REGUS BDG guideline 01

Transcription

Brand Design Guidelines / May 2011
Content
1.1
1.2
1.3
2.1
3.1
3.2
3.3
3.4
4.1
4.2
4.3
4.4
4.5
4.6
4.7
5.1
5.2
6.1
6.2
7.1
7.2
7.3
7.4
8.1
8.2
8.3
8.4
8.5
8.6
9.1
Brand Journey
What’s new / Work your way
What’s new / Icons
Tone of voice
Regus marque / Master logo
Regus marque with claim / Clear space
Regus marque with claim / Usage
Regus marque with claim / Colourways
More about icons
Primary icons / Usage
Primary icons / Where and where not to use them
Secondary icons / Usage
More about the icon library
Icon library / Sizing and clear space
Icon library / Application examples
Usage of promotional and price bubbles
Promotional and price bubbles / Clear space
Colours that work / Corporate
Colours that work / Product
Typeface / General rules of usage
Typeface / Headlines and sub-headlines
Typeface / Body copy
Typeface / Other copy and call to action
Imagery / Overview
Imagery / Views
Imagery / Spaces
Imagery / Details
Imagery / Products
Imagery / People
Brand design lockdown / Aims
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
9.2
9.3
9.4
9.5
9.6
9.7
9.8
9.9
9.10
9.11
9.12
9.13
10.0
10.1
10.2
10.3
10.4
10.5
10.6
10.7
10.8
10.9
10.10
10.11
10.12
10.13
10.14
10.15
Brand design lockdown / Main elements
Brand design lockdown / Main elements sizing
and clearance
Brand design lockdown / Panel and tab
sizing and proportion
Brand design lockdown / Inside the box
Brand design lockdown / Position
Brand design lockdown / Usage of imagery
Brand design lockdown / Usage of colour
Brand design lockdown / Monochromatic usage
Brand design lockdown / Tactical executions
Brand design lockdown / Building imagery
Brand design lockdown / Associate brands
E-mail Design Guidelines
Introduction
The elements of the e-mail template
Header message
Logo and tab
Headline box
Visual
Sub headline
Call-to-action buttons
Body copy
Contact information
Icon copy line
Icon strip
Location and copyright footer
Footer message
Multi product template
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
56
57
58
60
62
63
64
65
66
67
Note:
Although graphics shown in this document are not done to an actual
scale, all pages showing measurements are based on an A4 sized piece.
2
1.1
Brand Journey
Introduction
We can be proud that the values inherent in our brand
– the highest quality services, a client-centric focus and value
for money – provide continuous reassurance to our existing
customers and target audience alike.
However, today’s business environment is constantly
changing and it is important that the Regus brand evolves
both in response to and in anticipation of these changes.
Our 2010 brand design guidelines have been produced
with this in mind.
On the whole, we have ‘kept the best and improved the rest’.
Our communications style has been streamlined, and is now
more straightforward. With a simpler design and consistent
tone of voice, all materials are now more customer-centric
and benefit focused, as befits our entire philosophy.
We hope you agree that this refresh will help strengthen
the Regus brand and maintain our competitive edge
in the industry.
Guidelines
These brand design guidelines will help our marketing
teams adapt elements from the global toolkit across all
media to develop appropriate local communications while
still staying true to the brand look, feel and spirit. Further,
the guidelines will assist in the creation of materials not
covered in the global toolkit that clearly must be delivered
in a consistent manner.
What’s new?
We have enhanced the way we do business, the products
and services we offer, and the way we present ourselves.
We’ve introduced the Regus ‘Work your way’ claim. We have
created product icons to support cross-selling, and there’s a
new look, feel and spirit to all our communications. More on
these elements later in this document.
Our goal is to maintain Regus as the most exciting,
innovative service provider in the market. These
enhancements will help us do just that.
3
1.2
What’s new / Work your way
‘Smartworking’ positioned us as a more contemporary
and accessible organisation. Our communications became
more thought provoking more focused on core customer
motivations and aligned our positioning with the latest
business thinking. Now, we have refined our positioning from
‘Smartworking’ to ‘Work your way’.
This philosophy captures a core truth of the Regus product
offering and our corporate culture and is wholly reflective of
the current trend in the business world. It is a claim only we
can make, and one that can truly change the way people
work, for good.
‘Work your way’ is a total commitment to our clients. It is
a pledge to organise our business around the needs of both
their business goals and their own personal desires. It means
that every workplace solution we offer is tailored to their
requirements. It means that all the world-class products
and services we provide are completely adaptable to every
individual situation and it means, of course, unbeatable value
for money.
Gone are the day-to-day hassles and obstacles of finding
and running an office. Clients are empowered to be more
flexible and more ambitious; and because we put every
necessary support at their fingertips, businesses are free
to concentrate on what matters – growth and profitability.
We truly believe ‘Work your way’ can differentiate Regus
from our competitors.
A brand proposition this powerful not only needs to inform
everything we do for our clients day to day, it also needs
to be communicated to the wider world as often as possible.
The ‘Work your way’ claim should always be used in English,
except where the law does not allow foreign languages
to be used in communications. See further information
in sections 3.2 to 3.4.
4
1.3
What’s new / Icons
A simple visual icon can often explain a product faster than
a written description will, and besides showing in brief the
breadth of our offering, a group of icons together can greatly
increase our chance of cross selling or up selling through
our product portfolio. They make it easier for clients
to understand and navigate our range, and to see how
adding extra Regus services could enhance their business.
Primary icons representing our core six products
Our range of icons doesn’t try to explain a product or service,
but rather to provide the simplest, fastest graphic association
with that product. They are a memorable, visual shorthand
that a customer can understand and grasp quickly.
We divide them into primary and secondary groups.
Find out more about icons and their usage in
sections 4.2 to 4.4 and look out for new other elements
throughout this document.
Secondary icons representing our complementary services
5
2.1
Tone of voice
In ‘Work your way’, Regus has a very powerful, highly motivating message to businesses of all sizes, across all markets
worldwide. It is crucial that our tone of voice supports it in all
external communications.
We can help our customers to overcome problems by working with them in the ways they want. Our language should
always be upbeat, reflecting a ‘can do’ attitude.
Of course all material should always be clear and businesslike. But it should also reflect the exciting opportunities we offer clients and speak in a positive, empowering tone of voice.
We have an unrivalled global offering, and should always
express confidence about the facilities and services we offer
compared to the competition.
The words on the right sum up our tone of voice. They are active, dynamic words, reflecting what Regus stands for.
We should always explain the benefits of what we offer in
simple, clear terms, and words like these are ideal. It is of
course a balance: effective communication will talk about our
brand and its strengths, but also understand and connect
with the real challenges that our clients face, and show how
we can overcome them.
Remember too that the person reading the piece may not be
fully familiar with our business – again, a concise and clear
explanation of the services we provide is crucial. So, be wary
of slipping into business jargon.
BUSINESSLIKE
PROFESSIONAL
ASPIRATIONAL
FLEXIBLE
STRAIGHTFORWARD
ACCESIBLE
INNOVATIVE
CLEAR
HELPFUL
RESPONSIVE
THOUGHTFUL
We have four different target audiences – large corporates,
SMEs, start-ups and home workers. Each one should be addressed in a slightly different way, whilst being sure to reflect
our core tone of voice. The copy platform provided in the
global toolkit gives guidelines and example copy.
For more information and guidance please refer to
the Regus Style Guide.
6
3.1
Regus marque / Master logo
Our master logo is fresh and contemporary - reflecting
a modern, dynamic business at the forefront of its industry.
Instantly recognisable, it represents our position
as brand leaders.
Where the master logo features just once in a piece
of communication, please make sure to use the symbol.
Where the master logo appears more than once,
the symbol should be used in at least one instance.
Fig. 1
Sometimes it will be impractical to use the symbol – on glass,
steel or high mounted billboards, for example. Please contact
Group Marketing Services who will be able to advise you.
In regions outside the EU/US the trademark ® does not apply
and should be replaced with a ™ as illustrated in Fig. 2.
Please see section 3.3 for the rules governing use
of the ® and ™ at smaller sizes.
Unless impractical to do so, the Regus master logo must
always feature with the brand claim underneath, as is shown
in Fig.3. More details are provided in sections 3.2 and 3.3.
