Brand Guidelines

Contents

Section Pg

1. Introduction . . . . . . . . . . . . . .2 9. Royal Crest and

Partnership logos . . . . . . . .29
2. Brand essence . . . . . . . . . . . . .3 9.1 Royal Crest . . . . . . . . . . . . . .29
9.2 Relationship of logos
3. Our values . . . . . . . . . . . . . . . . .4
with Royal Crest and WHS . .30
3.1 Scientific endeavour . . . . . . . .5
9.3 Millennium Seed Bank
3.2 Conservation . . . . . . . . . . . . . .7
Project . . . . . . . . . . . . . . . . . .31
3.3 Beauty . . . . . . . . . . . . . . . . . .9
9.4 Sponsors’ and funding
3.4 Inspiring learning . . . . . . . .11
partners . . . . . . . . . . . . . . . . .32
4. Branding overview . . . . . .13 9.5 Using sponsors’ logos . . . . . .33
9.6 Logo for retail and
5. Logo application . . . . . . . .15
licensing . . . . . . . . . . . . . . . .34
5.1 Kew masterbrand . . . . . . . . .15
5.2 Wakehurst Place 10. Colours . . . . . . . . . . . . . . . . . . .35
masterbrand . . . . . . . . . . . . .17 10.1 Kew’s core and
secondary palettes . . . . . . . .35
6. Primary strapline . . . . . . . .18
10.2 Use of colour on
6.1 Improving emphisis
Kew material . . . . . . . . . . . .36
and legibility . . . . . . . . . . . .19
6.2 Example of 11. Typography . . . . . . . . . . . . . .42
increased emphisis . . . . . . . .20
6.3 Example of improved
12. Imagery . . . . . . . . . . . . . . . . . . .43
12.1 Photography . . . . . . . . . . . . .43
legibility . . . . . . . . . . . . . . . .21
12.2 Illustration . . . . . . . . . . . . . .47
7. Causal message . . . . . . . . . .22
7.1 Use as a headline . . . . . . . .23
13. Composition . . . . . . . . . . . . .49
13.1 Heading and
7.2 Use as a sign off . . . . . . . . . .24
brand hierarchy . . . . . . . . . .51
7.3 Use within body copy . . . . . .25
13.2 Temporary Signage . . . . . . .55
3.4 How not to apply . . . . . . . . .26
13.3 Composition with multiple
8. Kew sub-brand logos . . . . .27 images, gridded images
8.1 Sub-brand logos . . . . . . . . . .27 and cut outs . . . . . . . . . . . . .56
8.2 Masterbrand versus
sub-brand . . . . . . . . . . . . . . .28
14. Environmental care . . . . .59

1
1 Introduction

Kew, like all organisations has a visual

identity that represents its values.
These guidelines will help you produce
consistent and effective communication
materials for Kew.
As well as providing the details of how
elements should be used together, the
guidelines should inspire you when
developing our brand, establishing useful
parameters without restricting creativity.
If you have any questions or queries
please speak to
the Marketing team
on 020 8332 5628
or Media Resources
on 020 8332 5777.

2
2 Brand essence At the heart of our identity is our essence, encapsulated in the phrase
‘Creating Space to Grow’. This is not only about the Kew organisation, but
also about the people who have contact with it and its work.
Escape. Enrich. Enlighten. Enjoy. These are at the core of what we’re about.
We represent the opportunity to escape from everyday worries, enrich the
mind in a beautiful place, become enlightened about the natural world
and, not least, enjoy ourselves in a unique environment. These are the
benefits that everyone who engages with Kew can hope to experience.
The focus of our identity is on science and conservation. To help
communicate this we have created a consumer facing strapline –
Plants People Possibilities. It defines what the brand stands for,
ensuring consistency and credibility for all our key stakeholders
and acting as an anchor for all communications and
activities around the brand.

3
3 Our values Our brand values are generated from the need to create a strong
personality for Kew. They define the identity we want and the strengths of
the organisation that we wish to communicate. In the following pages we
show what these values mean for our brand.

4
3.1 Scientific endeavour

5
3.1 Scientific endeavour
It is through our scientific research that we achieve our goals, find
solutions and establish new thinking. Our research focuses mainly on our
collections of plants, both living and preserved, and scientific literature.
Research, documentation and conservation are all based on the collections
in the Gardens.

The importance of building

knowledge about plants using
our outstanding botanic
collection and our wealth of
talented people.

6
3.2 Conservation

7
3.2 Conservation
We are committed to the ongoing support of conservation and sustainable
use of plant resources.
Our unrivalled living collections represent a resource for botanical science
worldwide, whether for pure scientific purposes or economic potential.
Most importantly, our living collections and our horticultural skills are an
international resource for the conservation of plant diversity and its
integration with habitat restoration and species re-introduction.

Working in partnership
to save plants and ensure
their future.

8
3.3 Beauty

9
3.3 Beauty
The beauty at Kew is all around us every day. It’s important that we
celebrate and promote it in the best way possible and make it accessible
to all. This beauty should be part of everything we produce.

Revealing the beauty and

diversity of Kew and the
plant world and making
it available to all.

