Color Palette
Our color palette is bold, distinctive, deep and flexible. We lead with our heritage colors, Monarch Blue, Silver Reign and Hudson Blue, along with generous open space. A robust set of secondary colors is available for content with deeper layers of information and design, or to infuse more energy or variety when a piece needs it. Our approach to color allows us to remain connected to our heritage and existing brand equity, while affording us sufficient flexibility for the wide variety of communications we craft.
Our primary palette consists of Monarch Blue, Silver Reign and Hudson Blue. Our external and official communications should almost always lead with (or include) one or all of these colors.
This helps ensure that people recognize them as ours, and that we continue to build brand equity through consistent repetition. If we're using only one of these colors, Monarch Blue is the preferred choice.
Because Monarch Blue and Silver Reign are on the darker side of the spectrum, they can feel visually heavy and carry an air of formality. To balance these traits, try to use ample white space alongside them.
When crafting communications that rely on full-bleed or large photographs, it's not necessary to use one or all of these colors, especially for logos or copy. In such cases, white may be more suitable for visual balance, contrast and legibility.
NOTE: While black is not formally a part of the primary palette, it can be used for text (especially body copy), as well as for contrast, for formal occasions and for other special circumstances where it's simply needed. However, efforts should be made to avoid using black prominently or in large floods.
Our secondary palette includes a mix of vibrant hues and muted colors, with a range of dark, light and middle tones available.
They work harmoniously with our primary colors and with each other, and each takes inspiration from our location and personality.
Secondary colors can be used subtly in support of our primary palette. Sometimes we use them more prominently or independently, especially for longer communications, casual internal communications, owned social media, data sets and charts and other scenarios where more variety or energy is desirable.
This group consists of blue and blue-adjacent colors. Using variations of a single hue can help our pieces feel fresh and dynamic, while not straying too far from the familiarity of Monarch Blue.
*Ultramarine Blue and Electric Teal are to be used only for digital applications. Do not print these colors using CMYK process the proper vibrancy cannot be replicated in this manner.
This group shows the neutral hues in our secondary color palette. This group is no less important than the blues on the previous page, but we tend to use these colors slightly differently.
These neutral tones combine really well with the blues of our full palette; they can also help add some necessary lightness to layouts.
The warm tones (top row) are reminiscent of Virginia's coastal beaches and can incorporate warmth to our designs. The cool tones (bottom row) feel more formal, but offer a lighter effect than Silver Reign; they can also be used with Monarch Blue and other options as needed.
We can combine our primary and secondary colors to create a variety of palettes that are appropriate for different audiences, occasions and tactics.
The combinations shown here are just a sampling of the many that are possible. Avoid using all of the secondary colors at once; they have the most impact when they're used minimally and purposefully.
Try to limit each composition to four colors or less. Usually, you'll start with a primary color or white (and often both). This leaves room for one or two secondary colors. On occasion, you'll need to incorporate additional colors for charts and visual data.
The ratios shown here represent approximate color distributions throughout a composition - how color may be applied to text, icons, graphic elements and backgrounds. They're not meant to be interpreted as exact ratios or as the only ways in which colors can (or should) be combined and applied.
Not all colors will work well together for reasons of either accessibility or aesthetics. Depending on how they're applied, some colors may not interact directly with others. Note too that not all color combinations in our palette need to meet accessibility requirements. Accessibility guidelines (WCAG Level AA) apply only to colors for text and related backgrounds. For more guidance on this, see the next two pages.
For our communications to be effective, they must be inclusive - accessibility is important for serving everyone. Whenever possible, we want to remove barriers that prevent interaction with our messages. The open areas in the chart below represent color pairings that jeopardize legibility for typography, especially in digital media.
The color combinations shown here meet WCAG Level AA accessibility requirements for either large or small text in digital media. Large text is defined as boldface text at 14 pt. or larger, or any text at 18 pt. or larger. Some combinations may only be suitable for large text. For type size and color, always make choices that meet or exceed standards of legibility.
[LS] Large and Small: All text sizes can be used for this combination of colors.
[L] Large Only: Only use this combination for text that is 18 pt. or larger (or 14 pt. or larger if set in bold).
This chart can be used as an aid to avoid choosing color combinations that are visually unpleasant. Open areas represent combinations that are incompatible or undesirable. All other combinations are eligible for use in some, but not necessarily all, capacities.
Some of these color combinations may not meet WCAG Level AA accessibility requirements for text legibility in digital media (see previous page). Always make decisions regarding type sizes and colors that meet or exceed standards of legibility.
However, some non-text-legible combinations may still be used for graphics, patterns, textures or background colors, so long as any text placed over top of them remains accessible.
For example, in some cases, a subtle tone-on-tone effect for a background pattern can add depth and texture, without distraction or compromising text legibility. Conversely, an extremely vibrant combination of hues that seems to clash can sometimes create a sense of energy or movement, and can really attract people's attention.