Fig. 2
Fig. 3
7
3.2
Regus marque with claim / Clear space
We like to give our logo and claim space to stand out.
The guide opposite confirms the required clear area around
the logo and claim. For top and bottom the minimum
clearance space should use the height of the Regus crown.
For the width use the width of the Regus crown. The same
rules apply to both the positive (Fig.1) and negative (Fig.2)
Regus logo and claim variations.
In general, the ‘work your way’ claim should always be used
with the Regus logo. There are exceptions however, where
it cannot – and legibility is one. Sometimes the lack of space
will leave the claim too small to read – small space press ads
for example, or web banners where the same applies.
Additionally, branded materials will not always be suited to
carry the claim. Lack of space may be one reason - on items
like pens and keyrings - but there may also be problems
applying the claim on a larger scale to surfaces like glass
or steel in reception or display areas.
Fig. 1 Positive logo with claim minimum
clearance space.
Fig. 2 Negative logo with claim minimum
clearance space.
Fig. 3 Positive logo minimum
clearance space.
Fig. 4 Negative logo minimum
clearance space.
Please note: the clear space guidelines apply whenever
the logo and claim are used outside of the new brand look,
for example on signage or stationery. For details of how the
logo and claim should be used within the new brand look,
see sections 3.3 and 3.4.
8
3.3
Regus marque with claim / Usage
N.B. When the logo is scaled down smaller than 40mm
wide, the trademark symbols ‘®’ and ‘TM’ become
illegible. In these instances you can remove them
from the logo.
min. 13 mm
The minimum size for our logo is 15mm wide. Any
size in between up to 30mm is permissable. Thereafter
the logo can increase by 10mm increments: 40mm,
50mm, 60mm and so on. It’s a simple rule and one
that helps all our communications and our brand look
consistent and professional.
min. 24 mm
Correct usage
min. 15 mm
without the trademark symbols
min. 40 mm
with the trademark symbols
Incorrect usage
A few examples of ‘Don’ts’ are shown opposite, Do not
change the spacing of the letters within the wordmark
or the claim. Do not squash or stretch the logo and claim,
they should always be scaled in proportion. Do not apply
the logo wordmark without the Regus crown included and
do not apply the Regus crown without the wordmark.
Work your way
Do not change the spacing of the
letters within the wordmark and claim.
Do not squash the logo and claim.They
should always be scaled in proportion.
Do not apply the Regus
crown without the logo.
Do not apply the logo wordmark
without the Regus crown included.
Do not apply another colour
in the claim.
Do not change the width
of the claim.
9
3.4
Regus marque with claim / Colourways
Colour usage
This is the primary logo with claim. Both positive and
negative variants are acceptable as shown. Where possible,
the dot in the Regus crown should be in red.
Monotone usage
In certain cases the logo and claim may also be used
in monotone, again in positive and negative variants
as shown here. When displaying the logo and claim
in monotone, ensure the dot in the Regus crown
is 100% white.
Logo and claim on image
The logo and claim should rarely be used without the tab
but where unavoidable they should always be positioned
on a clear area of white or on a pale background as shown.
If the background is more complex, you can use the reversed
out version of the logo and claim and position them to be
as readable as possible.
What not to do
Make sure that you never change the colours of the logo
or its elements, or use inappropriate background colours.
Some typical examples are shown here on the right.
10
More about icons
Icons are an essential element in the Regus communications
mix. A clear, straightforward representation of the products
we offer, they greatly improve our ability to cross sell and up
sell to customers. Icons are an impactful prompt to anyone
reading our communications material to explore the whole
range of services we provide.
Each icon has a strong visual identity, backed up through
effective use of colour. A range of icons presented in a piece
of communication allows a customer to quickly grasp how
additional Regus services could improve their business.
Primary icons
4.1
Icons engage and strengthen clients’ association with the
products they represent, and in general, we should make
maximum use of them across all media.
We divide icons into primary and secondary groups. On the
right, we explain the thinking behind each icon. Take some
time to familiarise yourself with them.
This indicates that a customer can
just move in, sit down and start
working straight away. We will take
care of everything.
Someone may be many miles
away but we’ll put them right
in front of you in a comfortable,
professional and productive
environment.
A virtual alternative to a physical
office. To the world, it looks like an
office, but inside, it functions
virtually, allowing customers
a professional presence wherever
they wish.
Regus Business Lounges are the
hub for business, wherever you are.
They provide everything you need
to refresh, stay in touch and keep
productive.
You need to organise a meeting?
Everything’s ready – not just
tables and chairs, but state-ofthe-art equipment and technical
support.
Wherever you go businessworld
goes with you, giving access to lots
of convenient locations close to you,
and in hundreds of cities worldwide.
The convenience and costeffectiveness of being able to have
an office just for one day, and still
have all the support you need.
Whatever happens, Regus will
keep your business functioning
productively. Minimal down time
means you’re up and running
again as soon as possible.
In all instances, icons must match the language
of the communication. So we have put together
an icon library, comprising all nine, icons with their
legends translated.
There is one other important point to note: each icon,
and the name beneath, form one object. The graphic
and its name are always to be used together, with
no exceptions.
When icons do not appear in colour, they must be
in 100% black.
If there is a requirement to produce a new language
version, please contact group marketing services.
Secondary icons
Icon library
Regus plugs clients into whatever
office resources they need,
leaving them free to run their
business whilst we run their office.
11
4.2
Primary icons / Usage
How to use primary icons
In our external marketing communications, in general only
primary icons are to feature. All six should be used together
and are normally to have equal weight, one after another,
in the order shown in Fig. 1.
Fig. 1
If a piece of communication features and/or promotes
a particular product, the icon concerned should be increased
in size to stand out and positioned underneath the logo and
claim. The remaining five icons will have equal weight and will
remain in the same order as shown in Fig. 2.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been
the industry’s standard dummy text ever since the 1500s, when an unknown printer took a galley
of type and scrambled it to make a type specimen book. It has survived not only five centuries,
but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised
in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more
recently with desktop publishing software like Aldus PageMaker including.
Where the communication is not specific to a particular
product, again the six icons are to be featured in the order
shown in Fig. 1.
Call us now at +xx xx xxx xxxx
Or visit us at www.regus.xx
In some media it won’t be possible to accommodate
the six primary icons. In that case, icons should be
selected to reflect both product priorities and relevance
to the target audience.
In these instances - a small print ad or a static web banner,
for example – solo use is permissible. The correct position for
this solo icon is shown in Fig. 3 – it should be centred beneath the Regus logo.
Fig. 2
Additionally in material that focuses on a specific target
audience like home workers, or specific products or services
like meeting rooms and video communication, again, not all
icons will be relevant. Fig. 4 shows how two icons are to be
positioned in such a situation.
More details on sizing and positioning are provided
in sections 4.6 and 4.7.
Fig. 3
Fig. 4
12
4.3
Primary icons / Where and where not to use them
Where to use them
As stated previously, we will feature primary icons in all
brand communications where space and audience receptivity
allow it. In print advertising they should always be used,
space permitting. In one-to-one communications – emails
and direct mail for example – they should also appear
prominently. These media allow people to keep and review
content and so are particularly suited to icon use. The same
applies to corporate brochures and sales material.
Do not change the spacing
of the letters.
Do not distort the icon. It should
always be scaled in proportion.
Do not apply the icon
without the legend.
Where not to use them
The main barrier to the use of all icons is restricted space.
Small classified ads won’t have the room to display the
range, for example. Restricted time also constrains icon
use. Outdoor advertising doesn’t allow an audience to fully
take in a range of icons – they are not in general suited
to the simplicity required in this medium. An exception
may be made for billboards in high captive pedestrian
traffic areas.
Other media where time constraints apply include animated
banners and short form TV advertising.
Do not apply another
colour to the legend.
Do not change
the legend position.
Do not change
the legend position.
Finally, icons are not needed in communications with large
corporate clients for whom solutions are paramount
to products.
13
Secondary icons / Usage
How to use secondary icons
Secondary icons should not be used in general
communications, as they are not part of the core
Regus offering.
However, there may be occasions where their use
is appropriate - for example when promoting drop in services
in the form of Day Offices to a home working audience.
