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BRAND GUIDELINES FOR THE CORPORATION OF LLOYD’S

MAKING LLOYD’S stand out exit

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Brand Guidelines for The Corporation of Lloyd’s 31.10.05


Corporation of Lloyd’s

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contents i ii iii

Introduction Brand expression Overview

Brand mark 1.1 The components 1.2 ‘Bleed’ version 1.3 Primary position 1.4 Measurement and size versions 1.5 Minimum clear space 1.6 Sizing and positioning The Arms of Lloyd’s 2.1 Role 2.2 Positive and negative versions 2.3 Primary colour versions 2.4 Measurement and size versions 2.5 Basic production processes 2.6 Approved copy versions 2.7 Sizing and positioning

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Colour 3.1 Core colours (black and white) 3.2 Primary colour palette 3.3 Primary colours – specifications 3.4 Primary colours on black backgrounds 3.5 Primary colours on white backgrounds 3.6 Primary colour backgrounds 3.7 Supporting colours 3.8 Using the supporting colours Typography 4.1 Primary typeface (Sansa Lloyd’s) 4.2 Secondary typeface (Vectora) 4.3 Typeface for shared applications (Arial) Brand language 5.1 Business communication basics 5.2 Our brand idea 5.3 Brand personality 5.4 Brand values

Imagery 6.1 Principles 6.2 Black and white or colour 6.3 People 6.5 Events 6.6 Risk insured 6.7 About Lloyd’s 6.8 Nimbus 6.9 Metaphors – the principles 6.10 Metaphors – 1 & 2 6.11 Metaphors – 3 & 4 Applications 7.1 Publications 7.3 Stationery 7.4 PowerPoint® presentations 7.5 Events Further information Appendix A Brand Language Guide

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CORPORATION OF LLOYD’S introduction

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about these guidelines

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Who are these guidelines for? They are for you as part of the Corporation of Lloyd’s. Separate guidelines are available for: • The Lloyd’s market • Lloyd’s brokers • Lloyd’s coverholders • Lloyd’s agencies around the world • Projects and teams sponsored by Lloyd’s What are these guidelines for? They are to help us ensure that the way Lloyd’s presents itself is always: • Professional – The material we produce looks like it comes from the world’s leading specialist insurance market • Consistent – We give the impression that we have our act together • Distinctively Lloyd’s – Our communications have impact. Master artwork, help and advice For all master artworks and a helping hand, contact Lloyd’s Brand Strategy.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S BRAND EXPRESSION

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SETTING THE SCENE

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Lloyd’s is a brand that is recognised and respected around the world – but one that is not always understood. We need people to see what makes us different and to understand what makes us special. To do this we must tell our story clearly, simply and consistently. Constant originality At the heart of this story is the idea of constant originality. As a phrase it acts as a reminder that Lloyd’s cannot afford to rest on its laurels. But the two words each highlight an important aspect of what Lloyd’s stands for. The constant side of the equation refers to good faith, consistency, reliability and security – and is an opportunity to remind people that Lloyd’s has been around for more than three centuries. Originality refers to our innovative solutions to risk, our unique market structure that matches entrepreneurialism with international scale, and the importance we attach to underwriters and brokers getting together face-to-face to develop solutions in an increasingly computerised and impersonal world. Constant originality must permeate every aspect of Lloyd’s – the platform we provide and the services that support it, One Lime Street and our offices overseas and the ways in which we communicate and behave. It must also be demonstrated in all the materials we produce. These guidelines outline how to do that. Read them carefully and follow them conscientiously.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’S overview

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Lloyd’s visual identity has five key elements: 1 Brand mark 2 The Arms of Lloyd’s 3 Colour palette 4 Typography 5 Brand language 6 Imagery Applied consistently and in the correct way, they will create a powerful and distinctive profile for Lloyd’s.

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The name of the ‘Sansa Lloyds’ font is the only time there is no apostrophe for Lloyd’s – it is not possible to include the apostrophe in the font name due to the technical restrictions associated with implementing the font.