10
3.4 Inspiring learning

11
3.4 Inspiring learning
Our aim is to increase public knowledge and understanding
of the value and vital importance of plants. We also need to increase
recognition of, and support for, our work. Our wide-ranging education
programme includes everything from public lectures to school packs.
We offer teachers’ packs and schools activities and we provide a
programme of courses and other activities for professionals, post
and undergraduates.

Opening up and making

available our knowledge
about the importance of
plants in an accessible way.

12
4 Branding overview

1. Masterbrand logo
The Kew logo is the most
important element of our visual
identity. It must not be re-drawn
or altered in any way and has
size and minimum space
requirements to ensure that it is
always visually recognisable.

2.Wakehurst Place
Masterbrand logo
Kew at Wakehurst is the identity
for Wakehurst Place, Kew’s sister site.

3. Primary strapline
Kew’s primary strapline is an important way of
summarising how we want people to view
their relationship with Kew. It translates our
mission into a simple, consumer facing line. It
should always appear with the Kew logo but
there is some flexibility about where it is placed
relative to the main Kew logo to make it easier
to read and to add emphasis. These rules are
shown in section 6.

4. Causal message
Saving the world’s plants for life is a really
important statement that reminds people that
Saving the world’s plants for life
Kew is an active scientific and conservation
organisation. It is important that it does not
compete with Plants People Possibilities as
it is not our strapline, but it should be used
wherever we are explaining our science and
conservation work or asking people
for their financial support. There are rules
explaining how this is done in section 7.

13
5. Sub-brand logos
These have been created as some Kew
divisions benefit from clearly communicating
their purpose, but still need to be perceived as
part of the Kew family. There are seven which
have been agreed with the Marketing team. Example of one of the sub-brand logos

6. Royal Crest and

Partnership logos
There are specific rules when these can and
should be used. See section 9.

14
5 Logo application
The Kew identity comprises a family of logos that are used on all The diagrams and schematics on the following pages illustrate
communication materials. They all have similar characteristics so as to the principles of usage.
enhance the family feel. There is a hierarchy and logic to how they
If you have any queries please contact Media Resources.
should be used and their relationships with each other.

5.1 Kew Masterbrand

Kew Masterbrand logo

This is the most important visual
representation of Kew. It is Kew’s
leading icon. It is for the whole
organisation incorporating all
sites, projects and companies.
Only with consistent and
considered application, will the
Kew logo be a powerful asset for
the continued development of
the brand.

The combination of elements is

fixed and should not be altered
in anyway. The only exception
is ‘Plants People Possibilities’
which can be repositioned in
certain defined circumstances
(see section 6).

Note: there are 2 exceptions to

this which are, Wakehurst Place
which has a specific derivation of
the Masterbrand logo to help
explain its relationship to Kew
and the MSB project which has its
own identity.

Clear space
0.5X
For greater visual impact the
masterbrand logo should be
given generous clear space 0.5X
around it. The masterbrand
logo should never be enclosed
in a box or other graphic to
make it stand out. Shown here
is the minimum clear space that
X
should surround the logo.

0.5X

0.5X

0.5X
15
5.1 Kew Masterbrand

Colour variants
A range of colour variants have
been created for use. The full
colour version should always be
used wherever possible, after
that use the most appropriate.
For example, if reproducing the Full colour Two colour One colour
logo for newsprint, use the
greyscale version. If the logo
appears on a dark background
use the White out version.

The colours that make up the

logo can be identified within the
core palette illustrated in the
‘colour section’.

The logo can only appear as

one of the colour variants
shown here. Greyscale Solid black White out (of any dark colour)

Size
The minimum size at which the
masterbrand logo should
appear is 17mm wide.
Below this size the strapline
must be removed and replicated 17mm 13mm
elsewhere, unless previously
agreed with Media Resources.
The absolute minimum size,
without the strapline is 13mm.

16
5.2 Wakehurst Place Masterbrand

Wakehurst Place
Masterbrand logo
This is the principal logo for
Wakehurst Place. It is a specially
crafted logotype based on the
typographic style of the Kew logo.

This not only creates a distinctive The combination of elements is fixed

marque, but also reinforces its and should not be altered
connection with the Kew in anyway. The only exception
masterbrand. Although the logo is is PLANTS PEOPLE POSSIBILITIES
comprised of letters it is still a which can be repositioned in certain
symbol and should not appear defined circumstances (see section 6).
within copy.

Clear space 0.5X

For greater visual impact the 0.5X
Wakehurst Place logo should be
given generous clear space X
around it. It should never be
enclosed in a box, other graphic
or text. As mentioned above
this logo should never appear as
copy within a sentence. Shown 0.5X
here is the minimum clear space
0.5X
that should surround the logo.

Colour variants
A range of colour variants have
been created for use. The full
colour version should always be Master colour
used wherever possible, after
that use the most appropriate.
For example, if reproducing the
logo for newsprint, use the
greyscale version. If the logo
appears on a dark background White out (of any dark colour) Greyscale / solid black
use the white out version.

The colours that make up the logo

can be identified within the core
palette illustrated in section 10.