In cases where secondary icons are used alongside primary
icons, they should appear after them and in the order shown
in Fig. 1. We expect these icons to be used individually as
they are not related; if so, logic should be applied as
to which icon is heroed.
When in solo use, the secondary icon is to be centred
beneath the Regus logo (Fig. 2). Where two icons need
to be featured, please refer to section 4.7.
When secondary icons are used in conjunction with primary
icons, please bear in mind that the maximum number
of icons that can be displayed is seven in total, as shown
in Fig. 3 and Fig. 4.
Secondary icons
4.4
Fig. 1
in the 1960s with the release of Letraset sheets containing.
Fig. 2
Fig. 3
Fig. 4
14
4.5
More about the icon library
So that using icons is as quick and easy as possible, we have
created an icon library. It features all icons, with their legends
currently translated into 34 different languages.
Icons featured should always match the language of the
particular communication. Icons should never be mixed
between the local language and English – use one
or the other for all icons.
All icons will have their colour specifications provided
in both pantone, CMYK, and for web usage.
See section 6.2 for more details.
15
Icon library / Sizing and clear space
min. 10 mm
Sizing
12 mm
Fig. 1 shows an icon with a single line legend. In the example
shown the icon height is 12 mm. Please note the measurements
of the space around the icon required in such a case.
To the right of Fig. 1, the minimum height a single legend icon
should be is shown – 10 mm.
Clear space
15 mm
This section deals with the sizing of an icon, and the amount
of clear space to be left around it.
35 mm
4.6
Fig. 2 shows a case where a pair of two lined icons feature
together. The example height here is 15 mm. Again please note
the required around of clear space then needed around each
icon. The minimum height of a two-line icon is 13 mm,
as shown.
12 mm
10 mm
Fig. 1 / Clear space 1 line legend
min. 13 mm
15 mm
12 mm
In all cases, when icons are placed together, the bottom
of the first lines of their legends should align.
35 mm
Fig. 3 deals with a three-line icon that is 18 mm in depth.
Its minimum height should be 15 mm.
12 mm
10 mm
35
9 mm
18 mm
35 mm
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has
been the industry’s standard dummy text ever since the 1500s, when an unknown printer took
a galley of type and scrambled it to make a type specimen book. It has survived not only five
centuries, but also the leap into electronic typesetting, remaining essentially unchanged.
min. 15 mm
12 mm
10 mm
16
Icon library / Application examples
25
25
Fig. 4
25
In the event that two icons are shown, they are to be
positioned either side of an imaginary line drawn down
from the centre of the logo (Fig. 5).
Lorem Ipsum is simply dummy text
the printing and typesetting industry.
Lorem Ipsum has been the industry’s
standard dummy text ever since the
1500s, when an unknown printer took
a galley of type and scrambled it to
make a type specimen book. It has
survived not only five centuries, but
also the leap into electronic remaining
essentially unchanged.
5
Fig. 2
Fig. 3
35
25
As stated above, when an icon is used alone, it is to be
centred beneath the logo (Fig. 4).
Fig. 1
Fig. 5
17
35
35
In all cases – whether the icon has a legend with one, two
or three lines, the minimum height from the top of the icon
to final line of the legend should be 25mm. This will mean
that an icon with a three-line legend will be smaller than one
with a single line, but the rule is there to maintain the space
clearance and position of other elements within the tab.
35
Small formats will often only allow the use of a single icon.
Figures 1, 2 and 3 show how to position a single icon
- it is to be centred under the Regus logo.
25
The examples on the right illustrate how icons should be
positioned in the panel, in both solo and dual variants.
center
of logo
Regus
35
4.7
5.1
Usage of promotional and price bubbles
Here we introduce two new visual devices, the promotional
bubble and the price bubble. They are to be used to call
attention to a promotional offer, or to a product price
we want to highlight.
The promotional bubble
To be used across various media formats, the promotional
bubble is always used as a solid shape in the icon colour
of the product it supports, with its text in white (the color
of the underlying background), as shown Fig. 1.
Lorem ipsum dolor sit
Fig. 3 shows the colour variations of the promotional
bubble according to the product segment it is promoting.
consectetur adipiscing elit.
Fig. 1
In the event that the background does not allow
the promotional bubble to feature as a solid shape, it should
then feature as a coloured contour, with its text in the icon
colour of the product it supports (Fig. 2).
In some instances it may be shown as a solid white shape
without a contour and with copy in the colour of the product.
Fig. 2
The price bubble
We used the same design principle for the price bubble
(Fig. 4). It is smaller, as it is intended to carry just the price
being promoted with minimal copy. The same rules that
apply to the promotional bubble apply here.
One final point that applies to both devices: the tail of the
bubble is always upward facing, directed either towards
the icon it applies to, or to the body copy of the piece.
The next page shows how the promotional bubble
and price bubble can be used in communications.
Fig. 3
From
From
€00
€00
per month
per month
From
From
€00
per month
Fig. 4
€00
per month
From
€00
per month
From
€00
per month
From
€00
per month
From
€00
per month
18
5.2
Promotional and price bubbles / Clear space
Clear sp
space
pace
The illustrations on this page deal with the placing,
sizing and space requirement guidelines for using
the promotional devices.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry’s
standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to
make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting,
remaining essentially unchanged. Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem
Ipsum has been the industry’s standard dummy text ever since the 1500s, when an unknown printer took a galley
of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap
into electronic typesetting, remaining essentially unchanged.
Clear space
Fig. 1
Fig. 2 provides details on price bubble clear space.
Sizing
The remaining illustrations shown how these devices
are to be sized within the panel.
center
of logo Regus
Fig. 2
max 20 mm
Sizing
Lorem ipsum dolor sit dolor
consectetur adipiscing elit adipis gelit
From
€00
per month
max 55 mm
min 15 mm
The price bubble is an important promotional device, and
there are times when it needs to be sized more prominently.
In such cases it should be placed outside the panel in the
image area, as shown in section 9.11. The exact size to be
used is left to the designer’s discretion, depending on how
much impact the price bubble needs to have.
From
€00
per month
20 mm
Or visit us at www.regus. xx
In the case of the promotional bubble, its maximum height
is always 20 mm (Fig. 3). Depending on the amount of copy
it contains, its width can expand, to a maximum of 55 mm.
When it is expanded its height should not change, however.
Turning to the price bubble, its minimum height and width
are detailed in Fig. 4 – 15 mm x 12 mm. Its maximum height
should never exceed 20 mm, proportionally expanded
(Fig. 2). Both these rules apply when the price bubble
is placed in the panel.
20 mm
min 15 mm
Fig. 1 shows how the promotional bubble is to be
positioned in the panel. The width of the word ‘way’ (from
the brand claim) determines the correct distance between
the edge of the bubble and the right hand edge of the
panel. The same applies from the bottom of the bubble
to the end of the space. The bottom of the promotional
bubble should always align with the bottom of the second
line of the icon legends.
Fig. 3
Fig. 4
min 12 mm
Lorem ipsum dolor sit dolor
consectetur adipiscing elit adipis
gelit adipiscing.
max 55 mm
19
6.1
Colours that work / Corporate
Colours play a vital role in our corporate identity. They help
to capture attention, showcase our different product
offerings, and differentiate them from the competition.
Our primary colours are Regus dark blue, white, and Regus
red. They are strong, dominant colours, and are combined
to good effect in our master logo.
These colours remind and can even persuade our audience
that we are a company of strength and stature, and their use
is crucial to how we present ourselves to our customers and
prospective customers.
Pantone
CMYK
RGB
Pantone 288
100C 80M 6Y 30K
5R 55G 117B
Pantone
CMYK
RGB
white
0C 0M 0Y 0K
255R 255G 255B
Pantone
CMYK
RGB
Pantone 200
3C 100M 66Y 12K
199R 20G 65B
20
6.2
Colours that work / Product
Rich vibrant colour is now a feature of business
communications worldwide, and Regus also uses
it to reflect the vibrant, innovative company that we are.
Pantone
CMYK
RGB
WEB
7484 C
100C / 0M / 85Y / 60K
0R / 93G / 52B
00 / 5D / 34
This section focuses on what we call secondary colours,
as opposed to the three Regus corporate colours.