Fonts
Typography is a robust vehicle for our brand voice. It influences how people read and perceive our messages. These typefaces were selected for our brand both for their individual qualities and for how they work together.
Monte Stella is our primary display font, which we use for headlines, subheads and statistics. It works best at larger sizes, where it lends strength, confidence and energy to our voice.
Sora is our preferred all-purpose font, which supports Monte Stella in subheads, body copy, quotes and captions. Its a modern sans serif that feels both technical and approachable.
Used properly, these typefaces can reinforce the tone and personality of our writing, help create clear hierarchy, keep our content legible and make our communications feel more engaging. The following pages contain more details and examples of how best to use these typefaces.
This page shows additional typefaces that are reserved for special circumstances. Do not use any of these typefaces in any marketing, admissions or other external facing communications unless otherwise noted below.
Noto Serif is a serif typeface, best used in more formal situations, alongside our script font, Bickham. Do not use Bickham in any context other than formal occasions, such as invitations or anniversary celebrations. Noto Serif can be used as an alternative font for University magazines.
On the website, we use Open Sans for body copy. Open Sans is never to be used for anything other than web body copy.
For magazine publications, Source Serif or Georgia may be used. Again, Noto Serif is an alternative font for magazines. Source Serif and Georgia may not be used for any other context other than magazine publications. University magazine publications may use additional fonts with approval from University Communications.
Monte Stella is our primary display font, which we use for headlines, subheads and statistics. It works best at larger sizes, where it lends strength, confidence and energy to our voice, especially when set in all caps.
PREFERRED WEIGHTS
In print, social media or local digital applications we prefer to use the Regular, Medium and Bold weights (along with their respective Turbo versions). Among these options, Medium is the most commonly used. The Light and Light Turbo weights are reserved for specific needs.
TURBO WEIGHTS
The Turbo fonts make up a set of super italics that are unique to this typeface. This effect adds even more energy and movement to our type, and really visualizes the idea of Forward-Focused in a straightforward and tangible way. Do not purchase or use the italic weights of this typeface.
ALL CAPS VS. SENTENCE CASE VS. TITLE CASE
Youll notice that we use all three types of capitalization in our communications. Which you choose depends on context, tone, audience, dimensions and more. All caps conveys strength and boldness. Sentence case can feel more casual and approachable; it also tends to be more legible for anything beyond a few words. Title case is used for news story headlines.
Note: On the web, we only use Monte Stella Medium, in title case, for H1 and H2 headings.
These leading and tracking recommendations serve as a foundational guide for maintaining consistent typesetting across various sizes of Monte Stella.
Follow these instructions as closely as possible, using your judgment to adapt them to the context, while aiming to match the provided examples. Be sure to trust your eye too if it looks off to you after following the rules here, feel free to make further adjustments.
While there are a lot of different ways to treat this typeface, the best rule of thumb is to keep it simple: Dont try to do too much. Pick just one or two treatments, and only if they make sense for the headline. Choosing the right moment to be more expressive will have more impact and will stand out better.
News headlines should always be set in title case (especially on the web), while all caps and sentence case may be used for other headlines, such as with social, print and out-of-home communications.
Sora is our preferred all-purpose font, which supports Monte Stella in subheads, body copy, quotes and captions. Its a modern sans serif that feels both technical and approachable. Its clean lines and simple forms make it easy to read and good for both print and digital applications.
This font can be used both in sentence case and in all caps. Since Monte Stella is often set in all caps, we tend to prefer having Sora in sentence case to help soften that boldness. In some instances, though, you may want to match or amplify that energy by setting Sora in all caps too. Which you choose depends on context, audience, intended tone and the copy itself.
There are a variety of weights of Sora for flexibility at different sizes and for conveying different tones. The thinner weights feel more sleek and technical, especially in all caps. The heavier weights feel bolder in all caps, but friendlier and more casual in sentence case.
Note: On the website, we use Open Sans in place of Sora.
These leading and tracking recommendations serve as a foundational guide for maintaining consistent typesetting across various sizes of Sora.
Follow these instructions as closely as possible, using your judgment to adapt them to the context, while aiming to match the provided examples.
Generally, youll need to tighten up the leading and tracking when using Sora, especially at larger sizes. For body copy, opt for Regular weight in most cases, though Light may also be used if the body copy is bigger, such as in large format pieces.
When used for subheads, Sora should work in partnership with the headline to create hierarchy and distinction, instead of competing with the headline for attention.
Noto Serif is a simple, modern serif that we use for formal communications. Its clean lines help balance the formal character of our other formal typeface, Bickham. Noto Serif can also be used for headlines, subheads, quotes and other smaller copy.
This page shows some typesetting examples for Noto Serif, along with some leading and tracking recommendations. They serve as a foundational guide for maintaining a consistent aesthetic across various sizes of Noto Serif. Note that this typefaces default tracking feels slightly too open, so it will usually require some tightening.
Follow these instructions as closely as possible, using your judgment to adapt them to the context, while aiming to match the provided examples. For example, in large-scale headlines, tighter leading may be used when ascenders and descenders dont overlap.