The logo can only appear as

one of the colour variants
shown here.

Size
The illustration to the right
demonstrates the minimum
size for the logo. 48mm 48mm

17
6 Primary strapline
Applies to Kew Masterbrand and Kew at Wakehurst Masterbrand logos.

PLANTS PEOPLE POSSIBILITIES

should always be used with the
masterbrand logos. The primary
strapline is as an integral part
of the Kew brand.

The Masterbrand with the strapline

is the main application of the Kew
brand and should always be used in
this format on print, leaflets,
advertising and brochures UNLESS
there is an issue with legibility of the
strapline.

The strapline may be removed

from the logo where re-positioning
can improve legibility, increase
emphasis and help communicate
the proposition. See the following
guidelines.

18
6.1 Improving emphasis and legibility

There are 2 variations of application of

the strapline which can be employed.

1. Where there is limited vertical space

for the Kew masterbrand and
strapline, such as some overhead
signage areas, shelf edges, book
spines for Kew Publishing or
merchandise items such as pencils.

In these situations the strapline can be

used alongside the Kew logo with the
cap height of PLANTS PEOPLE
POSSIBILITIES equal to the x height
of the Kew logo type and in Mid
Green Pantone 370.

If this is not possible it must be agreed X X

with Media Resources.

2. If the strapline is impaired or

would be compromised by its
application, for example items
which are not always viewed at
close quarters, such as carrier
bags, signage and livery, some
digital media or staff uniforms,
the strapline can be removed
from the Masterbrand, but
must be included on the design.

PLANTS PEOPLE POSSIBILITIES

Maximum size in relation to Kew logo
should be applied in a single
line in Mid Green Pantone 370 X X

and the cap height should be Y

2Y

at least double the size that it

Minimum size in relation to Kew logo
would be when integral to the
logo but no larger than the x
height of the Kew logo type.
The strapline should always be
orientated horizontally.

19
6.2 Example of application with increased emphasis

20
6.3 Example of improving legibility

21
7 Causal message
Applies to Kew Masterbrand, Kew at Wakehurst Masterbrand and Kew Sub-brands.

Our causal message Saving the

World’s plants for life is very
important to communicate that
Kew undertakes vital science and
conservation work as well as
being a beautiful garden and
World Heritage Site.

In order to be communicated
effectively the following guidance
should be applied:

• It should be used in the

following types of
communication:

- Where we are talking

about Kew’s work and using
the line to summarise why it
Saving the world’s plants for life
is important.

- Where we are emphasising

Kew as a cause to be
supported.

- Where we are asking

people to make a financial
contribution to Kew in
Saving the world’s plants for life
whatever context.
eg within the shops at Kew

• It should always appear in

context and linked to an
explanation or example of
the work that Kew does. It
should never appear as
a standalone strapline
without explanation of Kew’s
work as this may not make
sense to a reader who may
not recognise Kew as
a science and conservation
organisation.

• It can be used as a header, a

sign off at the end of a
sentence or within a
paragraph.

• It can be given added visual

emphasis through colour or
increasing the size, up to
110% of the surrounding
copy, to draw the eye to it.
See examples for guidance.

22
7.1 Examples of uses as a headline

If appropriate the causal message can be

used as a heading where the following
copy explains how Kew is involved in
saving the world's plants for life.

Saving the world’s plants for life

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Sanctus est Lorem ipsum dolor sit amet

01

The message can also be used as a

headline - eg. on a poster or front cover.
Saving the
world’s plants
for life

An exhibition on Kew's critical

work in Madagascar
3 – 24 September 2006
Opening times 9am – 6pm Mon – Sat
For tickets call 000 0000 0000

23
7.2 Examples of uses as a sign off

When used in Perpetua on a dark

background, the message can be
highlighted in bold.

Introduction
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sadipscing elitr, sed diam nonumy eirmod hendrerit in vulputate velit esse molestie
tempor invidunt ut labore et doloredgdg consequat, vel illum dolore eu feugiat nulla
magna aliquyam erat, sed diam voluptua. facilisis at vero eros et accumsan et iusto
At vero eos et accusam et justo duoddsaaw odio et di se dignissim qui blandit praesent
dolores et ea rebum. luptatumzzril delenit augue duis dolore te
feugait nulla facilisi. Lorem ipsum dolor sit
Sanctus est Lorem ipsum dolor sit amet. amet, min dh consectetuer adipiscing elit,
Lorem ipsum dolor sit amet, consetetur sed diam mndh nonummy nibh euismod
sadipscing elitr, sed diam nonumy eirmod tincidunt ut l.
tempor invidunt ut labore et dolore dg
magna aliquyam erat, sed diam voluptua. Ut wisi enim ad minim veniam, quis
At vero eos et accusam et justo duo un nostrud exerci tation ullamcorper suscipit
dolores et ea rebum. lobortis nisl ut aliquip ex ea commodo.

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Lorem ipsum dolor sit amet, consetetur. Lorem ipsum dolor sit amet, consetetur
Sanctus est Lorem ipsum dolor sit amet sadipscing elitr, sed diam nonumy eirmod.