Pantone
CMYK
RGB
WEB
158 C
0C / 67M / 100Y / 0K
238R / 125G / 17B
EE / 7D / 11
Pantone
CMYK
RGB
WEB
520 C
75C / 95M / 0Y / 8K
121R / 30G / 117B
79 / 1E / 75
Pantone
CMYK
RGB
WEB
2573 C
35C / 58M / 0Y / 0K
188R / 158G / 198B
BC / 9E / C6
Pantone
CMYK
RGB
WEB
2925 C
80C / 25M / 0Y / 0K
0R / 146G / 208B
00 / 92 / D0
Pantone
CMYK
RGB
WEB
288 C
100C / 80M / 6Y / 30K
5R / 55G / 117B
05 / 37 / 76
Pantone
CMYK
RGB
WEB
376 C
53C / 0M / 100Y / 0K
151R / 190G / 13B
97 / BE / 0D
Pantone
CMYK
RGB
WEB
200 C
3C / 100M / 66Y / 12K
199R / 20G / 65B
C7 / 14 / 41
Pantone
CMYK
RGB
WEB
124 C
0C / 35M / 100Y / 0K
240R / 182G / 0B
F0 / B6 / 00
We have six product families, and each has been given a
distinct tone, as seen in their product icons (see section 7.2).
They have been chosen both to support each product family,
and to differentiate between them. Each one has been
selected to work across all media, from print to the web,
and in any format.
As the icon legends also appear in colour, particular attention
has been paid to the legibility of text, often in smaller font
sizes. Our secondary colours should only ever be used
at 100% solid, never as a gradient or tint.
N.B. Please do not lift colours directly from these swatches.
To ensure you achieve the correct colour appropriate to the
media for your communications, please create these colours
from the breakdowns and Pantone references given for each
colour. Please see section 9.9 to see application of colours to
the text box.
21
7.1
Typeface / General rules of usage
We reach our audience through many different media
channels, and of course it is imperative that the corporate
typeface we use is highly legible, elegant and warm.
Our font, Helvetica Neue, has those qualities, and it should
be used across all communications wherever possible.
We employ it in both Roman and Bold weights.
Bold for headlines and calls to action, and Roman for
bodycopy. However, Helvetica Neue may sometimes
be unusable or may give rise to problems.
Where this is the case, Arial - usable in Bold and Regular
weights - is the designated substitute. This may be
necessary, for example, in online communication like
emails and web banners.
22
7.2
Typeface / Headlines and sub-headlines
Headlines will always feature in white type out of a coloured
background, in either a box or a permitted area.
The examples on the right show headlines positioned in
a box, which will be the main message carrier, with each
headline set differently, depending on whether it contains
one, two or three lines.
Lorem ipsum dolor sit amet con
Generally, set headlines are ranged left – never centred
or justified – and always in lowercase.
The default headline colour is white, out of any Regus
corporate or product background colour or other
permitted area.
Headlines should always be set in bold in either Helvetica
Neue or Arial, according to the rules defined in section 7.1.
Sub-headlines can be inserted after the headline in the same
box or permitted area. More detail on how and where
headlines and sub-headlines can be positioned is contained
in sections 7.4 and 9.6.
Lorem ipsum dolor sit amet,
consectetur adipiscing amcilisis
consectetur adipiscing elit mauri
nec mi nec elit dapibus facilisis
centre of the headline box
23
7.3
Typeface / Body copy
Body copy
Body copy should at all times be concise in style and directly
detail the benefits people will get from using our services.
In all advertising or communication pieces, it is always
positioned in the panel, justified left, but never as a block.
Body copy can be set in any range of black from 60%
to 100%, and adjusted based on the print quality of the
material. For example, newspaper ads may need black whilst
magazine adverts may be better suited to grey.
Apart from these two examples, and depending on the
quality of other media where a piece will be placed, use your
discretion to adjust the grey percentage and achieve the best
reproduction of the text.
points 8/11
Helvetica Neue
Fig. 1 Body copy
Please do not use any other colours for body copy.
Body copy should be set in Helvetica Neue Roman
or Arial Regular, and should not be smaller than 8pt
and no bigger than 11pt. The ideal point size wherever
possible would be 10pt (Fig. 1).
24
7.4
Typeface / Other copy and call to action
Other copy
Depending on where a piece features, content other than
body copy might be required. The same rules for body copy
apply to the font, colour and size of this text. In the case of
special formats such as signage or posters, please refer to
the global toolkit graphic guidelines, which cover most of
these media and formats, and use your discretion in other
instances.
A last important point about copy is the way we spell our
product names.
Whenever preceded by Regus, or where we are clearly
talking about the Regus product as opposed to a generic
one, product names should have the first letter of each
word in uppercase (e.g. Regus Virtual Offices; Business
Lounge etc). This even applies to Businessworld, although in
advertising and poster copy it will continue to be written as
businessworld, in conformity with brand guidelines.
Because of the dynamic nature of the design lockdown we
also have to be flexible in locating the call to action.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry’s standard dummy text
ever since the 1500s, when an unknown printer took a galley of type and scrambled it to
Call us now at +xx xx xxx xxxx or visit us at www.regus. xx
10
Call to action
Fig.1
min. 35
Additionally, and outside of design, for Businessworld the
product colours are also capitalised (eg. Businessworld Gold)
and for Platinum Plus, two separate words
(eg. Businessworld Platinum Plus)
points 16/19
Helvetica Neue Bold
Fig. 2
There are two ways in which to position it:
- in two lines left aligned (Fig. 1).
- in a single line (Fig. 2).
The call to action is always located in the panel. It is always
written in corporate blue and red letters:
- blue for inviting to call or browse
- red for phone number and url address.
25
8.1
Imagery / Overview
The images that we use in our material will largely determine
the impression the world has of us. We want our culture,
capabilities and personality to come across clearly to both
customers and non-customers alike.
The photographs we use should portray the real Regus,
a company that will do everything possible to help our clients
work their way. Shots should emphasise the premium level
of service we provide to them.
In general, scenes should not feel staged, and clichéd
business situations should be avoided. Instead, we should
use natural photography giving a sense of dynamism, space,
and freedom.
There are five main categories into which the photographs
we will use fall:
Views
Spaces
Details
Products
People
Our visuals should appeal to all businesspeople, but these
five categories help us determine what kind of visual best
suits each of our different business segments.
More general panoramas - sweeping cityscapes for example
- will obviously be more applicable to the corporate clients.
More specific images will have a bigger appeal to
home workers.
Where relevant, and possible, we should use photographs
from actual Regus offices when featuring a meeting room
or office environment.
Photographs should include people wherever possible,
and section 8.6 deals with how people should be portrayed.
On forthcoming pages we’ve provided moodboards which
act as guidelines to the style of photography that should be
adhered to. Please note, these moodboards include photos
which might not be Regus photos.
26
8.2
Imagery / Views
In views, a broad cityscape or building will be
the main feature. People will not be at the forefront
of the image, but a human touch in the picture
should be included if possible. A businessperson
at a window, or a silhouette indicating somebody
still working at night, for example.
Views should always show business landscapes in
an impressive, inspirational way. They indicate that
the locations we offer our clients are the best in
the world, and that a Regus environment is one
where they can aspire to achieve all their
ambitions in business.
Broad, sweeping scenes are preferred, accentuated
by being shot from below. These scenes are most
appropriate for brand communication and for
communication with corporates, but can also be
used as aspirational imagery for larger SME’s
or in support of specific copy points.
27
8.3
Imagery / Spaces
We have an unrivalled breadth of facilities,
so wherever possible, when showing spaces
we should use actual Regus locations. In the event
that no appropriate Regus image is available, use
the visual spirit of our spaces when searching
image libraries. Interiors should show the kind
of workspace any businessperson would be
happy to work or meet in. Whether we depict
an office, meeting room or reception area, each
should be well appointed, bright and airy. In each
case, the quality of the space should shine through.
People in spaces can be shown in corridors,
in meetings, or to a lesser extent, in receptions.
They occupy the background, showing how the
space is used rather than being the focus
themselves. We might see them in movement –
perhaps even blurred - busy as they go about their
business, perhaps. Clear views of faces should
be avoided, as expressions and physical
characteristics, while acceptable in one
culture, may be polarising in another.
