The spiritline is the driving force behind the identity concept. 'Step Inside, Think Outside' is deeply rooted in the institution, and the identity presents this strategy to the world. From the logotype to the behavior of the identity, it informs the application of all design elements.

Strategy

Descriptor

The spiritline is supported by our descriptor, which serves as a secondary statement of our role and definition. While we don’t use it everywhere, in certain contexts it becomes vitally important. It positions us and our site as a source of talent and ideas, and as a driver of bold innovation across the arts and broader society.

Graphically, the descriptor informs the use of our identity. Designers should consistently aim to innovate and strive for impactful results.

LOGOTYPE

Logotype

Introduction

As mentioned in the strategy section, the logotype represents our spiritline. In alignment with the visual strategy, it invites content to interact with it. The redacted squares allow imagery and motion content to 'Step Inside'.

The logotype, along with its alternatives, should not be altered or adjusted in any way. Rigorous attention to detail has ensured optical balance and mathematical alignment of the redacted squares and characters.

Logotype Alternatives

Design Options

To ensure dynamic application and full expression of our strategy, we offer four alternative renditions of the logotype. Built on the same grid and character positions, these logotypes should be viewed as 'one.' However, for most core brand applications, we use the master rendition to build strong brand equity and create visitor familiarity.

N) We do not create more logotypes than the four seen here

Logotype Use

Core Brand

For core brand applications, logotype usage should remain controlled. To build a strong brand presence within a complex site, we should prioritize using our brand colour with a white, reversed-out logotype for maximum stand-out.

Logotype Use

Core Brand

For core brand applications, logotype usage should remain controlled. To build a strong brand presence within a complex site, we should prioritize using our brand colour with a white, reversed-out logotype for maximum stand-out.

Logotype Use

Extreme Formats

Around the Somerset House site, banners and signage of various proportions will play a key role in creating a sense of place. In these instances, such as banners and flags, the logotype should be used as boldly as possible. Vertical positioning of the logotype can be employed here for maximum impact.

Logotype Use

With Our Spiritline

Our spiritline is a meaningful statement of our strategy and should therefore be presented with confidence – large and as a key message rather than small or in the corner. It is never 'locked up' to the logo but it can be used on brand applications in conjunction with the logo as a typographic treatment.

Logotype Use

Marketing – Full Image

For marketing purposes, we can be flexible and playful with the surrounding content. We should look for opportunities where the redacted squares can highlight or emphasise content focal points.

Logotype Use

Marketing – Inset Image

For maximum expression of the strategy, inset images that align with characters or redacted areas create the impression of content stepping inside and outside the logotype.

Logotype Use

Scales

For core brand applications, we utilise two scales: large use and small use. We scale the logotype based on a percentage of the format's shortest edge.

N) Marketing logotype use requires more specific scaling rules outlined further down

Logotype Use

Small

To control logotype usage by third parties, we restrict the scale and establish an exclusion zone for placement.

Small scale

The smallest logotype scale we use is 55 mm in print or 155 px in digital applications.

Exclusion zone

An exclusion zone is required to protect the logotype from surrounding assets out of our control. This size is equivalent to a redacted square (X).

Logotype Use

Step Inside graphics

For additional brand expression, we can scale the logotype to extreme sizes, centered around the redacted squares. This creates the impression of 'Stepping Inside' the logotype.

Logotype Use

Step Inside graphics

The use cases for the graphics can vary and should be employed to add diversity to the brand. However, they should not take priority over the logotype usage.

COLOUR

Ultramarine Blue

#2116ff

C100 M83 Y0 K10

Pantone 072

Black

#000000

C60 M60 Y60 K 100

White

#ffffff

C0 M0 Y0 K0

TYPOGRAPHY

Core Brand Expression

FK Somerset Headline

Alongside our logotype, the headline brand font is a driving force behind the identity. The font is a bespoke version of FK Grotesk by Florian Karsten, sharing the same principles as the logotype and playing a key role in expressing the strategy through every message.