Despite our reliance on plants, we are at a crisis point.

It is thought that 60,000 to 100,000 plant species are
under threat. the root causes of these threats are difficult
to control and include human population growth and
socioeconomic factors. Consequently Kew's scientists
are involved in a number of initiatives worldwide.
Saving the world’s plants for life.

24
7.3 Examples of use within body copy

When the body copy is in Frutiger the

message should be highlighted in bold,
enlarged by 110 % and picked out in
Kew Mid Green or another colour
appropriate to the design.

Introduction
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sadipscing elitr, sed diam nonumy mku hendrerit in vulputate velit esse
eirmod tempor invidunt ut labore et molestie consequat, vel illum dolore eu
doloredgdg magna aliquyam erat, sed feugiat nulla facilisis at vero eros et iusto
diam voluptua. At vero eos et accusam et et di se. Despite our reliance on plants,
justo duoddsaaw dolores et ea rebum. we are at a crisis point. It is thought that
60,000 to 100,000 plant species are
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Lorem ipsum dolor sit amet, consetetur threats are difficult to control and
sadipscing elitr, sed diam nonumy eirmod include human population growth and
tempor invidunt ut labore et dolore dg socioeconomic factors. That is why Kew
magna aliquyam erat, sed diam voluptua. is working on a number of initiatives,
At vero eos et accusam et justo duo un focussed on saving the world’s
dolores et ea rebum. plants for life.

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Lorem ipsum dolor sit amet, consetetur. nostrud exerci tation ullamcorper suscipit
Sanctus est Lorem ipsum dolor sit amet lobortis nisl ut aliquip ex ea commodo.

01

25
7.4 Examples of how the causal message should NOT be applied

Summer Welcome
festival to Wakehurst

Saving the world’s plants for life

Saving the world’s plants for life

There should be no confusion with

the strapline. It should not be used
as sign off at the bottom of a poster. Saving the
The causal message should never
appear without relevant copy. world’s plants
for life

3 – 24 September 2006
Opening times 9am – 6pm Mon – Sat
For tickets call 000 0000 0000

26
8 Kew sub-brands
8.1 Logos

Kew has an increasing amount of

commercial divisions which can
benefit from having their own logos
to help simplicity of communication.
The sub-brand logos are designed to
explain quickly and simply to the
reader what the activity is and that it
is provided by Kew.

There are rules for when the Kew

Masterbrand and the sub-brand logos
should be used are on the following
page.

note: to be confirmed by Friends and Foundation board

This is the current suite of

sub-brand logos. These
should not be added to
without consultation with
the Marketing team.

27
8.2 Use of the Masterbrand logo vs sub-brand logos
Applies to Kew Masterbrand and Kew at Wakehurst Masterbrand

The Masterbrand is to be used

UNLESS there is a clear commercial or
customer advantage to using one of
the sub-brands to help
communication. Examples are
provided below, but to a certain
extent it will be up to the judgement
of the department concerned to
decide if it is more important to use
the sub-brand logo for
communication. As a general rule of
thumb:

• The Masterbrand logo is to be

used on all general Kew
material. It should be used on all
marketing material and
advertising activities held at Kew.

eg. stationery, leaflets, guides, maps,

annual reports, ticketing, advertising,
promotions, web site and all material
relating to festivals such as; Orchids,
Chihuly at Kew and specific ticketed
activities available to the general
public eg. Summer Swing.

• The sub-brand logos should be

used on material specific to that
divisions activity only.

‘Kew events and ‘Kew publishing’

sub-brands should be used on specific
material promoting these activities.

‘Kew shopping’ and ‘Kew flavour’

should also be used within their
specific environments on signage and
materials.

28
9 Royal Crest and partnership logos
9.1 Royal Crest
Kew’s portfolio of logos can be endorsed, where fitting, by the Royal Crest.

The Royal Crest Kew’s royal heritage or status

but it should not be used on its
The Royal Crest helps highlight own. If only one logo is used
Kew’s connection with its then this must be one of the
heritage. It comprises of the Masterbrand logos. It cannot be
same characteristic letterforms used on third party
used across the Kew family of communications or web sites.
logos. The crest is used as an On these occasions write the This version can be used on
endorsement to the words “Royal Botanic Gardens, material which is specific to
Masterbrand logos (Kew and Kew” Kew Gardens.
Wakehurst Place) where there is
a requirement to communicate

Clear space
Shown here is the minimum
clear space that should
surround the Royal Crest. It
X
should never be enclosed in a X
box or another graphic.

Colour variants
The Royal Crest should appear
in the grey or black only.
However on dark backgrounds
it should appear in white out.
Grey (four colour or solid) White out Solid black

Size
There are two versions of the
Royal Crest. The normal
minimum size it should appear
is 22.5mm. However there is
a separate ‘small use’ version, 22.5mm
which should only be used in
specific cases, e.g. business
cards.
29
9.2 Relationship of logos with the Royal Crest and WHS
The following pages help you understand the basic relationships
between Kew’s portfolio of logos and straplines.

