version also pre-empts situations in which the background colour is determined by a supplier and cannot be altered.

Black & White Logo

The black-and-white Logo should be limited to the use in black-and-white print, when the use of the greyscale version is not possible.

Logo Use on Black Background

When using the Logo on a black background, for example when printing on merchandise, it is recommended to use this reverse colour version of the Logo.


The Hague Marketing Bureau Alternative Logo Uses

CMYK 64 0 93 0RGB 100 188 79HEX 64BC4FPantone 360UPantone 361C

Primary Colour

Secondary Colours

75% 50% 25%CMYK 34 4 100 0RGB 181 203 52HEX B5CB34Pantone 381UPantone 2298C

CMYK 25 3 75 0RGB 200 214 104HEX C8D668

CMYK 17 2 50 0RGB 216 225 153HEX D8E199

CMYK 9 1 25 0RGB 232 238 201HEX E8EEC9

Marketing Green

Marketing Green is the primary colour of The Hague Marketing Bureau. It is a vibrant, confident, and fresh colour that works beautifully for both corporate communication and marketing purposes. It also has a strong connection to The Hague and proudly stands the test of scale and visibility. Despite its vibrant character, Marketing Green works harmoniously across many platforms and in different contexts – a perfect colour for marketing The Hague in the leisure travel domain.

Marketing Olive

Marketing Olive is the secondary colour of The Hague Marketing Bureau. It is used to enrich the visual palette and to support various functional needs of on-brand design. Olive Green can be used for corporate communication and should be used for marketing purposes.

Percentage values of Marketing Olive can be used when additional colours are needed, while maintaining a neutral colour palette.


The Hague Marketing Bureau Corporate Colours

Partner Gray

CMYK 69 60 54 61RGB 48 51 55HEX 303337Pantone 433UPantone 432C

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Supplementary Colours

CMYK 93 86 10 1RGB 54 69 143

CMYK 21 100 100 13 RGB 177 32 36

CMYK 36 84 0 0RGB 169 76 157

CMYK 0 92 89 0RGB 239 59 49

CMYK 4 100 18 0RGB 228 12 121

CMYK 1 77 62 0RGB 238 97 90

CMYK 81 13 67 1 RGB 17 159 122

CMYK 0 57 99 0RGB 246 135 33

CMYK 75 0 42 0 RGB 0 184 170

CMYK 2 17 71 0RGB 250 208 102

Supplementary Colours These set of supplementary colours should be used in the design of B2C marketing materials, such as city guides, maps, and flyers. These colours offer more possibilities for consumer-friendly design rallying and building upon the primary and the secondary colours.

Furthermore, these colours can be used for functional design purposes: to highlight categories, chapters or emphasising other functional sections and elements.

Since the use of these colours is expected only in full-colour digital print and in design for use on screens, colour specifications are limited to CMYK and RGB values.


The Hague Marketing Bureau Additional Colours

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The Hague Convention Bureau Corporate Logos

Standard Logo




Horizontal Logo




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The Hague Convention Bureau Alternative Logo Uses



Black & White Logo




CMYK 0 20 88 0RGB 255 204 56HEX FFCC38Pantone 121UPantone 123C

Primary Colour


The Hague Convention Bureau Corporate Colours

CMYK 58 9 15 0RGB 101 185 206HEX 65B9CEPantone 637UPantone 637C

CMYK 44 7 11 0RGB 140 199 216HEX 8CC7D8

CMYK 29 5 8 0RGB 178 215 227HEX B2D7E3

CMYK 14 2 4 0RGB 215 232 238HEX D7E8EE

75% 50% 25%

Secondary Colours

Convention Yellow

Convention Yellow is the primary colour of The Hague Convention Bureau. It was chosen to represent the mentality of an ambitious and leading-edge organisation that sets an example in its industry. This bold but friendly colour stands out from afar, whether in an exhibition setting or in an advertisement. It also has a strong connection to The Hague: together with Marketing Green, this colour inherently completes the palette of The Hague.

Convention Blue

Convention Blue is the secondary colour of The Hague Convention Bureau. It is a warm and friendly colour that offers visual rest and allows Convention Yellow to shine without overpowering the rest of the design. This colour is used to enrich the visual palette and to support various functional needs of on-brand design.

Percentage values of Convention Blue can be used when additional colours are needed, while maintaining a neutralcolour palette.