We use two variations of the headline font: Non Redacted and Redacted. The choice of expression should be context-driven. For example:

Non-Redacted

When accessibility is a priority for mid to long headlines, such as on the website, we use the Non-Redacted version.

Redacted

For all creative expressions, such as posters and marketing materials, we use the Redacted version.

Core Brand Expression

FK Somerset Headline

The headline font has been specifically kerned for Somerset House usage. Care and detail have been applied by the typographer to ensure consistent application without the need for much manual adjustment. Therefore, we should not deviate from the settings provided here.

N.1) The font is fixed to uppercase

N.2)The weight is custom, and therefore fixed. It is equivalent to a weight between black and bold.

Core Brand Expression

Redacted Version

Built on the same grid as the logotype, the font includes an extensive set of stylistic alternatives for the redacted versions of its character glyphs.

The application of the font for marketing is closely aligned with the grid system.

Core Brand Expression

Redacted Version Usage

The key to aligning with the strategy is ensuring alignment with the content, allowing images and moving image to interplay both inside and outside of related titles and messaging.

The typeface should be used boldly and confidently. Designer intuition is crucial in finding creative ways to integrate type and imagery.

Support Fonts

Overview

Our support fonts, FK Roman and FK Grotesk, share a common DNA. FK Roman uses the same metrics as the Grotesk font, ensuring an even and consistent tone throughout the typography when used together.

Each font has specific use cases assigned to them:

FK Roman

All informative text, including but not

limited to;

— Dates

— Booking information

— URL's

FK Grotesk

All body copy text across;

— Printed booklets

— Website

— Social media

— Marketing text

Support Fonts

FK Roman Typesettings

When type setting information, we use the settings as seen here.

Support Fonts

FK Grotesk Typesettings

When type setting information, we use the settings as seen here.

System Fonts

Overview

For Support fonts we use the fonts and details outlined here, we should aim to use the same use-cases and hierarchies applied to our brand fonts.

Information Styles

Marketing Information

For marketing information, we use a consistent hierarchy for dates and additional information.

Given the variety of content types and the scale of the location, it is essential to provide ultimate clarity regarding 'when' and 'what' type of event the marketing piece is associated with.

Fig.A

Structure is fixed to Date then Information

Fig.B

Example of this heirarchy played out

Information Styles

Opening Events

New opening – Exhibition

When launching a new exhibition, we should always use ‘Now open’ following the launch.

New Opening – Performance

When a new performance has been added to the show list, we use ‘Now showing'

Ongoing — Exhibition

We should use ‘Open daily’ once an exhibition has passed it’s launch stage.

Last weeks — Exhibition

For the closing weeks of an exhibition, we should use ‘Open until’ followed by the relevant date.

Information Styles

Date Formatting

We use abbreviated dates and days, we never use full day/date titles, keep it short to three letter abbreviations.

Information Styles

Date Formatting

Standard date formatting

When we create date spans, we use en dashes, not hyphens. If an event spans dates within a single month, use a closed en dash between the dates and add the abbreviated month at the end.

Straddled dates

If an event spans more than one month, use a spaced en dash and add both abbreviated months after their relevant dates. Note that if the months fall across two years, we don’t show the year.

Two non-consecutive dates

If an event occurs on two non-consecutive dates within a single month, use an ampersand, not an en dash, and add the abbreviated month at the end.

Multiple non-consecutive dates

If an event occurs more than twice within a single month but still not on consecutive days, we return to the closed en dash. Our calendar and ticketing portals offer the more detailed date information.

Information Styles

Time Formatting

Event time formatting

We don’t show minutes unless they are represented. When they are, we use a full stop between the hour and the minutes, not a colon.

Time spans

When we create time spans, we use en dashes, not hyphens. We don’t include spaces and we use a full stop, not a colon, if we need to add minutes. (Remember, we don’t add minutes on the hour).

Half day timings

If the time span starts in the morning and ends in the morning, only use ‘am’ once. If the time starts in the morning and ends in the afternoon, use both ‘am’ and ‘pm’.