Kew Masterbrand
For all Kew material (with the
exception of Wakehurst Place
material) the masterbrand logo
should always be given
prominence. The Royal Crest is
an optional endorsement
which can appear at the
bottom or on the reverse of
materials. It should never be
larger than the masterbrand.

When the Royal Crest is used

on material which is Kew
Gardens specific the ‘World Option A Option B Reverse
Heritage’ version can be used.

Kew at Wakehurst
Masterbrand
For all Wakehurst Place
material the Kew at
Wakehurst Masterbrand
should be given prominence.
The Royal Crest is an optional
endorsement which can
appear at the bottom or on
the reverse of materials. It
should never be larger than
the masterbrand.

Option A Option B Reverse

30
9.3 Millennium Seed Bank Project

Millennium Seed Bank logo

The Millennium Seed Bank
Project has its own logo to
communicate its individual
identity. It comprises the same
typographic style as the other
logos within the Kew portfolio
to reinforce its connection
within the organisation. This is
comprised of its own symbol
together with the letterforms
used across other Kew logos.

It should not be used in

conjunction with any other Kew
logo, including Kew at
Wakehurst.

0.5X
Clear space
For greater visual impact the
0.5X
Millennium Seed Bank Project
logo should be given generous
space around it. It should never
be enclosed in a box or other
graphic. Shown here is the
minimum clear space that
should surround the logo. X
0.5X

Colour variants
A range of colour variants have
been created for use. Where
possible the full colour version
should be used. However, on
dark backgrounds the white out Full colour Two colour One colour
version should be used. There is
also a solid black version which
is not illustrated here. Other
than that exception the logo
should always appear as one of
the colour variants shown here.

Greyscale One colour White out (of any colour)

Size
The minimum size the Millennium
Seed Bank Project logo should
appear is 17mm wide. 17mm

31
9.4 Sponsors and funding partners
When sponsors and funding partners appear on Kew materials
there are a set of rules that help determine positions and
relationships of elements.

Millennium Seed Bank funding partners’ logos

Funding Partners
When using the MSBP logo, its
two supporting partners’ logos
should always be included as
endorsements to the Project. They
should always appear horizontally
in the order illustrated.

Clear space X
Shown here is the minimum
clear space that should
surround and lie between both X
logos.

Colour variants
The logos should appear in
their full colour versions where
possible. If this is not possible
they should be printed in black
or reversed white out.

Size
The Millennium Commission
logo should never be greater
than the height of the ‘ew’
from the MSBP logo. The X
Wellcome Trust logo will always
cover 60% the area of the
Millennium Commission logo.
This proportion should remain
consistent on all materials. X 0.5X

Minimum size
9mm
The Millennium Commission logo should never
be less than 9mm high with the height of the
Wellcome Trust logo remaining proportional.
However in certain circumstances, e.g. business
cards, a size that is legible must be used.
32
9.5 Using the logos – Sponsors’ logos

Size
The lead sponsors’ logo for an
event will represent an area up to
70% of Kew’s logo. 70% area 50% area
Supporting Partners’ logos will
represent an area up to 50% of Kew masterbrand logo Lead sponsor logo Supporting partner logo
Kew’s logo.

In certain circumstances, when

agreed with Foundation, the
lead sponsor’s logo can be
attached to the festival/event
logo. Here, the logo can be up
Lead sponsor logo attached to festival/event logo
to 50% of the festival title.

Positioning
Leaflets: Lead sponsors will be
aligned below the Kew
masterbrand logo and
positioned within the bottom
quarter of the panel. Therefore
a lead sponsor’s logo could
appear bottom right or left.
Supporting partners’ logos will
always appear either on the
inside or back panel of leaflet,
again within the bottom
quarter.
Option A – lead sponsor Option B – lead sponsor Reverse/inside – supporting partner
Posters / one sided items:
As with leaflets, lead sponsors
will be aligned below the Kew
logo and positioned within the
bottom quarter. Therefore the
lead sponsor’s logo will appear
bottom right or left.
Other supporting partners will
not appear on one sided
material.

Where design dictates the Kew

logo should go at the bottom Option A Option B Option C

of material the lead sponsor’s

logo will sit directly below it.

Web Pages: The lead sponsor’s

logo will always appear within
the page banners at the top of
each relevant page.
For each festival / event microsite
there will always be a supporting
partners’ page which will include
all sponsors. Each sponsor will
be entitled to display a logo /
image(s) with up to 200 words
of copy and link to their pages.

33
9.6 Logos for retail and licensing
All items for resale have a unique set of logos and rules. See Media Resources for details.

Merchandising
The merchandising logos
consist of the same letterforms
used across Kew’s family of
logos.

34
10 Colours
Colour is an exceptionally strong visual cue as to what a brand is about. Our secondary colour palette is used to compliment and add interest
Kew has deliberately chosen green to represent its natural heritage and to our core palette. Examples of how to apply both are shown on the
we should be ensuring this is reflected throughout our communications. next few pages. The core and secondary palette colours apply to Kew,
There are three greens within the core palette. Kew at Wakehurst and Kew sub-branded materials.