Partner Gray


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The Hague Business Agency Corporate Logos

Standard Logo




Horizontal Logo




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The Hague Business Agency Alternative Logo Uses



Black & White Logo




CMYK 0 60 94 0Pantone 158UPantone 158C

RGB 255 102 0HEX FF6600

Primary Colour Partner Gray


The Hague Business Agency Corporate Colours

CMYK 35 28 38 0RGB 172 170 156HEX ACAA9CPantone 414UPantone 414C

CMYK 26 21 28 0RGB 190 188 176HEX BEBCB0

CMYK 17 14 19 0RGB 209 207 199HEX D1CFC7

CMYK 9 7 9 0RGB 230 228 223HEX E6E4DF

75% 50% 25%

Secondary Colours

Business Orange

Business Orange is the primary colour of The Hague Business Agency. It represents a strong bond with the Netherlands – an important and recognizable visual reference for the target group of THBA. This colour is strong and sophisticated enough to stand on its own as it features excellent visibility throughout various uses.

Business Beige

Business Beige is the secondary colour of the The Hague Business Agency. It is a warm and subtle colour that does not take attention away from the orange. It brings in additional depth, when used as a supplementary colour for aesthetic purposes. Business Beige should also be used to support various functional needs of on-brand design.

Percentage values of Business Beige can be used when additional colours are needed, while maintaining a neutral colour palette.


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The Hague & Partners Corporate Logos

Standard Logo




Horizontal Logo




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The Hague & Partners Alternative Logo Uses



Black & White Logo





Primary Colour


The Hague & Partners Corporate Colours

CMYK 35 30 27 31RGB 126 125 129HEX 7E7D81Pantone 424UPantone 424C

CMYK 41 33 31 0RGB 157 158 161HEX 9D9EA1

CMYK 26 20 19 0RGB 190 190 193HEX BEBEC1

CMYK 11 9 8 0RGB 224 222 224HEX E0DEE0

75% 50% 25%

Secondary Colours

Partner Grey

Partner Grey is the primary colour of The Hague & Partners. The grey was chosen for its neutrality. It works beautifully as a lauchpad for the individual partner colours.

This grey has a significant percentage of blue and therefore does not equal its greyscale version.

Partner Ivory

The secondary colour of The Hague & Partners is a softer and warmer grey that is used to meet functional needs of the design.

Percentage values of Partner Ivory can be used when additional colours are needed, while maintaining a neutral colour palette.

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False ColourDo not change the colour of the Logo unless specified in the Brand Book.

SkewingDo not skew or set the Logo in false perspective or isometric grids.

Irregular ScalingAlways scale the Logo proportionately. Never squeeze or squash it.


Misused Logo Examples

Block IntegrityDo not separate the Logo components. The blocks must always remain attached.

RotationThe Logo must always remain horizontal, unless in exceptional circumstances where it may be placed at 90 degrees for stylistic reasons.

VersioningDo not create versions of the Logo or change the geometry in any way.

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Typefaces1.3

Typefaces are one of the most important components in branding – they powerfully contribute to creating visual recognition. Furthermore, they are used to nuance the character of the brand and the organisation.

Boreal was used as the main corporate typeface. Next to its outstanding functional characteristics, this font is elegant, clean and can be used equally well for serious corporate designs as well as informal marketing campaigns. This typeface has some friendly tension built into the glyphs, which gives it a modern feel and makes it competitive in the city-branding landscape.

Boreal’s flexibility is bolstered by four weights, each with italics, and a set of useful dingbats, including circled index numbers, arrows, and basic geometric shapes. Two stylistic alternates stand by for a more casual tone: a single-story ‘a’ with an upright italic construction, and a single-story ‘g’.

Backed by practical experience, Boreal offers clean, approachable type for any corporate or editorial use, and its clarity and openness are also ideal for UI design and wayfinding.

Design: Jean-Baptiste Levée.

Brand & Corporate | Typefaces

Corporate Typeface | Boreal

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A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

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Figures

Special Characters

Boreal ExtraLight

This weight of the typeface can be used as a supportive font to meet functional purposes of design. For example, in bilingual publications this font can be used to differentiate English copy from Dutch copy.



Boreal Light

This weight of the typeface should be given preference for typesetting copy in the majority of print and digital publications. It is refined and yet has enough weight for good legibility.