Typographic Hierarchies

Consistent structure

We use the settings belwo to define the typographical hierarchy of a written piece.

Text title

For all titles we set the text in FK Somerset Headline

Short descriptor

FK Grotesk Regular (Large scale)

Body copy

The main passage is set in FK Grotesk Regular

Text details

For pull quotes we use FK Grotesk Italic and for support information we use FK Roman Regular (caps for core event information such as Dates/Times, Sentence Case for additional information

Typographic Hierarchies

Credit

For credits, we utilise italic styling to differentiate names in a written piece.

GRID SYSTEM

Grid Foundations

Key Metric

The foundation of our entire grid system is derived from the letter 'E' in the logotype and font.

The height of the top arm of the ‘E’ informs the character weight of the entire font, as well as the horizontal metrics. This is key to the underlying alignment grid presented in the logotype section.

Grid Foundations

Margins

We can establish the margins of a format by using 5% of the shortest edge width.

Logotype Scaling

Brand and Marketing

When scaling the logotype on a portrait format, we scale it to 100% of the internal margin, equivalent to 90% of the format's shortest edge.

When scaling the logotype on a brand-led landscape format, we scale it to 100% of the format's internal margin area.

When scaling the logotype on a marketing-led landscape format, we scale it to 50% of the format's shortest edge from the internal margin area.

Grid Foundations

Horizontal Guides

Once the margins are defined, we create the baseline grid using the same metric as the height of the top arm of the ‘E’. This baseline grid serves as a hangline system for positioning images and type.

N) The baseline should align with the redacted squares and horizontal elements of the characters.

Grid Foundations

Vertical Guides

After establishing the horizontal gridlines, we add the vertical gridlines. We work in multiples of three, with a minimum of six columns.

For landscape formats, working in threes, we can use 9 or 12 column grids.

Grid Foundations

Content Areas

The grid defines areas for expression and flexibility, as well as areas that should remain fixed for consistency.

Flexible Content Area

The central content area is reserved for creative flexibility. All key design components should focus on this area.

Fixed Areas

At the top and bottom of the format, we have fixed areas reserved for important information, such as dates and sponsors.

Grid Foundations

Extreme Formats

For very narrow formats, the logotype should be maximum height within the internal margin area.

Grid Foundations

Extreme Formats

When extreme formats also require space for titles and content, alternative logo sizing rules can be applied. Either 50% of the height, 25% of the height or 25% of the width of the format, dependent on context. The logo should still be displayed as largely as possible while allowing room for content.

Grid Use

Typography

When it comes to type sizes across marketing output, we use flexible type sizes for all event headlines.

Care should be taken when choosing a type size to ensure it is suitable for the context and design system, and that it does not clash with the masthead logotype.

N) Alignment with the cap height and horizontal guides should be considered when creating a typographic layout.

Grid Use

Image

We can use the horizontal gridlines to crop images in and around the logo. This should be a priority in image use to reinforce the strategy and create a distinctive, ownable visual language.

Fig.A

Horizontal alignment with the logo

Fig.B

Horizontal and vertical alignment with the logo

SUB-BRANDS

Introduction

Somerset House, both as a physical and brand entity, does not stand alone. It is comprised of sub-brands that are integral to the identity and content output of Somerset House.

These sub-brands are the very fabric of the organisation and should therefore be treated in the same manner as the Somerset House master brand.

Logotype

Introduction

The Studios logo is built using the same grid foundations as the parent brand logo.

The logotype should not be altered or adjusted in any way. Rigorous attention to detail has ensured optical balance, mathematical alignment of the redacted squares and characters, and precise spacing of the endorsement.

Logotype Use

Colour

For core brand applications, logotype usage should remain controlled. To build a strong brand presence within a complex site and online presence, we should prioritize using our brand color with a white, reversed-out logotype for maximum stand-out.

Logotype Use

Marketing – Inset Image

For maximum expression of the strategy, inset images that align with characters or redacted areas create the impression of content stepping inside and outside the logotype.