10.1 Kew's core and secondary palettes

Below is Kew's full palette. Whilst the three greens form the core the visual language to complement the design and as accent colours in
palette, the secondary palette colours should be considered as part of addition to green (see examples to follow).

Core greens
The Kew mid green in its solid
state should be the prominent
green across all front line
promotional materials eg.
posters, leaflet covers, etc, unless
the photography used has a
prominence of green which
approximates the mid green. Kew Dark Green Kew Mid Green Kew Light Green
The light and dark green, as well Pantone 7483 Pantone 370 Pantone 376
as secondary colours can be C-85 M-0 Y-100 K-55 C-60 M-0 Y-100 K-27 C-56 M-0 Y-100 K-0
used as accents to the above. # 33 66 33 # 66 99 00 # 99 CC 00
See examples later in the
section.

Secondary Palette

Kew Grey Pantone 202 Pantone 3258

Pantone 432 C-0 M-100 Y-60 K-52 C-56 M-0 Y-34 K-0
C-23 M-0 Y-0 K-79 # 99 00 00 # 33 CC CC
# 33 33 33

Pantone 130 Pantone 5865 Pantone 2602

C-0 M-37 Y-100 K-0 C-2 M-0 Y-32 K-15 C-72 M-98 Y-0 K-0
# FF 99 00 # CC CC 99 # 66 00 99

Pantone 618 Pantone 153 Pantone 279

C-0 M-3 Y-80 K-35 C-0 M-62 Y-90 K-15 C-63 M-36 Y-0 K-0
# 99 99 33 # CC 66 00 # 33 99 CC

20%, 40% and 60% tints of all the Kew colours can be used.

When checking matching colours, please refer to a Pantone colour guide.

35
10.2 Use of colour on Kew material

Use of Kew greens

The Kew mid green along with the dark and light greens should be
the key-predominant colours on any design, especially on front
covers.

Consideration should be given to all the graphic, photographic and

typographic opportunities to create the predominance of green as a
key element of the Kew visual style. Using photography, images can
be enhanced to increase the impact of green. The following
examples help to demonstrate these options.

Full bleed examples where images are predominantly green

36
10.2 Use of colour on Kew material

Use of Kew greens

Where there is less green in the image, then text can be applied in
green to increase the predominance of green.

Discover
Kew Gardens
August – September 2006

Discover
KewGardens
August – September 2006

Examples of minimal use of green

37
10.2 Use of colour on Kew material

Use of Kew greens

Green panel at the bottom or the colour in the image changed
to green in Photoshop, to increase amount of green in layout

Discover
Kew Gardens
August – September 2006

Discover
Kew Gardens
August – September 2006

Green panel at the bottom Photoshop image to increase amount of green

38
10.2 Use of colour on Kew material

Use of colour in advertising

For external advertising only the Kew
colour palette should be considered
first, however if the design concept
fundamentally supports an alternative
colour this can be considered. See
following examples.

Christmas
Sparkle at Kew Gardens
26 November 2005 – 2 January 2006

This winter at Kew;

• It is your last chance to see the stunning

Gardens of Glass: Chihuly at Kew exhibition,
supported by GlaxoSmithKline
• Enjoy skating on London’s largest rink
• Visit Santa in his ice grotto
• Take a jaunt across the Gardens
in a horse and carriage

39
10.2 Use of colour on Kew material

Use of secondary palette colours

The secondary palette colours can be used within the composition,
particularly for non-front cover design. For front covers green should
remain the predominant colour supported by the Kew secondary
palette colours. See following examples.

2006-2007 2006-2007 2006

Welcome to the Kew Foundation
Welcome to the Kew Foundation

Welcome to the
Kew Foundation
Green panel at the top with the addition Large amount of green in image provides Image is mostly green therefore a panel
of purple in the image to provide a secondary predominance of core green with headline of pantone 153 is used to introduce a
accent colour. type as secondary accent in purple. secondary accent colour.

40
10.2 Use of colour on Kew material

Use of Kew greens Example of current material

Green panel at the top or bottom can be used to increase Kew greens should be the predominant
amount of green in layout colours under the guidelines. Please also refer
to section 14 – application of cut outs.

Discover
Kew Gardens
TheTemple of
the Imagination
A community education
project to celebrate the
built heritage of Kew and
Historic Royal Palaces

August – September

Green panel at the top

Note: Where material is produced for joint projects

consideration should be given to where the
material will be appearing. If the material is
predominantly on the Kew Gardens site then
ideally it should be led by the Kew colour palette.

41
11 Typography
All materials produced by Kew should use a consistent set of
typefaces, Kew has three.

If you have any queries please contact Media Resources.

Perpetua and Frutiger are the two typefaces to

be used for all Kew material (with the
exception of design specifically for children,
when Sassoon is used)

The general principle for Kew’s typography is

to consider both balance and contrast in all
designs. The modern, classic, sans serif
character of Frutiger – providing a clean, fresh
look to help communicate the ‘new Kew’, the
unexpected contemporary attractions at Kew
balanced with the traditional, elegant, classic,
serif typeface of Perpetua.

Headings
The default typeface for headings is Perpetua.
Title
bodycopy
Body copy
Frutiger should be used for all body copy.