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Special Characters

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Special Characters

Boreal Medium

This weight of the typeface should be given preference when typesetting first-tier and/or second-tier titles.




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Figures

Special Characters

Boreal Bold

This weight of the typeface should be used sparingly and mostly to meet the needs of creative design in special publications. Boreal Bold is also used in the word “The Hague”, which underpins this brand. The limited use of this weight ensures that the main visual focus always remains with this core brand element.

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Open Sans Regular

Figures

Special Characters

Open Sans was chosen for its accessibility and support of multiple non-Latin languages. It is recommended for use as the default webfont for copy and for production of print or digital materials when Cyrillic or Greek needs to be used.

For main copy on websites, Open Sans Regular is recommended. For Titles on the website, Open Sans Bold (or Boreal Medium) is recommended.


Web Typeface | Open Sans

Open Sans Bold

Open Sans Regular

Open Sans Light

Open Sans Light Italic

The quick brown fox jumps over the lazy dog




Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets.

Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimised for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms.

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Calibri Regular

Figures

Special Characters


System Typeface | Calibri

Calibri was chosen as a system typeface for use in all instances where a brand font cannot be displayed or is not installed:

1. Email communication2. Day to day communication andcopy in MS Word3. In Official letterheads and other documents when brand font is not available.

Calibri Bold

Calibri Regular

Calibri Light

Calibri Light Italic





Calibri has been the default font for all versions of Microsoft Office since Office 2007. It is also used by Microsoft as the default typeface.

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Corporate Materials1.4

The majority of designs within this brand are governed by a grid system. The use of grids is recommended to create maximum consistency across all materials.

This section explains how the grids work, and offers examples of corporate material designs to illustrate the practical application of the grid system. It is important to bear in mind that while grids are applicable in the majority of cases, designers will sometimes need to deviate from the rules. This can occur to accommodate for the specifics of a print surface, an irregular size of the publication, or other conditions that prevent using the standard grid system.

The grids are not meant to lock down the creative implementation of various materials, the scope of which is difficult to predict for the years to come. Instead, the grids are meant to offer strong guidance on how balance and consistency can be achieved across the majority of materials.

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Brand & Corporate | Corporate Materials

How the Grids Work

Horizontal Grids 1

When designing on a standard horizontal (landscape) surface, follow the steps below:

1. Divide the canvas into 6 equal columns and 3 equal rows.

2. Place the Sign Off on the top horizontal gridline. The leftmost vertical gridline must cut through the centre of the full stop in the word “The Hague.”

3. To determine the width of the border for your design, draw a line which cuts through the centre of the Rhombus. Create a border around the rest of the canvas.

4. Align the title block with the Sign Off at a distance of one Rhombus to the right of the Sign Off.

5. When placed next to the Sign Off, the title block always bleeds off on the right side of the canvas.

6. The height of the title block can be enlarged to accommodate for any length. If the title exceeds one line of text, the title block drops down and in all cases remains horizontally aligned to the top of the Sign Off.

7. Always maintain sufficient space around the text in title blocks, as indicated.

8. In case a corporate Logo needs to be used on the page, follow the recommendation on how the Logo should be scaled (p. 70). The corporate Logo should always be used on a white background with sufficient white space around the Logo (p. 28), unless the deviation in the print surface prevents this.

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Horizontal Grids 2

This alternative grid allows for a variation in the design, especially when a subtitle is necessary.

1. To place the Sign Off and to determine the size of the border, follow steps 1-3 in “Horizontal Grids 1”. Align the Sign Off to the lowest of the horizontal gridlines.

2. For this version of the horizontal grid, it is recommended to limit the titles to one line of text. Create a title block in height equal to that of the Sign Off and place it on the uppermost gridline. Align the right side of the title block to one of the inner gridlines to fit the length of the text.

3. Place the subtitle block directly under the title block, ideally aligned to one of the inner gridlines, but always keeping it shorter than the title block. The height of the subtitle block is measured at ½ of the height of the title block.

4. Always maintain sufficient space around the text in title blocks, as indicated.


How the Grids Work

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How the Grids Work

Vertical Grids 1

When designing on a standard vertical (portrait) surface, follow the steps below:


2. Follow steps 2-8 of “Horizontal Grids 1” to determine the placement of the Sign Off, the width of the border, and other design elements.