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Brand mark

SANSA LLOYDS Vectora & Arial

The Arms of Lloyd’s Imagery

Typography

SIMPLE, DIRECT & ENGAGING Brand language

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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Colour palette

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CORPORATION OF LLOYD’s BRAND MARK INTRODUCTION 1.0

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the lloyd’s brand mark

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The Lloyd’s brand mark is the focal point of our identity. The lettering has undergone modifications to bring it up to date. This updated version is known as the Lloyd’s brand mark. 1.1 The components 1.2 ‘Bleed’ version 1.3 Primary position 1.4 Measurement and size versions 1.5 Minimum clear space 1.6 Sizing and positioning

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’s BRAND MARK THE COMPONENTS 1.1

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Logotype and tab box The Lloyd’s brand mark comprises two inseparable components: Lloyd’s logotype and the tab box that contains it.

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Lloyd’s brand mark (black tab)

The relative sizes and positions of the logotype and the tab box are fixed and must not be altered. Never use the logotype on its own or the tab box on its own.

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There is a stand alone version (this page) for applications such as envelopes, faxes, electronic templates. There is a 'bleed' version, the most frequently used (page 1.2) for use where an application is physically trimmed to the edge of the brand mark. ‘Black tab’ and ‘white tab’ • the black tab is for use on light backgrounds • the white tab is for use on dark backgrounds Each of these has been specially drawn for positive and negative use and should never be interchanged. Always ensure that you use the appropriate original. The Lloyd’s brand mark only ever appears in black and white. Master artworks are available from Lloyd’s Brand Strategy. Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Tab box

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Lloyd’s brand mark (white tab)

Logotype

The Lloyd’s logotype is not a typeface. It has been specially drawn and must never be recreated or typeset in an alternative font.

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CORPORATION OF LLOYD’S BRAND MARK ‘BLEED’ VERSION 1.2

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The Lloyd’s brand mark has the logotype visually positioned within the tab box for general use. This positioning should never be altered from the master artwork provided. The ‘bleed’ version of the brand mark A ‘bleed’ version has been specially created for when the brand mark hangs from a trimmed edge.

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This is the most frequently used version of the Lloyd's brand mark. You will notice that for the 'bleed' version only, the space above the logotype is a little more than below it. This is intentional. It is to allow for an optical tolerance for when an application is physically trimmed to the edge of the brand mark. You will need to include a printer’s ‘bleed’ area above the top edge of the page (usually between 3mm and 5mm).

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Bleed version (black)

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Bleed version (white)

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CORPORATION OF LLOYD’S BRAND MARK PRIMARY POSITION 1.3

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Whenever possible lock the Lloyd’s brand mark to the top edge of the application. This is called the primary position (see example shown).

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Primary position (locked to top edge)

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Exception position

Exception positioning In cases where the Lloyd’s brand mark cannot be locked to the top edge (eg, in desktop printed items where the print margins might result in cropping of the top of the brand mark), an alternative ‘exception’ position may be used which allows the brand mark to appear in full.

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The exception position may only be used where the brand mark cannot be locked to the top edge. For guidance on the consistent sizing and positioning across a range of page formats, see page 1.6.

Annual report cover (locked to top edge)

Desktop printed Fax (exception position)

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S BRAND MARK MEASUREMENT AND SIZE VERSIONS 1.4

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The measurement of the Lloyd’s brand mark is always specified across its full horizontal width.

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Important reproduction note On occasion, the ‘small-use’ version may be the right choice for challenging production processes where you are unable to reproduce the ‘standard’ size version with the desired legibility (eg, business cards). Where this is the case, proofing stages will help to determine the most suitable version for optimum reproduction of the brand mark.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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Lloyd’s brand mark – Standard size

There are two size versions – ‘standard’ and ‘small-use’. The ‘small-use’ version is always used below 25mm width. Each of the size versions has been specially drawn and neither is interchangeable with the other.