Perpetua can be used for larger sizes of copy

or where a more elegant, classic look and feel
is desired.

Sassoon
Specially designed for children, Sassoon is a
lively, fun typeface that retains a high level of
legibility. It should be used for both titles and
body copy on children’s materials.
children

42
12 Imagery
Imagery is very powerful in communicating a brand personality. It is guidelines should be used by anyone commissioning or taking
important to pick a style of both photography and illustration which photography for use in Kew communications.
captures they way we would like Kew to be conveyed. The following

12.1 Photography
One or more of the following three
principles Natural, Inspiring and
Dynamic should to apply to all Kew
photography.

1. Natural – not staged, uncontrived,

not posed, ordinary people

2. Inspiring – activities, engaging, telling

a story, capturing a moment, drawing
you in

3. Dynamic – fresh perspective, well

cropped, leads the eye, depth of field,
visually layered, rich and vivid

Kew’s photography is divided into a

further three subject categories –
Theatre, Essay and Detail. These are
covered in detail on the following pages.

Sub-brand differentiation
Should any of the Kew divisions have a
particular requirement for photography
which is considered to be beyond this
general photography guidance, this can
be incorporated into a specific
photography brief, for discussion with
Marketing.

43
12.1 Photography
The following examples have been chosen to represent the three areas,
Theatre, Essay and Detail. Each image can be checked against the key
word descriptions on the previous page.

Theatre
Scale and beauty

44
12.1 Photography

Essay
Natural, engaging with a human aspect,
interaction discovery and enjoyment.

45
12.1 Photography

Detail
Close-up, intrigue and beauty that people
experience – shape, colours and texture of the
natural world

46
12.2 Illustration

We have selected five styles of illustration

as a guidance for selecting Illustrators for
Kew projects.

Concept
• Inspiring
• Idea based
• Surprising

Graphic
• Technical
• Simple
• Flat colours

47
12.2 Illustration

Representative
• Sketchy
• Artistic
• Spontaneous

Natural
• Crafted
• Classical
• Soft

Botanical
• Technical
• Illustrative
• Detailed

48
13 Composition-putting it all together
13.1 Heading and brand hierarchy
Applies to Kew Masterbrands and Kew Sub brands.

With the exception of corporate stationery, the Kew logos

should be positioned top left or bottom right, with the main
heading type in the opposite corner. Generally the logo will lead
and is positioned top left. However, if the headline/proposition is
considered to be the lead message, i.e. the reading hierarchy is
heading first, followed by logo; the logo can be positioned
bottom right. For example ‘Get together at Kew, with Kew
events as an endorsement bottom right (i.e. as for the
advertising led Festival promotion material).

The exception to the above primary applications are:

• Where image restricts or defines the position of the text and

logos.

2006 Get together 2006

at Kew

Hospitality and entertaining

Kew events branding leads descriptive heading Call to action/sales proposition leads, endorsed by Kew events logo.

49
13.1 Heading and branding hierarchy

Position of Kew Masterbrand logo

on promotional material for festival
and activities

The Kew logo should be positioned in the bottom right

hand corner of a layout on material relating to festivals and
specific ticketed activities available to the general public eg.
Summer Swing.

In these examples the name of the activity/festival or the

campaign title is the primary message. On DL leaflets, this
message should always include the word Kew, eg. Summer
Swing at Kew.

Christmas
Sparkle at Kew Gardens
26 November 2005 – 2 January 2006

This winter at Kew;

• It is your last chance to see the stunning

Gardens of Glass: Chihuly at Kew exhibition,
supported by GlaxoSmithKline
• Enjoy skating on London’s largest rink
• Visit Santa in his ice grotto
• Take a jaunt across the Gardens
in a horse and carriage

Visit www.kew.org for details

50
13.1 Heading and branding hierarchy

Examples of hierarchy on advertising material

Inspiring Art ‘The Sun’ – 13ft high – 1000 glass pieces – one of
25 displays from Dale Chihuly’s stunning glass
exhibition throughout Kew Gardens

A vivid display of 250,000 orchids and their

influence on art and design at Kew Gardens
from 4 February to 5 March 2006.
Visit www.kew.org for more details or call 020 8332 5655

28 May 2005 – 15 January 2006

Note: examples shown are external advertising

therefore not led by green colour palette.
51
13.1 Heading and branding hierarchy

Position of Kew at Wakehurst

Masterbrand logo
On general material, such as front covers
for leaflets and brochures where the
Kew at Wakehurst is the primary
message in terms of reading hierarchy,
the Kew at Wakehurst Masterbrand
logo should be centred at the top with
the title of the document at a secondary
or lower level.

On other material where the Kew at

Wakehurst Masterbrand logo is applied
as a secondary endorsement, the logo
can either be centred or ranged to the
Kew’s Country
right or left at the bottom. (See
examples) Garden

Welcome

52
13.1 Heading and branding hierarchy

Use of Masterbrand logo on 48 sheet ads

When creating a 48 sheet ad for Kew, it is very important that the

logo is visible from a distance and must be seen by drivers as they
pass by. Branding should be reiterated in the messaging of the
advert using ‘Kew Gardens’ in the copy.