28
8.4
Imagery / Details
In details, we show a tight focus on aspects
of the working environment. We pick out objects
that are used in everyday business life, with a bias
towards tools such as up-to-date computer
equipment and smartphones for example. All
equipment and stationery should be immediately
identifiable as belonging to a business environment.
The backgrounds they sit on should appear
both stylish and ultra modern.
When showing detailed scenes, people have
a bigger role to play. A high degree of human
interaction with the environment is necessary.
While accentuating the items mentioned
in the last paragraph, we should also indicate
the presence of a businessperson in the scene
by including a hand on a keyboard, someone
reading a newspaper, or writing a note, for example.
29
8.5
Imagery / Products
It is really important that our imagery say the right things. The more
natural photographs feel the better, with a sense of space, ease and
freedom in the environment.
Our shots should never feel staged - natural poses without the
subjects looking directly to camera are preferred. Likewise, they
should never contain clichéd business scenarios or portray
clichéd businesspeople.
Regus photography should be real, fresh, contemporary, believable,
and friendly. Keep the angles interesting, and make the shots feel
open and inviting.
With office imagery, look to highlight how much
support a fully equipped serviced office really
does give to businesspeople.
Virtual office photography should highlight
the importance of a good business address
or business image, with the accent on a high
degree of professionalism.
Meeting room photography should convey both
an appealing place to do business, and reflect
the state-of-the-art technology we put at our
clients’ disposal.
Video comunication – here again, the technical
excellence of our advanced facilities should
take centre stage. Shots should convey
the quality and immediacy of the interaction
clients can expect with their customers.
With business lounges, comfort and productivity
are the cues to be represented. Our lounges
allow exclusive accesses to unmatched work
environments.
Businessworld shots should convey the benefits
of having access to any business centre
worldwide. Convey the freedom to be productive
anytime, anywhere you need to be.
Here are some pointers to how photography for different product
segments should be treated.
30
8.6 Imagery / People
People are right at the core of our business, and though our
business spans many different cultures and markets, they all
share a common business ethos which we should reflect in
our communications. Including people in our material adds
warmth and humanity, as well as helping customers
or prospective clients to recognise and identify with
the business situations we portray.
Unless designed to depict our service team specifically,
the focus of most shots will be the workspace itself,
not the people. They are an important but secondary
element in the overall composition.
Expressions should be neutral and “slice of life” imagery
is to be avoided.
People can be included selectively in the photographic
categories, which were dealt with earlier in this section.
31
9.1
Brand design lockdown / Aims
Our key objective
We want to ensure immediate consistency and recognition for the Regus brand across
our entire communications range.
Flexibility within a framework
Our framework has been designed to allow a great degree of flexibility so it can:
• Work in different shapes, sizes and formats.
• Cope with headline only routes just as easily as visual ideas.
• Organise text and copy so the message hierarchy is clear, simple and the reader can easily
digest information.
Keeping creativity fresh
Within this framework, there is a lot of freedom for creativity and for using powerful images and
messages. The new design cements everything together and complements the creative idea
rather than dominating it.
Flexibility across different target audiences & communications
Our brand colours remains blue, white and red. We have however, introduced the flexibility
of using different product colours and specific visuals, allowing the framework to be adapted
according to the needs of different audiences or specific messages.
A contemporary brand image
The brand design is clean, contemporary and reflects our forward-thinking, dynamic values.
Crucially, it feels easy to use and adapt – allowing us to react quickly when the market requires it.
In the following pages we will show how the key elements of the brand design lockdown work
together to build modern, stylish communication materials with a consistent look and feel for
the Regus brand.
32
9.2
Brand design lockdown / Main elements
12 mm
There are three main features to the new brand look, which are explained
below. The whole effect is open, confident and forward looking, reflecting
the brand’s core values.
A revised panel and tab
BOX
The box
FRAME
Our panel and tab have been refreshed in a positive way, and is now used to
carry logo, brand claim, call to action, icons, and in some instances body copy.
A drop shadow highlighting the panel and tab’s contour helps them to stand
out even more. How these elements are used will be explained in more
detail later.
This box should be placed at the top right of the piece. The box will always
be the same as the colour of the product being featured. Again, the box is an
accessible shape, rounded at one of its bottom edges, and with a drop shadow
to provide stand out from the visual beneath.
A revisited frame
IMAGE
AREA
The frame is now made of a white stripe running from the panel and the tab
in the lower section of the piece, round the visual, joining the headline box
at the top. The visual itself continues down the right hand side of the bottom
panel to the end of the page, and is full bleed to the edge of the page.
TAB
PANEL
12 mm
12 mm
33
9.3
Brand design lockdown / Main elements sizing and clearance
Fig. 1
12 mm
12 mm
12 mm
12 mm
12 mm
12 mm
12 mm
The panel and tab device should always be positioned with a minimum clearance
between the tab side of the panel and the edge of the page. The pink keyline
demonstrates the clearance zone (Fig.1, 2 & 3). To see how this applies to
completed items, please also refer to examples within sections 9.11 and 9.12
of the document.
12 mm
12 mm
12 mm
12 mm
12 mm
12 mm
Fig. 2
Fig. 3
34
9.4
As current, the tab device is specifically designed to carry the Regus marque,
and our ‘Work your way’ brand claim as shown in Fig. 1.
Measurements given in Fig. 2 apply to a standard A4 format. Different size
formats should be proportioned from these. The marque and its claim are
centred within the tab, while the Regus ‘x’ height (Fig. 2) is aligned with the
top edge of the panel.
To achieve the Outer Glow effect which is an integral feature of the panel
and tab, your designer should refer to the technical specifications below.
32 mm
Effect: Outer Glow
Mode: Multiply; Black; Opacity: 50%; Technique: Softer; Size: 2.5
Fig. 1
50 mm
9 mm
9 mm
Fig. 2
35
9.5
Brand design lockdown / Panel and tab sizing and proportion
The width of the tab is defined as distance ‘x’ and the size and proportion of the panel is made
up of multiples of ‘x’, 1x being the minimum.
This sizing gives great flexibility while maintaining the integrity of the panel. It should ensure
a workable but consistent look to all communications.
When extending the height of the panel upwards and within the brand lockdown,
the maximum size the panel can reach is half the size of the total space of the piece.
1X
1X
1X
2X
1X
4X
2X
6X
3X
36
9.6
Brand design lockdown / Inside the box
The coloured background box should be regarded as the main message
carrier and is adaptable enough to be used in a number of ways. Depending
on the length of the headline, the box width can be extended to its left, while
its height can also adjust to accomodate larger content, as shown on the right.
To achieve the Outer Glow effect which is an integral feature of the box, your
designer should refer to the technical specifications below.
Effect: Outer Glow; Mode: Multiply; Black; Opacity: 50%;
Technique: Softer; Size: 2.5.
When no image is used, the box is no longer required and the headline can be
positioned in the image area. In this instance the upper left corner of the image
area becomes rounded. The image area can also carry small visuals or graphic
elements such as the price bubble. Please refer to sections 9.11 and 9.12
for more details on how to use the image area.
12 mm
12 mm
12 mm
Lorem ipsum dolor sit amet on
12 mm
9 mm
12 mm
12 mm
12 mm
consectetur adipisc amcilisis
12 mm
9 mm
12 mm
12 mm
Lorem sum
dolor idamet,
cosectetur
adipisc amci
here
9 mm
12 mm
12 mm
12 mm
Lorem ipsum dolor amet,
consectetur sit adipiscing
elit ipsum dapibu facilisis
12 mm
9 mm
37
9.7
Brand design lockdown / Position
One of the key promises of our ‘Work your way’ brand claim is flexibility,
and the way the panel and tab device, along with the box work mirrors
this. The lockdown has been designed to have the necessary flexibility
to suit a wide range of communications material, whatever the image,
message or size.
The box is always positioned in the upper right-hand corner (Fig. 1)
except with languages for which the text is read from right to left.
In this case the entire piece format needs to be reversed as in Fig. 2.
Correct usage
Fig. 1
Fig. 2
Here are some examples of how the lockdown elements can be
positioned. The panel and tab should always be anchored to the
frame on the tab’s opposite side. The layout will dictate what size
and proportion it will be. The box will always be positioned
to bleed off the opposite side to the frame (Fig. 3).