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25mm minimum No maximum size restriction

Lloyd’s brand mark – Small-use size

25mm maximum

10mm minimum

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CORPORATION OF LLOYD’S BRAND MARK MINIMUM CLEAR SPACE 1.5

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The Lloyd’s brand mark is always surrounded by a minimum clear space area which must remain free from other elements (type and graphics).

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!

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Minimum clear space area

The minimum clear space area is equal to half of the height of the ‘tab box’ in the brand mark. The clear space area is proportional at all sizes of brand mark. Placing the brand mark on imagery Use the minimum clear space area as a guide to protect the brand mark from distracting elements.

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x = height of tab

0.5x

This clear space area is a minimum and should be increased wherever possible. Brand mark placed correctly on imagery

Avoid placement near distracting elements

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’S BRAND MARK SIZING AND POSITIONING 1.6

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If your format is not an ‘A’ size If your page format is not one of those listed in the table below, you should work to the nearest size (eg, one-third of A4 – 210mm x 99mm – would use the same size brand mark as A5). Positioning from the right-hand edge The distance that the Lloyd’s brand mark is positioned from the right-hand edge is determined by a proportional 12.5% ‘width of the application’. This measurement is rounded to the nearest 0.5mm as shown in the formula below: eg, for A4 Portrait (width of 210mm) 210mm x 12.5% = 26.25mm 26.25 rounded to nearest 0.5mm = 26mm We have created a table of sizing and positioning for the principal ‘A’ paper sizes (see right).

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Do not use the brand marks at any size other than those corresponding to the ‘A’ sizes shown.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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Example shown is based on width of A4 portrait

Where possible, you should keep the sizing and positioning of the brand mark consistent. Choosing the correct brand mark size The size you choose depends on the size and format of the page.

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36mm

26mm (12.5% width of page, to nearest 0.5mm increment)


CORPORATION OF LLOYD’S the arms of lloyd's INTRODUCTION 2.0

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the arms of lloyd’s

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The Arms of Lloyd’s acts as a visual link with the rich history of Lloyd’s and provides continuity. 2.1 Role 2.2 Positive and negative versions 2.3 Primary colour versions 2.4 Measurement and size versions 2.5 Basic production processes 2.6 Approved copy versions 2.7 Sizing and positioning

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S the arms of lloyd's ROLE 2.1

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When using the Arms of Lloyd’s, always ensure that the use is in accordance with the following guidelines: • it acts as a hallmark, never as the main message: it’s not a decorative graphic to be spattered indiscriminately or at whim • it never appears in the same line of vision with the Lloyd’s brand mark or headline type: the juxtaposition could be confusing and would clash visually • it only appears where there is sufficient space: it’s never squeezed onto an application close to other graphics that would detract from it • wherever possible it’s accompanied by its description (see page 2.6): we want people to understand what it stands for • it is mostly used on back covers of publications, such as the annual report. The Arms of Lloyd’s should not be randomly applied across any application. It has a clear role. We want to make sure that we always retain its prestige, so you must get permission from Lloyd’s Brand Strategy before using it.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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The Arms of Lloyd’s

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The description

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CORPORATION OF LLOYD’S the arms of lloyd’s POSITIVE AND NEGATIVE VERSIONS 2.2

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The primary version of The Arms of Lloyd’s is the ‘negative’ version shown here, where it appears in a 60% tint of black and should be used on a black background. A secondary version is available should you need to reproduce The Arms of Lloyd’s against a light background.

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Both versions have been specially drawn to work against dark or light backgrounds. They are not interchangeable with each other. Using the correct tint of black The table below shows which percentage value of black tint to use at sizes above and below 25mm. Always use the correct version to ensure optimum legibility of The Arms of Lloyd’s.

Important note The full-colour version of The Arms of Lloyd’s is available for special requirements. This version is only for use with the approval of Lloyd’s Brand Strategy.

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The Arms of Lloyd’s

The Arms of Lloyd’s

The Arms of Lloyd’s

Primary (negative) version

Secondary (positive) version

Full-colour version


CORPORATION OF LLOYD’S the arms of lloyd’s primary colour versions 2.3

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When using The Arms of Lloyd’s in the three primary colours, the ‘negative’ version always appears in a predetermined percentage tint of the same primary colour as the background. Using the correct tint of primary colour The table below shows which percentage value of tint to use for each colour at sizes above and below 25mm. Always use the correct version to ensure optimum legibility of The Arms of Lloyd’s.