Text on 48 sheet ads should be kept to a minimum (around eight

words) to enable the message to be read.

Kew full colour logo

When using the full colour
version of the Kew logo, the
placement positions to use are
the bottom right hand corner or
the top left corner of the ad.

The full colour logo should

appear on a white background
and be sized at a minimum of
450mm wide on a 48 sheet ad
(8% of total length - 6096mm).

450mm

600mm

Reversed Kew logo

When using a reversed out
logo the size should be a
minimum of 600mm wide on
a 48 sheet ad (10% of total
length - 6096mm).

Again, ‘Kew Gardens’ should

appear in the copy to aid Kew
branding.

53
13.1 Heading and branding hierarchy

Examples of Kew at Wakehurst logo

54
13.2 Temporary Signage
Applies to Kew and Wakehurst Place

Falling within the composition and typography rules

a template has been designed to be used for all
Colours
temporary signage at Kew and Wakehurst Place.

Pantone Kew Dark Kew Mid Kew Light

5865 Green Green Green

Layout

Main heading
Message
A green Kew swish can be Main heading
used to separate different Message
messages

Main heading
Message
Main heading
Message
Main heading
Message
Main heading
Message

55
13.3 Composition with multiple images,
gridded images and cut outs

Application of cut outs

Where the image lends itself,
cut-outs should be
encouraged. They should be
used against a white
background, not green.
On front covers, cut-outs
should be dynamically cropped
and balanced with type and
logos. Inside brochures or
leaflets they should break out
of the grid to add variety and
scale to a layout.

Introduction
Lorem ipsum dolor sit amet, consetetur Duis autem vel eum iriure dolor in mku
sadipscing elitr, sed diam nonumy eirmod hendrerit in vulputate velit esse molestie
tempor invidunt ut labore et doloredgdg consequat, vel illum dolore eu feugiat nulla
magna aliquyam erat, sed diam voluptua. facilisis at vero eros et accumsan et iusto
At vero eos et accusam et justo duoddsaaw odio et di se dignissim qui blandit praesent
dolores et ea rebum. luptatumzzril delenit augue duis dolore te
feugait nulla facilisi. Lorem ipsum dolor sit
Sanctus est Lorem ipsum dolor sit amet. amet, min dh consectetuer adipiscing elit,
Planning your day

Finding your way around

Shopping and refreshments

Lorem ipsum dolor sit amet, consetetur sed diam mndh nonummy nibh euismod
sadipscing elitr, sed diam nonumy eirmod tincidunt ut l.
tempor invidunt ut labore et dolore dg
magna aliquyam erat, sed diam voluptua. Ut wisi enim ad minim veniam, quis
At vero eos et accusam et justo duo un nostrud exerci tation ullamcorper suscipit
dolores et ea rebum. lobortis nisl ut aliquip ex ea commodo.

Sanctus est Lorem ipsum dolor sit amet Sanctus est Lorem ipsum dolor sit amet.
Lorem ipsum dolor sit amet, consetetur. Lorem ipsum dolor sit amet, consetetur
Sanctus est Lorem ipsum dolor sit amet sadipscing elitr, sed diam nonumy eirmod.

Discover Kew
August – September 2006

01

56
13.3 Composition with multiple images-gridded
images and cut outs

Application of boxed images

Where an idea or subject cannot be summarised by
a single image, multiple images can be used to add
variety or demonstrate breadth.

Images to be applied as multiple images should be

carefully considered to ensure they are clearly legible.

Avoid the use of broad landscape shots and distant

images of people.

Only use clear close up shots eg. details of plants

and people.

Contrasting images should be used in a grid butted

against each other or with a fine white keyline
borders but NOT as separate boxed images.

Do NOT use boxed images.

A festival of colour
Visit Kew Gardens this autumn

57
13.3 Composition with multiple images-gridded
images and cut outs

Example of how guidelines

would affect old material

Do NOT use cut outs on green

background. Cut outs should only be used
against white background.

Do NOT use separate boxed images.

Multiple images should be positioned
together, butted against each other,
possibly with a fine white keyline

58
14 Environmental care
All printed material should be produced using environmentally friendly specifically to look good on recycled, uncoated paper, while print runs
methods as much as possible. We aim to use recycled and where and locality of print companies should also be considered to reduce the
possible, uncoated paper, and work with print companies who have carbon foot print.
suitable environmental accreditation. Designs should be created

Please follow these

recommendations:
• Paper should to be as close to
100% recycled as possible ·

• The minimum requirement

should be not less than 50%
recycled and 50% from
managed forests and FSC
accredited

Print companies should use

some or all of these
processes:

• Computer-to-plate origination

• Waterless press capacity

• Alcohol-free printing process

• Inks should be vegetable

based

• Where possible the finish

should be uncoated

Print companies should have

accreditation in one or more
or the following and locally
based printers are preferable:·

• FSC, Carbon neutral status

• ISO 14001

• EMAS (European Eco-

management & Audit
Scheme)

• WPA (Waterless Printing

Association)

59