A Publication with aLonger Title Vertical Grids 2

This alternative grid allows for a variation in the design, especially when a subtitle is necessary.


2. Follow the steps in “Horizontal Grids 2” to determine the placement of the Sign Off, width of the border, and other design elements.

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How to Scale the Logo

In order to place the Logo on the page correctly in relation to other elements, please follow the recommendations below.

Place the baseline of the Logo on the border in the bottom right corner of the page. The Logo should be scaled at 1½ of the height of the border, as illustrated.

In order to determine the crop line of the main image, add at least one more height of the border above the Logo.

Note: This is a zoomed in image to show the scaling of the Logo.

Title of Book Internal Communication

When designing promotional titles when additional emphasis is necessary (such as advertisements, posters and banners), this alternative image crop can be used.

In order to create a slice, crop off the image at 10 degrees as indicated in the illustration. The crop must always be at the bottom of the picture and always ascend to the right.

It is possible to slide the sliced crop up or down the image. In this case, always maintain minimum white space above the Logo.


How to Create a Slice

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Business Cards

Grote Marktstraat 43c P.O. Box 85456 2508 CD The Hague The Netherlands

Arjan de JagerMarketing O�cer, Purchasing and House Style

[email protected]: +31 (0)70 361 88 88M: +31 (0)00 000 00 00marketingbureau.thehague.com

A proud associate of The Hague & Partners

Street Name & No P.O. Box 00000 0000 XX City Name Counrty Name

Name SurnameTitle

[email protected]: +31 (0)00 000 00 00M: +31 (0)00 000 00 00website.com


Business cards do not follow the standard grid system. This is to achieve the most efficient use of space on the card. Designers are recommended to use ready-made templates for the implementation of business cards.

Prinses Margrietplantsoen 35P.O. Box 160672500 BB The Hague The Netherlands

Business AgencyThe Hague

Renée HammersleyCommunications Manager

[email protected]: +31 (0)70 361 88 88M: +31 (0)6 123 456 78thebusiness.thehague.com


Grote Marktstraat 43cP.O. Box 854562511 BH The HagueThe Netherlands

Nienke van der MalenDirector

[email protected]: +31 (0)70 361 88 88M: +31 (0)6 123 456 78theconference.thehague.com



The ImpactThe ConferenceThe Hague

76 77


Letterheads

Letterheads are designed with a very practical use in mind: sufficient space is created to allow for content and organisational information.

Business AgencyThe HagueA proud associate of The Hague & Partners

thehague.com


Letterheads are designed with the standard vertical grid in mind. The position of the Sign Off is aligned to the top border to ensure that the address line fits correctly in an envelope with a window.

The text in the footer should be left aligned to the Word Trio in the Sign Off.

Business AgencyThe HagueA proud associate of The Hague & Partners

thehague.com


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Envelopes

Envelope design is functional and follows the rules of Post.nl for such printwork.


P.O. Box 16067, 2500 BB The Hague, The Netherlands Business AgencyThe Hague

Business AgencyThe Hague


The grid for the design of the envelopes deviates slightly from the standard recommendation. This is done in order to accommodate for the address envelope/sticker and to meet the requirements of Post.nl.

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Compliment Slips

Compliment slips are designed with reference to the letterhead design.

With Compliments


thehague.com


In order to allow for more open surface to write upon, the Sign Off is aligned with the top border.

With Compliments


thehague.com


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Email Signatures

Design of email signatures does not follow the standard horizontal grid. Elements are aligned to offer maximum amount of information in a limited space, while maintaining a minimum of white space around the Logo.

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Presentation Template

For powerpoint dimensions of 4:3, use a standard horizontal grid. For powerpoints with dimensions of 16:9, the grid with 7 equal columns is recommended.

The FirstThe SecondThe Hague Title of Presentation

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Presentation Template

Slide/Section Title

#

Lorem ipsum dolor sit amet, consec-tetuer adipiscing elit, sed diam nonummy nibh eu-ismod tincidunt ut laoreet dolore magna aliquam erat volutpat.

Use the same grid system to build the visuals and the content on the presentation pages. The content blocks should be separated from the visuals by the size of 1 Rhombus as used in the title slide.

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Printed Materials

When designing for print, it is vital to maintain consistency to achieve recognition. At the same time, the balance must be achieved between strict rules and recommendations in order to accommodate design for creative promotional materials and campaigns.