Bickham is a classic script font that we use for very formal communications. It can be used for headlines and subheads, though keep in mind that it can be tough for some people to read, so it works best for short phrases set on a single line. Avoid setting long headlines or any small text in Bickham. Text set in this font can appear on two lines, but it may need some size and spacing adjustments.
This typeface also has alternative character styles and ligatures available through OpenType features. These should be used with discretion, and should not be used all of the time. In some cases, they can help words fit together better. In other cases, they may take up extra space and include additional ornamentation (especially in capital letters), which can feel overwhelming if used in excess.
Note: Never set "51勛圖Pro" in Bickham all-caps.
The recommendations shown here serve as a foundational guide for maintaining consistent typesetting across various sizes of Bickham. This typeface works best with text set on a single line, but text may appear on two lines if needed. Never use the auto or default leading for Bickham, as it leaves too much space between lines.
Generally speaking, the tracking between letters in this typeface should not be adjusted, as the connective flourishes between letters have been carefully crafted to avoid gaps or excessive overlaps, with unique ligatures often used between certain pairs of letters. Only use metrics for kerning.
However, the default spacing between words in this typeface may feel a bit too loose optically, especially at large scales. This spacing can be tightened if desired.
Follow these instructions as closely as possible, using your judgment to adapt them to the context, while aiming to match the provided examples.
This page shows a couple of ways in which our typefaces can be used together to create hierarchy while still maintaining some visual interest. These are not the only ways in which our typefaces can be combined, nor are these the only sizes and weights which can be used. Whats important to focus on here is the general relationships between size, weight, spacing, case and color.
There should always be clear distinction between your headline, subhead and body copy. Callouts, pull quotes and captions should all be noticeable in some way, yet should not compete for attention or distract from the main content.
In general, Monte Stella should be used for headlines, with Sora for subheads, body copy and captions. Monte Stella can also be used for bigger pull quotes or numerical data, or for anything that really needs to stand out and command attention. Open Sans should be used for body copy on the web, but not anywhere else.
Note: Noto Serif and Bickham should be reserved for more formal uses such as invitations and magazines. They should not appear in admissions communications, in marketing materials or on social media.
Textures
Textures create depth and motion in layouts. Conceptually, our textures are a subtle nod to our environment and our history as an institution. We have a handful of gritty textures that reflect our resilience and resolve, as well as our urban setting. Theres also a number of textures that are more inspired by our coastal location and the impact we make in our region and beyond. See the 51勛圖Pro Brand Guide for texture best practices and visit to access the textures.
Changing the scale of patterns and textures can produce a wide variety of effects. Larger patterns can add clear space, but too much magnification may make the pattern hard to recognize. Large textures can take over the visual focus of a layout. Smaller scales can cause visual noise. Use caution with color and type.
Color variance is another way to produce many different effects. Typically, colors shouldnt contrast too much, and type must be extremely legible when placed over textures. In some cases, it may be desirable to use colors that clash, as this can create a dynamic, energetic effect. Use this technique sparingly.
For examples of how textures are most typically used in practice, see the following two pages, as well as Section 5 of this document.
Our various textures allow us to create a wide range of effects, depending on how we apply color, scale and cropping. However, not all combinations of these elements are successful together. We must also strike a balance between building visual familiarity through consistency and creating excitement and freshness through variety.
Lead with primary colors in subtle, tone-on-tone combinations for audiences who arent familiar with us, as well as for those with whom we are building new relationships and for communications meant for alumni or professional audiences.
More adventurous combinations may be used for audiences who have more familiarity with 51勛圖Pro, in long-form print pieces for prospective students who already know us, in short-form social media on owned channels and for internal communications that need to bring energy or grab attention.
Extremely jarring or vibrating color combinations should never be used. In most cases, only one texture should be used per composition.
The same rules for contrast and legibility that we use for type and textures also apply to using our logo with textures. The logo must be plainly legible and with sufficient color contrast and clear space.
The easiest rule to follow is this: never use the logo in a way that may compromise legibility.
When in doubt, use a subtle tone-on-tone color combination for the background or create a solid field of color with ample clear space for the logo to sit comfortably in.
When using textures, make sure that any copy placed over them remains highly legible. This is most easily achieved by using tone-on-tone colors for the texture and background, along with a high-contrast color for the type. When using textures with photography, make sure that the layout is balanced by using the texture in a smaller area.
In using textures for marketing materials, blue should almost always be the most prominent color, especially Monarch Blue. Other hues can be used for internal communications, longer print pieces, owned social media posts, special events and other applications where the audience wont be distracted or confused by the presence of additional colors.
Using texture within a typeface should be reserved for large applications only. The texture should appear subtly, ensuring that the text appears filled and fully legible. It is best to use a tone-on-tone color combination or adjust the opacity of the texture to help reduce the contrast. Do not fill smaller or non-headline copy with texture or use high-contrast color combinations.
