���߲ݴ�ý

Typography

The official typeface of ���߲ݴ�ý University is Messina. There are two primary categories in the Messina family: Messina Serif and Messina Sans.

The typeface was designed by Luzi Gantenbein in 2015. Messina Serif is based on 17th-century French Renaissance proportions, while Messina Sans reflects the minimalist affinity of the 20th century. Contemporary typographic details integrate a modern sensibility into both typefaces.

Messina Should be used for all supporting type on ���߲ݴ�ý materials. Both the Serif and Sans versions can be used in text or display sizes. Other categories of the Messina family (Modern, Condensed, and Mono) are not part of the ���߲ݴ�ý identity and, therefore, should not be used on any official communication materials.

Messina should be used whenever possible in communicating about ���߲ݴ�ý. All university communicators have access to the official fonts.

For non-���߲ݴ�ý affiliates, font files can be purchased at the following online font provider:

(~$300 USD for Messina Serif and Messina Sans individually)

Messina Serif

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 @ # ? & $ % ⅓ ; : ”

Light

Book

Regular

Semibold

Bold

Messina Sans

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 @ # ? & $ % ⅓ ; : ”

Light

Book

Regular

Semibold

Bold

Black

Alternate Typefaces

We strongly recommend using the identity typefaces in all circumstances. However, when this is not possible, Times New Roman may be used in place of Messina Serif, and Arial may be used in place of Messina Sans.

Typographic Styling

• Messina Book, Regular, and Bold weights should be used primarily. Other weights can be used when appropriate.
• When setting ragged left typography, it’s important to take the time to balance the ragged edge of the text as effectively as possible.
• Only adjust letter spacing if it improves readability. Expanding or condensing the space between characters is known as kerning.
• Leading is the space between lines of text. When setting the leading for body text, ensure the leading size is larger than the type size, and the text reads comfortably.
• Text is read most comfortably when set in a line length of 40 to 65 characters.
• We strongly recommend using the identity typefaces, Messina Serif and Messina Sans, in all circumstances. However, when this is not possible, Times New Roman may be used in place of Messina Serif, and Arial may be used in place of Messina Sans.
• There are a variety of ways to create contrast between text elements by using just two typefaces. No matter which combinations of typefaces you choose, always use contrasting weights and sizes to create a hierarchy of information.
• Information can be emphasized in a variety of ways by using devices such as color, contrast, composition, weight and underlining. Avoid using too many methods together as this will simply confuse the layout and make the message less effective.
   

Color Palette

Inspired by ���߲ݴ�ý’s history and sense of place, the color palette is a robust system capable of illustrating a variety of expressions. A precise and controlled use of the color palette is the key to creating a sense of visual consistency and sophistication across the ���߲ݴ�ý identity.

Primary Color

Officially adopted in the spring of 1900 by the Students’ Association and faculty, ���߲ݴ�ý maroon is the primary color of the University and should always be the most dominant color.

Secondary Colors

Maple red, night black, shadow gray, mid gray, and winter gray are secondary colors, and should always be paired with maroon.

Tertiary Colors

When color beyond the primary and secondary colors is needed for distinction, the tertiary colors can be used sparingly.

Color Proportions

A precise and controlled use of the color palette is the key to creating a sense of visual consistency and sophistication across the ���߲ݴ�ý Identity.

Maroon should be the most dominant color. Maple red serves as a highlight color for adding vibrancy and emphasis. Tertiary colors should only be used if necessary, and applied sparingly.

Whenever possible, use these recommended ratios as a guide to applying the color palette. Please note percentages are approximate and color ratios may differ depending on usage.

Imagery

Photography

Photography, videography, and illustrative storytelling are powerful ways to showcase the beauty and distinctive experience of being at ���߲ݴ�ý.

Art and photography should reflect the tone and personality of ���߲ݴ�ý. It should:

• Be bold, optimistic, proud, beautiful, and energetic; and when possible, show a sense of community, gravitas, rigor, unity, tradition, and ambition.
• Capture genuine moments of activity and human interaction.
• Make use of unique perspectives, compositions, and lighting.
• Display the beauty of ���߲ݴ�ý’s landmarks and the surrounding Hamilton landscape.
• Highlight images that show a diversity of fields, student collaboration, professor-to-student relationships, and hands-on, experiential learning.
• Utilize student, alumni, and local talent whenever possible.
• Avoid shots that are posed, inauthentic, and cliché, and avoid the heavy use of filters and effects.

���߲ݴ�ý Photo Galleries

Showcasing its exceptionally beautiful campus and unique happenings, a curated photo gallery of images taken by ���߲ݴ�ý photographers is available for use in communicating the ���߲ݴ�ý experience.

Illustration

Though photography is the preferred form of imagery for most ���߲ݴ�ý communications, when illustration is needed, the choice of illustration should reflect the tone and personality of ���߲ݴ�ý: It should be bold, optimistic, proud, beautiful, and energetic. It should embody the gravitas of the University.

The style of illustration should feel timeless, but not old-fashioned, and contemporary but not trendy. When possible, use the ���߲ݴ�ý color palette in the illustration.

Campus Illustration

The official illustration of the University is a traditional watercolor depiction of ���߲ݴ�ý’s landscape. It captures natural and architectural features as well as the beauty and scale of the campus. It was created by illustrator Sarah Maycock.

The illustration can be softened with an 80% tint (or lighter) when used on applications.

Patterns

Patterns may be used in applications that require further expression of the University Identity. These examples here celebrate ���߲ݴ�ý traditions while capturing the energy, gravitas, and rigor of the campus.

Always use the provided pattern swatches — do not alter or recreate them. Only the colors may be changed. Colors used on these patterns should adhere to the ���߲ݴ�ý color palette.

The “���߲ݴ�ý Hello” pattern may be used in applications that require further expression of the
Supporting Identities. 

���߲ݴ�ý 13 Stripes

The 13 stripes are made up of any of the colors in the secondary teir of the ���߲ݴ�ý color palette as long as they equal the number 13. These patterns are available on the ���߲ݴ�ý Visual Identity Drive on Google, or please reach out to ���߲ݴ�ý’s Communication Department for more information.

Iconography

Icons can improve key messages and navigation by quickly attracting attention to specific actions audiences should take. Applying iconography is a tool to assist audiences with the process of information absorption. Therefore, icons should be rendered with simplicity and used with intention. For versatility, ���߲ݴ�ý utilizes two icon treatments: line and solid. When applying icons, use a consistent treatment within the same layout.

Existing icon sets can be accessed, and new icons can be created by contacting the Office of University Communications at creative@colgate.edu.