It is also important to create space for the brand to grow and reinvent itself within a set of strict rules. This will give the tools for the brand to stay relevant as time progresses and continue to capture the attention of the audiences.

2 Books & Flyers2.1

The design of books, flyers and other materials with a lot of copy is guided by the creative and marketing objective of each publication. Special decorative elements can be introduced as desired. Creative layout can also be used at the discretion of the designer. Consistency is achieved by adhering to the grid system, the colour pallet, and typography across all pages as well as the placement of the Sign Off and Logo on the cover page.

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Printed Materials | Books & Flyers

Book Covers

For publications where a Logo is not necessary and/or the subtitle is needed, use the standard Horizontal Grid 2 (explained on p. 67).

The text on colour blocks is always printed in white. The subtitle is always printed on the block with the secondary colour.

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Book Covers

A Publication with aLonger TitleIf the use of the Logo is required, use the

standard Horizontal Grid1 (explained on p. 66). This grid should also be used when the title of the publication exceeds 1 line of text.

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Title of This FlyerLorem IpsumAdditional information


Flyers

For narrow vertical publications, the canvas of the publication should be divided into 3 columns and 3 rows.

Because of the limited print surface, it is recommended to only use Vertical Grids 2 to compose the design.

The placement of the title block also deviates from the standard vertical grid. The left side of the title block is placed on the border in order to provide enough space for the length of the title.

In case the corporate Logo needs to be used, the Logo is scaled at 2 heights of the border to ensure its visibility on a small publication.

100 101

2.2 Exhibition Materials

Design for exhibition always aims to provide good visibility and clear representation. This is achieved by simple but impactful visuals that “take over” the space and provide a clear point of focus for exhibition or event visitors.

Printed Materials | Banners

Splash Colour

For better visibility in exhibition materials, it is possible to place the Sign Off on a splash of colour, instead of on a Sticker. This should be done sparingly and preferably when other supporting material is present to provide further context for the brand.

Due to the varying shapes and print surfaces of exhibition materials, the placement of the Sign Off does not follow the standard system of grids.

Instead, it is recommended to develop grids per publication keeping in mind best practice designs as illustrated in previous chapters.


102 103

Banner Headline


Banner Grids

Banners can be designed to meet various representation needs. To improve visibility from afar, banners do not have a border with image bleeding off the canvas.

A banner with headlines can be used when more information needs to be provided.

A banner with a regular Sign Off can be used for the majority of designs, especially when the focus is placed on the image of The Hague.


Banner Grids

Alternative banner designs can be used when the emphasis needs to placed on the branding. In this case, a variation in the grid system is used to ensure the balance of all the elements.

104 105

106 107


Booth

When designing a set of large-scale materials for representational purposes, it is important to pay attention to the overall balance of the set.

The splash colour on the booth is used as a main point of visibility; however, it is supported by additional branded materials to provide context as well as variation.

108 109

It is recommended to develop individual grids when working with large-scale exhibition materials - depending on the specifics of the print surface.

110 111

Merchandise2.3

Corporate merchandise is meant to represent the organisation with the emphasis on the Logo, and, where possible – the Sign Off.

In the development of commercial merchandise, the Sign Off must be prominent and allow for possibilities for creative and varied design.

Printed Materials | Merchandise

Umbrellas

Whenever possible, for example when printing on very dark surfaces, use the Logo version that features the primary brand colour of the organisation.

This will efficiently enforce brand recognition.

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Notebooks

The design of notebooks will often follow the print specifications provided by the printer.

Whenever possible, bleed the Sign Off off of the left side of the notebook.

When printing on very dark surfaces, use the Logo version that features the primary brand colour of the organisation.

114 115


Folders

Depending on the specifics of the chosen product, develop a grid that provides the best balance and alignment of elements on the print canvas.

If possible, bleed the Sign Off of the left page. If the bleed is not possible, print The Sign Off in the primary brand colour on a Splash of black (see p. 99).


Pens

Pens are a perfect example of when a horizontal Logo should be used. The standard colour version should always be given preference.

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118 119

When designing for cups and other cylinder-shaped objects, in which the Sign Off must receive prominence, it is recommended to use a 9-column grid. This grid ensures the visibility of the entire Sign Off on the circumference of the cup from one angle.