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Never use the Arms of Lloyd’s in the three primary colours as a ‘positive’ colour version.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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The Arms of Lloyd’s (Lloyd’s Red)

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The Arms of Lloyd’s (Lloyd’s Yellow)

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The Arms of Lloyd’s (Lloyd’s Blue)


CORPORATION OF LLOYD’S THE ARMS OF LLOYD’S MEASUREMENT AND SIZE VERSIONS 2.4

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The measurement is always specified across the full width (tail to tail), as shown.

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The Arms of Lloyd’s – Standard size

There are two size versions, ‘standard’ and ‘small-use’. All maximum and minimum guidelines are shown here.

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Each of these versions has been specially drawn and should never be interchanged. 25mm minimum

No maximum size restriction

The Arms of Lloyd’s – Small-use size

15mm minimum 25mm maximum

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S THE ARMS OF LLOYD’S BASIC PRODUCTION PROCESSES 2.5

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An additional version of The Arms of Lloyd’s has been specially created for ‘basic production processes’. This is where production processes might struggle to reproduce the levels of detail present in the standard and small-use versions (eg, embossing and debossing onto leather).

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This version has been specially drawn with simplified detail. It must only ever be used in cases where the other versions will not reproduce with full legibility and always subject to approval from Lloyd’s Brand Strategy.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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Specially drawn version for basic production processes

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CORPORATION OF LLOYD’S THE ARMS OF LLOYD’S APPROVED COPY VERSIONS 2.6

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These days most people cannot ‘read’ heraldry. So to help them understand The Arms of Lloyd’s and to reinforce some key messages about Lloyd’s you should use the version that incorporates explanatory copy. The copy is approved and fixed in terms of content, size and positioning. Please don’t alter it in any way.

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The Arms of Lloyd’s for use at sizes above A5

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The Arms of Lloyd’s for use at sizes of A5 and 1/3-A4

The primary version is the ‘negative’ version shown here, where it appears in a 60% tint of black with white copy for use on a black background. A secondary version is available should you need to reproduce it against a light background.

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Both versions have been specially drawn to work against dark or light backgrounds. They are not interchangeable with each other. Three size versions have been created for use with different copy linebreaks (see right). One is for above A5 page size, the other for use at sizes of A5 and 1/3-A4, and the third for use at A6 and below, which uses the small-use version of The Arms of Lloyd’s. Always ensure the correct version is used.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Since merchants first met to insure their ships at Edward Lloyd’s coffee shop over 300 years ago, nearly every aspect of the way we do business has changed. But one constant is the bold confidence proclaimed by our motto, reflected in both our unique appetite for risk and our worldwide reputation for settling valid claims.

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The Arms of Lloyd’s for use at sizes of A6 and below

Since merchants first met to insure their ships at Edward Lloyd’s coffee shop over 300 years ago, nearly every aspect of the way we do business has changed. But one constant is the bold confidence proclaimed by our motto, reflected in both our unique appetite for risk and our worldwide reputation for settling valid claims.


CORPORATION OF LLOYD’S THE ARMS OF LLOYD’S SIZING and POSITIONING 2.7

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The Arms of Lloyd’s is always consistently sized and positioned on a page. As a general rule, irrespective of page size, it will always be horizontally centred on the page width. The relationship between The Arms of Lloyd’s and the ‘approved copy’ is fixed and should not be altered from that of the master artworks provided.

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1 Inside back covers

35mm centred

25mm centred

20mm centred 86.5mm

127mm Since merchants first met to insure their ships at Edward Lloyd’s coffee shop over 300 years ago, nearly every aspect of the way we do business has changed. But one constant is the bold confidence proclaimed by our motto, reflected in both our unique appetite for risk and our worldwide reputation for settling valid claims.