Fig. 3
Incorrect usage
In the interest of maintaining clear uncluttered communication there
are limitations to its position. Here is a guide to what not to do with
the panel and the coloured background box (Fig. 4).
Fig. 4
38
9.8
Brand design lockdown / Usage of imagery
In most cases the image area is used to display photography and is to be
overlapped by the panel and tab. The degree by which they are overlapped
should be decided by the designer to suit the layout. There are exceptions,
when there is no image to feature or where there are multiple images.
More on these options are on sections 9.11 and 9.12.
39
9.9
Brand design lockdown / Usage of colour
Sometimes a message needs to have a more serious or corporate feel.
In a corporate piece of communication, or in one dealing with all Regus products
generally, choose Regus dark blue from our colour palette for the box device.
In instances where a specific product is being promoted, then the box should
carry the colour of the icon associated with that product, as shown in the
cascade on the right.
40
9.10
Brand design lockdown / Monochromatic usage
The strength of our lockdown means that even in black and white, it has impact.
When creating mono or black and white ads, the box should be 100% black.
Headline copy should always appear as white out of black.
Loremsolutions
ipsum dolor
amet, onw
Office
thatsitmaximise
oconsecteturand
adipisc
amcilisis.
productivity
minimise
cost?
41
9.11
Brand design lockdown / Tactical executions
Whenever a price is to be featured, there are different rules as to how it should
be placed, depending on the prominence required for the price in the piece
of communications.
Price driven offers
When the piece of communication features a stand-out price offer, then it
should appear in the image area beneath the headline, in a white price bubble
(Fig. 1). The colour of the copy in the bubble is the same as colour of the image
area that surrounds it, taken from the product icon the promotional message
applies to. The size of the price bubble can vary according to the size of the
headline and the format of the piece.
Price and product driven offers
Where the price and the message in the headline have equal importance,
both should feature in the box. In this case the price will not be in a bubble
but directly incorporated as copy in the box (Fig. 2).
Product driven offers
Where the piece of communication focuses more on a product and its benefits
to customers, but a price indication is still required, then the price features in
a bubble placed in the panel, centred below the icon it relates to (Fig. 3).
Note, in no instances can a price bubble feature on an image. Additional
information can be found in the global toolkit.
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€xx
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€xx
per month
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dolore conulla facin hent dio odiat. Duis nullaorpero delesectet ipis accum dolesequis eum nullan.
Call us now at x-xxx-xxxxxxx
Or visit us at www.regus.xxx
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Call us now at 1-800-OFFICES
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Fig. 1
Fig. 2
Fig. 3
42
9.12
Brand design lockdown / Building imagery
On occasion in localised communications Regus building photography will be used as imagery.
As a general rule, when a single building is featured, it should be used as a solo hero shot in
the whole image area (Fig. 1).
In instances where more than one building needs to be featured, the shots should be shown
in an image area out of the colour of the product icon they represent (Fig. 2 and Fig. 3).
As you can see from Fig. 2 and Fig. 3, when multiple shots are used, the box disappears
and the image area becomes a coloured background to the photography.
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minim quatu mod etu
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minim quatu mod etu
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Fig. 1
Fig. 2
Fig. 3
43
9.13
Brand design lockdown / Associate brands
The HQ associate brand is the only exception to the rule for the panel and tab
design. Where the HQ logo is required it should have equal prominence to the
Regus logo. It must sit within the tab to the right of the Regus logo. For balance,
the Regus marque only, without claim, is shown.
44
E-mail Design Guidelines
10.1
Introduction to e-mail design
Introduction
Use of e-mail is now firmly established as an important part
of any marketing activity and can be used to communicate
effectively with customers, both existing and prospective.
As such, it is now of the utmost importance that we
present ourselves consistently and clearly, both in building
our brand recognition across different types of media and
establishing a reputation for delivering first class e-mail
communications.
Of course, there are many different types of e-mails and
whilst from time to time you might see new creative and
e-mail formats being tested, these guidelines have been
designed to help you to develop local direct response
e-mails using best practice principles to deliver succinct
and relevant messages to our target audience, whilst
remaining faithful to the overall Regus look and feel.
It should be noted that there may be situations where your
local direct response e-mail requirements are not
specifically addressed by the templates and guidance set
out here, and in those instances it is important that if you
are unsure how to progress you speak to the Group CRM
Team who will be happy to help you.
46
10.2
E-mail template elements
1. Header message
The background colour of the template is always white
(web colour FFFFFF) and it is bordered as shown by a solid
line of 1px width grey (web colour CCCCCC). Elements
placed outside of this border should always relate to
non-core information, while the main message of the
communication is placed within the border. The colour of
the boiler plate should also be white (web colour FFFFFF).
Parts of the template
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Header message
Logo and tab
Headline box
Visual
Sub headline
Call-to-action button top
Body copy
Contact information
Call-to-action button bottom
Icon strip
Location footer
Footer message
Above-the-fold
2. Logo and tab
13. Above-the-fold
The e-mail template (as shown on the right) has a standard
size of 600px width. These dimensions allow for the full
width of the e-mail to be opened no matter which e-mail
platform is being used by the customer. The height of the
template will of course vary, depending upon the amount of
copy that is included within it.
3. Headline box
4. Visual
5. Sub headline
6. Call-to-action
button top
7. Body copy
8. Contact
information
9. Call-to-action
button bottom
10. Icon strip
Above-the-fold
Not strictly a part of the template, however an important
feature. The term “above-the-fold” relates to anything that
will be visible above an imaginary line, that normally
corresponds to how an e-mail is opened and viewed. This
area should contain all of the most important elements of
the messaging and have at least one call-to-action button
to encourage click-through.
11. Location footer
12. Footer message
Fig. 1
47
10.3
The header message
The header message, which is in line with standard e-mail
conventions, allows recipients of the e-mail to choose
whether it is more practical or convenient for them to view
the e-mail on-line, and to add the Regus sending address
to their address book (and so reduce the number of instances of Regus e-mails going into the spam folder).
The header message content should be written and
displayed as shown. The sending address can be amended
as appropriate.
The font used is Arial Regular, 10pt height, black (web
colour 000000). Links to the on-line version and the Regus
e-mail address should be underlined.
Fig. 1 The header message
Both links should point to specific functions that are
detailed within the Responsys Guide, which is attached to
this document - simply click to view.
The placement is right-justified. The bottom line of the
message sits on an imaginary line that is level with the
uppermost part of the Regus logo which is in the tab on
the left side of the e-mail as shown.
48
10.4
Logo and tab
The Regus master logo is placed in the tab at the top left of the
template. There should always be a safe-zone around the logo
of minimum 15px – which should mean that the height of the
crown of the logo will be 15px high.
radius 10 px
35 px
115 px
The radius of the curve on the tab is 10px.
The logo should be used in its positive format, and in
accordance with the Design Guidelines (Chapter 3 page 7
onwards).
As the size of the logo is small, there is no need to place
either ® or ™ symbols as they will become illegible.
Unless otherwise agreed, the logo should always be used in
conjunction with the brand claim “Work your way”, placed
as shown.
15 px
15 px
15 px
15 px
49
10.5
Headline box
The headline box is a critical part of the overall look and
feel of the e-mail template. Its purpose is to communicate a
customer-oriented message, often in the form of a challenge
and corresponding Regus solution.
There are two variants of headline box that can be used, and
the correct choice ultimately depends on the image and its
content that will best fit within the allocated image area.
To help in deciding which version to use, the following points
serve as a guide to making the correct choice:
Is the image of a landscape format?
Fig. 1 Version A
Is the image sufficiently large enough (580px x 265px) to be
able to fill the area allocated?
Does the image have a minimum resolution of 72dpi?
Will all of the key elements of the visual be clear and visible
when placed within the available image area?
If the answer to all of the above is “yes”, then Version A
(Fig. 1) is recommended.
If the answer to any of the above is “no”, then it is
recommended that Version B (Fig. 2) be used, or alternatively
another visual chosen.
Fig. 2 Version B
50
10.5
Headline box
Common features of Version A and Version B
The colour of the text is always white (web colour FFFFFF).
Normal punctuation applies to all text within the headline box.
The text is left-justified to a margin that is 25px from the
left-hand edge of the header box.
None of the text should extend past the right-hand margin,
which is 25px from the edge of the box.