Cups & Cylinder Objects

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T-Shirts and Clothing

Use a 2-column grid to position the Sign Off or the Logo in the centre of the clothing piece to ensure visibility.

122 123


Unusual Shapes

The design for print surfaces with unusual shapes is often dictated by the specifications provided by the supplier. When developing designs for such surfaces, bear in mind the overall visibility of the Sign Off, Logo, or any additional text.

It is important that these elements can be seen in their entirety from the angle of the viewer.

124 125

X

X/2

X

X/2

X/2


Unusual Shapes

If there is a need to place the Sign Off on a circular object, it is recommended to follow the grid above to achieve visual balance.

1. Place a square within the confines of the circle. Measure the longest margin beween the outline of the circle and the outline of the square.

2. Draw another square closer to the centre of the circle at the distance of 1/2 of the margin. Place the full stop in the Sign Off directly on the outline of the smaller square. Scale the Sign Off to fit the Rhombus on the outline of the larger square as illustrated. Finally, centre the Sign Off on the horizontal gridline.

126 127

Digital

In many instances, design for digital publications can follow standard grids and must adhere to the primary and secondary RGB colour pallet. Since digital design does not place limitation on the use of colour, colour versions of the Logos should be used.

It is recommended that the brand typeface - Boreal - is used where possible, i.e. in all images where the typeface is not rendered by the browser or system. Alternatively, Open Sans or Calibri should be used.

3 Social Media3.1

Social media is one of the most important channels through which brand consistency is communicated: through tone of voice, photography, filtering, and messaging.

On a visual level, branding needs to remain minimal but present and consistent. Its goal is not to overshadow the message and not to take attention away from The Hague as the focal point.

The supportive role of branding in social media communication should be achieved through consistent use of colour, typeface, use of Sign Off and Logo.

128 129

Digital | Social Media

Icons

To improve legibility, only the word “The Hague.” is used - but always in combination with the associated brand colour of each individual organisation.


Banners & Backgrounds

Social Media backgrounds can be designed to include the Logo or the Sign Off, in addition to the icon.

130 131


Social Media Posts

A consistent design of social media posts increases the recognition. The Sign Off contributes to that, by linking a post to the brand. Since the eyes of social media users are first attracted to visuals, it is recommended to use the title to bring the core of the message across. Although consistency increases the recognition, diversity in the posts can be needed to remain relevant. Think of infographics or videos. Therefore, this example is meant for inspiration and it is not a design that should be used for every type of post.


Lorem IpsumDolor Sit Amet

Lorem Ipsum



Lorem Ipsum

132 133


Social Media Posts



Lorem Ipsum



Lorem Ipsum

134 135

Film & TV3.2

When introducing the brand in the moving image, especially in the production of videos for the web, most of the standard grids apply with slight variations.

When producing animated content, a wider range of colours can be used and adherence to a consistent visual style is recommended (see Chapter 4, Illustrations & Data).

Digital | Film & TV

Cover Grids

Standard brand grids are used to develop cover images and intros for video content.

Intros are animated to reveal the titling in a sequence. The official AfterFX intro template should be used.

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Digital | Film & TV

Cover Grids

Title of the MovieAdditional information (url, date etc.)

Intro Title

The intro title uses a standard grid system, with a small variation to take into account the safe zones for video production.

Additional information (url, date)

Ending Title

The ending title features the Sign Off and any additional information, such as the url.

138 139

Illustrations & Data

The brand of The Hague & Partners must be diverse enough to accommodate for a wide range of communication styles and purposes: from serious and data-focused, to friendly, fun, engaging, and attractive.

Designing illustrations and data-driven information, such as infographics, may serve very different purposes across different channels, but at all times these designs need to be consistent and easily recognised as belonging to the same brand.

4 Graphs & Charts4.1

Graphs and charts are commonly used in stakeholder communication and are generally not used for marketing purposes. Oftentimes, these designs are used in publications where all partner organisations are represented - each of them contributing their brand colour to the publication.

140 141

Illustrations & Data | Graphs & Charts

Charts

Data in charts should be represented clearly and placed on the page with sufficient white space above and below.This will create a visually restful environment for the interpretation of the data by the reader.

Additional colours were added for use in charts to provide more possibilities for creating contrast.