For instances where the copy is not in the usual challenge
solution format, refer to the examples on page 11.
Fig. 1 Version A
Fig. 2 Version B
51
10.5
Headline box
If only two lines of text are required, then the text should be
laid out as shown in Fig. 2.
25 px
20 px
Up to three lines of text can be accommodated as shown in
Fig. 1.
425 px
140 px
Headline box Version A
50 px 35 px
25 px
Three line version – Fig. 1
The top line sits on an imaginary line that extends from the top of
the visual.
Fonts used are Arial Regular - 24pt for the customer challenge,
and Arial Bold – 35pt for the Regus solution.
The spacing between the two top lines is 23px.
25 px
Fig. 1 Headline box, 2-line question
The third line of text, is placed on a line that is 20px from the
bottom of the header box.
425 px
40 px
25 px
140 px
The top line sits 40px below the top edge of the headline
box.
25 px
50 px 35 px
Two line version – Fig. 2
Due to the increased available area, the font size should be
increased to maximum 28pt and 35pt respectively.
40 px
The bottom line is placed 40px from the bottom of the
headline box.
Fig. 2 Headline box, 1-line question
25 px
52
Headline box
Headline box Version B
35 px
A maximum of four lines of text can be accommodated as
shown in Fig. 1.
50 px
10.5
215 px
It is recommended that there is a minimum of three lines of
text. In this case, the text should be laid out as shown in
Fig. 2.
40 px
Four line version – Fig. 1
The top line sits below an imaginary line that is 35px from the
top of the headline box.
Fonts used are Arial Regular - 28pt for the customer challenge,
and Arial Bold – 40pt for the Regus solution.
Spacing between all of the lines is 23px.
25 px
Three line version – Fig. 2
Due to the increased available area, the font size should be
increased to maximum 30pt and 45pt respectively.
25 px
Fig. 1
340 px
50 px
The fourth line of text, is placed on a line that is 40px from
the bottom of the header box.
50 px
The top line, is placed at a distance of 50px from the top of the
headline box.
215 px
The distance from the bottom of the last line of copy to the
bottom of the box is 55px.
55 px
25 px
Fig. 2
25 px
53
10.5
Headline box
Non-challenge solution headline format
Should the copy being used not be in the usual challenge /
solution format, but a statement of fact as shown in the
examples, then there can be from two to a maximum of four
lines of text.
The font size for a two line version is 35pt.
The font size for a three line version is 31pt.
The font size for a four line version is 28pt. If a four line
version is necessary, version B of the headline box should
be used.
The copy is left-justified.
For version A, the top line sits on an imaginary line that runs
from the top of the visual. See Fig. 1.
Fig. 1 Version A
For version B, the top line should start 35px from the top of
the headline box. See Fig. 2.
Interline spacing should be equal for both versions.
The bottom of the text should be no less than 20px from the
bottom of the headline box.
Fig. 2 Version B
54
10.5
Headline box
The colour of the headline box should always correspond
with the Regus product being communicated.
Equipped Offices
As a reminder, the product colours are noted here.
Virtual Offices
There are also three other options which can be used to
support other types of offers: multi product and other
message types.
For other message types, you should make your selection
based on which of the two colours suits the subject and the
visual best.
RGB
WEB
RGB
WEB
Meeting Rooms
RGB
WEB
0 / 93 / 52
005D34
Multi Product
RGB
WEB
97/ 125 / 137
617D89
Other Message Types A
238 / 125 / 17
EE7D11
121 / 30 / 117
791E 75
RGB
WEB
98/ 174 / 162
62AEA2
Other Message Types B
RGB
WEB
173/ 192 / 198
ADC0C6
Video Communication
RGB
WEB
188/158/198
BC9EC6
Business Lounges
RGB
WEB
Businessworld
RGB
WEB
Day Offices
RGB
WEB
5 / 55 / 117
053775
151 / 190 / 13
97BE0D
Disaster Recovery
RGB
WEB
Outsourcing
RGB
WEB
0 / 146 / 208
0092D0
199 / 20 /65
C71441
240 / 182 / 0
F0B600
55
10.6
Visuals
Images are of course key in communicating our values and getting across the
premium level of service we provide to our customers.
The Design Guidelines (Chapter 8 page 26) cover in great depth many of the
points that should be evaluated when determining the kind of visual to be used
for any particular Regus communication.
However, for e-mails the following points address areas of particular
consideration.
Resolution
The resolution for images is 72dpi (dots per inch).
Subject & Localisation
Correct
In general the Design Guidelines should be closely followed. As always,
when showing people within the visual, great care must be taken to
ensure use of gender, ethnicity, and religious convention is appropriately
depicted, so as to be agreeable to the recipient.
Incorrect
Visual Fit Inside Image Area
Ensuring a visual fits within the designated area is often a challenge. This is
one of the reasons for introducing a flexible headline box allowing for either
a horizontal or more square image space. If you are using headline box A, be
careful to use images of an appropriate shape to avoid stretching and where
there is plenty of space at the top of the image to ensure the headline box does
not overlap any important parts of the image.
Cropping
Do not crop key parts of the visual, especially people or the main subject
of the image.
Correct
Incorrect
56
10.7
Sub headline
25 px
35 px
25 px
35 px
25 px
The sub headline is positioned as shown in the examples
opposite. It should be 25px from the left hand side border, and
is positioned so that the sentence is centred on an imaginary
line that runs through the centre of the top CTA button.
The font is minimum Arial Bold 23pt, maximum 26pt, and the
colour is black (web colour 000000).
Normal punctuation rules should always apply to the sub
headline. If necessary, an asterisk should be placed in
the sub headline that links to the terms and conditions for
further explanation.
The sub headline in general carries the main promotional
message of the e-mail, and as such should be as short and
succinct as possible. Ideally, it should be no more than five
or six words in length.
Fig. 1 Sub headline - one-line
Should it be necessary to have a two-line message (see
Fig. 2. ) then the font size can be reduced to an absolute
minimum of 21pt. At no point should the sub headline be
longer than 2 lines.
25 px
Product naming rules
It is clear that we use initial capitals when a product name is
preceded by Regus - a Regus Meeting Room for example.
However, when we write copy that refers to a Regus
product, we should also use initial capitals.
Therefore we use Meeting Room when referring specifically
to the Regus product, or meeting room when referring to
the generic term. Businessworld is a special case. The
brand appears as businessworld, with a lower-case “b” and
“world” in bold. But when we write about it in copy,
we refer to Businessworld, just like any other Regus product,
with an initial cap and no bolding of “world”.
For further guidance on the product naming rules, refer to
page 25 of the Brand Design Guidelines.
30 px
Keep in mind that there is a safe zone of 35px between the
sub headline and the top CTA button.
Fig. 2 Sub headline - two-line
57
10.8
Call-to-action buttons (top and bottom)
35 px
The button colour is always the same as the headline box
colour, to retain an overall consistency in the template.
30 px
The top and bottom call-to-action (CTA) buttons are rightjustified, to a point that is 25px from the right-hand side
border.
The buttons are rounded on all four corners to a radius
of 4px.
The text should be centre-aligned within the buttons.
Top CTA Button
The minimum clear space between the button and the
sub-headline is 35px.
Bottom CTA Button
30 px
The top of the button is situated 30px from the bottom
edge of the visual.
The top of the button is situated 30px from the last line
of body copy.
The left-hand side of the bottom CTA button should not
extend more than the vertical centre line of the template
(i.e 300px).
The minimum clear space between the button and the
contact information is 35px.
35 px
25 px
58
10.8
Call-to-action buttons (top and bottom)
Top CTA Button Construction
While the CTA text can change, a simple ‘Find out
more / Click here to find out more’ is recommended. In
any event, it should be as short and actionable as possible,
encouraging the reader to go to the next step of the offer
that is being presented.
The text should be placed centrally within the buttons, with
a safe area of 25px left and right. The spacing above and
below the text should be equal.
The font used is Arial Bold 13pt, always upper-case in a
single-line CTA, and lower-case with capitalised first letter
in a double-line CTA. The colour is always white (web
colour FFFFFF).