Chart Colours

THMB Additional Colours

THCB Additional Colours

THBA Additional Colours

CMYK 45 17 100 1

RGB 154 174 59

CMYK 78 27 26 0

RGB 44 148 173

CMYK 42 35 44 2

RGB 152 150 138

CMYK 9 1 25 0

RGB 232 238 201

CMYK 14 2 4 0

RGB 215 232 238

CMYK 9 7 9 0

RGB 230 228 223

CMYK 54 29 100 9

RGB 127 142 56

CMYK 84 40 35 6

RGB 39 122 143

CMYK 51 43 53 11

RGB 127 125 114

CMYK 17 2 50 0

RGB 216 225 153

CMYK 29 5 8 0

RGB 178 215 227

CMYK 17 14 19 0

RGB 209 207 199

CMYK 60 38 100 22

RGB 101 114 49

CMYK 88 51 44 19

RGB 30 96 112

CMYK 56 49 57 20

RGB 108 106 97

CMYK 25 3 75 0

RGB 200 214 104

CMYK 44 7 11 0

RGB 140 199 216

CMYK 26 21 28 0

RGB 190 188 176

CMYK 35 30 27 31

RGB 126 125 129

CMYK 35 30 27 31

RGB 126 125 129

CMYK 35 30 27 31

RGB 126 125 129

CMYK 34 4 100 0

RGB 181 203 52

CMYK 58 9 15 0

RGB 101 185 206

CMYK 35 28 38 0

RGB 172 170 156

CMYK 41 33 31 0

RGB 157 158 161

CMYK 41 33 31 0

RGB 157 158 161

CMYK 41 33 31 0

RGB 157 158 161

CMYK 26 20 19 0

RGB 190 190 193

CMYK 26 20 19 0

RGB 190 190 193

CMYK 26 20 19 0

RGB 190 190 193

CMYK 11 9 8 0

RGB 224 222 224

CMYK 11 9 8 0

RGB 224 222 224

CMYK 11 9 8 0

RGB 224 222 224

142 143

01. Title of the Chart

Explanation

08

07

06

05

04

03

02

01

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A1 A2 A3 A4 A5 A6 A7 A8 A9 A10


Examples of ChartsThese examples illustrate how some of the data can be visualised in line with the rest of the brand. It is recommended to use the primary colour in the design to create reference to the individual partner organisation. Explanation can be added outside of the graph and directly under it to create a consistent appearance regardless of the shape of the chart or the format of the publication.

02. Title of the Chart 03. Title of the Chart

Explanation Explanation

Data OneData TwoData ThreeData Four

Data One

Data Two

Data Three

Data Four

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Suspendisse mauris. Fusce accumsan mollis eros. Pellentesque a diam sit amet mi ullamcorper vehicula. Integer adipiscing risus a sem. Nullam quis massa sit amet nibh viverra malesuada. Nunc sem lacus, accumsan quis, faucibus non, congue vel, arcu. Ut scelerisque hendrerit tellus.

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Icons4.2

The Hague & Partners use a set of specially developed icons. Each partner organisation should use their own version of the icons, featuring a background block in their primary or secondary colour.

The icons should be used on a background block of colour (square or circular) and never placed directly on an image. The icon should generally not be placed on a large splash of colour in iso-lation.

The icons are used as supplementary material when designing informative publications, such as books, brochures, and infographics. As a supplementary design element, the icons should gen-erally not be used in isolation, as they do not carry the brand and the brand concept through.

COASTLINE

ROYAL FAMILY PEACE & JUSTICE

SKYLINE ECONOMIC CHART

FLAGS INSTITUTIONS516,000 RESIDENTS

2ND UN CITY

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Illustrations4.3

Illustrations are designed on demand to meet the specific requirements of the publication. It is recommended that consistency through colour, shape, and style be maintained.

Often illustrations need a wider range of colours to achieve their purpose: attracting attention or creating a visual break in a longer content-rich publication. Additionally, illustrations represent an opportunity to create variety and reinvent the brand to stay relevant in the course of a longer period of time.

While it is not practical to lock down a style of illustration, it is recommended to design illustra-tions which communicate friendliness and some degree of playfulness. The majority of colours should be from the TH&P pallet.

As a supplementary design element, illustrations can be used in most publications, but with caution, as not to draw attention away from the content or the branding.

The Brand The Partners Brand Guide The Hague & Partners ......city logo developed by Anton Corbijn...

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