40 px
If two lines of text are needed then Fig. 2 shows how the text
should be positioned. Font size always remains the same. The
spacing between the lines is 16pt.
radius 4 px
centred in button
Fig. 1
25 px
25 px
radius 4 px
Bottom CTA Button Construction
The left-hand side of the bottom CTA button should not
extend more than the vertical centre line of the template
(i.e 300px).
40 px
The text is centred so that there is an even amount of clear
space at the top and bottom and left and right-hand sides
of the button.
centred in button
Fig. 2
25 px
25 px
The font used is Arial Bold 13pt, always upper-case in a
single-line CTA, and lower-case with capitalised first letter
in a double-line CTA. The colour is always white (web
colour FFFFFF).
59
10.9
Body copy
i.
ii.
iii.
Introductory paragraph – Maximum 5 lines of text
Bullet points – Minimum 3 lines and maximum
5 lines of bullet points
Closing paragraph – No more than 2 lines of text
All of the body copy is left-justified, to a margin that is 25px
from the left-hand border.
30 px
There is no restriction of how much or how little text should
be written within the body copy, however for maximum
readability and comprehension, the suggestions below
should be followed.
2 lines
The font is Arial Regular 13pt, and is written in black (web
colour 000000).
1 line
1 line
Bullet points are a circle of 5px diameter, and are always
red (web colour C71441).
Line spacing in the introductory and closing paragraph
should be no less that 18px between each line of text.
2 lines
35 px
Line spacing
If the bullet points run onto 2 lines, the line spacing should
mirror that used in the introductory paragraph.
Line spacing between introductory paragraph, bullet points
and closing sentence is 2 lines.
Line spacing between each of the bullet points is 1 line.
25 px
25 px
60
10.9
Body copy
Content
Introductory paragraph
The purpose of the introductory paragraph is to establish
and anchor Regus as an experienced provider of flexible,
modern and efficient business environments on a global
basis and to provide a brief explanation as to why the
marketed offer makes sense and should be of interest
to the reader.
It should also encourage the reader to read more about
what is on offer. Normal rules of punctuation apply.
Bullet points
The bullet points follow on from the explanation and
articulate, in a minimum of 3 and a maximum of 5 separate
bullets, the tangible benefits that the offer delivers
to the reader.
Ideally, bullet points should not exceed 1 line in length
each. No punctuation should be placed at the end of the
bullet points.
Closing sentence
This summarises all of the points covered in the opening
paragraph and bullet points, and generates an empathic
bond between the reader, the challenges he is facing and
the solution that Regus provides.
The closing sentence should not be more than 2 lines in
length.
61
10.10
Contact information
The contact information is always written in two colours as
shown in Fig. 1.
40 px
It is placed 35px below the last line in the closing sentence
or bullet point (if for any reason there is no closing
sentence) and 40px above the icon copy line.
35 px
The contact information (usually telephone number and
web address) is again left-justified at a distance 25px from
the left-hand border.
The fonts and sizes used are Arial Bold 16pt and Arial Bold
21pt as shown.
If only one piece of contact information is used (i.e. just a
phone number or just a web address) the larger font on the
number or url should be used. The one line of text should
be centred on an imaginary line that runs through the centre
of the bottom CTA button. See Fig. 2.
25 px
25 px
25 px
Fig. 1
35 px
The colours and sizes of the contact information are
designed to draw attention to both the web address and
phone number, with greater prominence placed on the
phone number.
25 px
40 px
The colour references are:
Black (web colour 000000) for the invitation to call or
browse.
Red (web colour C71441) for the phone number and web
address.
Fig. 2
62
Icon copy line
The icon copy line serves as a visual delineator between the
marketed product and the clickable icons at the base of the
template.
It is centred in the template as shown (Fig. 1.)
The font is Arial Regular, 12pt.
40 px 40 px
10.11
The colour is grey (web colour 333333).
The copy should always be written in the relevant local
language and should read:
For more information on Regus products, click on the icons
below.
25 px
25 px
Fig. 1
63
10.12
Icon strip
In e-mail, the icon strip should always consist of the six
primary icons, with left and right-hand side icons placed
25px from their respective edges to the edges of the
template and each of the remaining four icons spaced
equally taking the centre of the icon as the reference point.
This will therefore always allow for the sufficient space
around the icons which is a minimum of 25px.
30 px
The use of the icons within e-mail is based on the Design
Guidelines (Chapter 4 page 16).
The lowest level of the icon description sits on an imaginary
line which is 30px from the base of the bordered template.
(See Fig. 1)
The horizontal alignment is based on an imaginary line that is
directly below the first line of icon description. (See Fig. 2)
25 px
Icons should always appear in their standard product colours
and should always appear with their corresponding product
descriptors.
The height of an icon with one line of text should be 50px.
25 px
the same distance
Fig. 1
The height of an icon with two lines of text should be 60px.
The height of an icon with three lines of text should be 70px.
Although they are individual images, the size of the product
descriptor font should never be less than 8pt.
In most cases, the use of the primary icon strip as shown
will be adequate.
However if a particular product is being marketed that is
not featured in the icon strip, the appropriate icon can be
inserted and replace an icon that is of least significance to
the reader.
Fig. 2
64
Location and copyright footer
The location footer serves to accentuate the leadership of
Regus, through the enumeration of locations, cities and
countries of Regus centres around the world.
The specific numbers are of course liable to change - the
Group Marketing team will provide updates as appropriate.
The numbers and words are always written one above the
other. Locations – Cities – Countries are always capitalised,
when shown in a “stacked” environment.
30 px
10.13
The location footer is left-justified to a line that is in line with
the left hand border.
The numbers are written in Arial Bold 24pt, with the words
in Arial Bold 13pt.
60 px
60 px
Colour for all is black (web colour 000000).
Regus Copyright is right-justified, in line with the right-hand
border.
The © Regus 2011 is written in Arial Bold 13pt and is in
black (web colour 000000).
The Regus © and the the appropriate date is a mandatory
and should always be included within each template.
65
Footer message
The footer message contains important legal information
and should always be included in every template. There
are two mandatory links, Privacy Policy and Click to
Unsubscribe, that should always be present. Guidelines
for the links required in the footer can be found in the
Responsys Guide.
The footer is left-justified in line with the left-hand border of
the template.
The space between the location footer (referred to in 10.13)
and the footer message is 40px as shown in Fig. 1.
40 px
10.14
Fig. 1
The font used is Arial Regular, 10pt.
A “*Terms and conditions apply” should always be used
when the product or offer requires deeper explanation.
Region
Regional Company
The indication of a link is highlighted by underlining, and not
by altering the colour to blue, as shown in Fig. 1.
UK
Regus Management Limited, 3000 Hillswood Drive, Hillswood Business Park,
Chertsey, Surrey, KT16 0RS, UK
For instructions on how to host terms and conditions,
please refer to the Responsys Guide.
NA
Regus Management Group LLC, 15305 Dallas Parkway, Suite 400, Addison, Texas 75001
EMEA
Regus Business Centers SAS, 72 rue du Faubourg St. Honoré, Paris 75008, France
APAC
Regus Asia Pacific Management Limited, 66/F, Suite 01, The Center, 99 Queen’s Road
Central, Central, Hong Kong
LATAM
Regus International Services, SA, 1560 Sawgrass Corporate Parkway, 4th Floor, Sunrise,
Florida 33323, United States
The final part of the footer is the address. Moving forward,
the traditional Luxembourg / Jersey address details (as
seen in Fig. 1) will be replaced by a regional company
address (as seen in Fig. 2). Use of the relevant local
address is mandatory on all e-mail templates and must
appear as shown.
Regional Head Office Address
Fig. 2
66
10.15
Multi product template
There will be occasions when you have multi product, price,
or promo information, and a stronger call-to-action will be
needed.
The core elements of the design have been retained whilst
the multi product offers are displayed within promo bubbles
down the right hand edge of the template.
The promo bubbles are placed 25px from the right hand
edge, and are 180px wide x 95px high and the colour is
the same as the headline box colour. The fonts are Arial
Regular 24pt and Arial Bold 34pt. These sizes should
normally allow for one main “headline” and one or two lines
of supporting copy.
As a result of narrowing the template, the body copy
naturally falls onto more lines than other template versions.
Care should therefore be taken to ensure the copy is as
succinct as possible, so that it can remain readable.
67

REGUS BDG guideline 01

Transcription

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