Since merchants first met to insure their ships at Edward Lloyd’s coffee shop over 300 years ago, nearly every aspect of the way we do business has changed. But one constant is the bold confidence proclaimed by our motto, reflected in both our unique appetite for risk and our worldwide reputation for settling valid claims.

The examples shown on this page are for key publication sizes. These positions are fixed and cannot be altered. For guidance on additional page formats and sizes, please contact Lloyd’s Brand Strategy. inside back covers 1 The Arms of Lloyd’s should appear with the approved copy on the inside back cover of a publication. Any credits or copyright information appearing on this page should be ranged left at the foot of the page.

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A6 example shown at 30% actual size

1/3rd-A4 example shown at 30% actual size A4 example shown at 25% actual size

2 Back covers

Back covers 2 On the following page (the outside back cover), The Arms of Lloyd’s should be repeated in exactly the same position, but without the approved copy. No additional information should appear on the outside back cover besides the address. Occasionally, in cases where space is restricted, text and The Arms of Lloyd’s may appear together, subject to approval from Lloyd’s Brand Strategy. L l o y d ’s

Brand Guidelines for The Corporation of Lloyd’s 10.05 Version 1.0

One Lim e S tr e e t London E C 3 M 7 HA Te le phone +4 4 (0 )2 0 7 3 2 7 1 0 0 0 F a x +4 4 (0 )2 0 7 3 2 7 5 2 2 9 w w w. lloyds . c om

62mm


CORPORATION OF LLOYD’S COLOUR INTRODUCTION 3.0

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CORE, PRIMARY & SUPPORTING colours

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The Lloyd’s brand has its own distinctive palette of colours. Along with the core palette of black and white, three primary colours are used to identify the Lloyd’s brand to its audiences. A palette of supporting colours has been developed for use with complex information graphics, graphs and charts. 3.1 Core palette (black and white) 3.2 Primary colour palette 3.3 Primary colours – specifications 3.4 Primary colours on black backgrounds 3.5 Primary colours on white backgrounds 3.6 Primary colour backgrounds 3.7 Supporting colours 3.8 Using the supporting colours

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S COLOUR CORE PALETTE (BLACK AND WHite) 3.1

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Black and white are core to Lloyd’s brand and are on all Lloyd’s branded applications.

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Black

Black Black is the visual anchor colour and a foil to all the other colours, including white. The red, blue and yellow have been specially chosen to complement the black. Use areas of black wisely for emphasis and pace White There will always be a larger percentage of white. A white background will, in most cases, be better suited for optimum legibility and readability of small text and fine detail.

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Lloyd’s brand mark only ever appears in black and white.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Colour wheel illustrating proportions in the use of black and white

White

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CORPORATION OF LLOYD’S COLOUR PRIMARY COLOUR PALETTE 3.2

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Lloyd’s primary colours There are three Lloyd’s primary colours to complement the core palette (Lloyd’s Red, Lloyd’s Yellow and Lloyd’s Blue).

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Lloyd’s Red

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Lloyd’s Yellow

One primary colour, in combination with black and white, should lead on an application. General guidance in proportions is provided in the colour wheels on this page. Do not use more than one primary colour on the same page unless you are working with graphs and charts.

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Colour wheels illustrating proportions in the use of the primary colours with black and white

Always use one of the three primary colours as the main colour to support an application. Using primary colours together Within an application, primary colours may switch in order to divide sections or topics of communication (as employed in this guidelines document). When using the primary colours in this way, there should always be a clear and simple logic for the changing of the colours within the application. Use of tints As a rule, tints of the primary colours are to be avoided, but may be used for graphs and charts where colours are limited (eg, single-colour printing).

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Do not allow all three primary colours to be seen together on the same page

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Lloyd’s Blue

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CORPORATION OF LLOYD’S COLOUR PRIMARY COLOURS – SPECIFICATIONS 3.3

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Colour matching The Pantone®* references should be used to match for correct reproduction of the primary colours by a professional printer. These standards are included in the current edition of the ‘Pantone Color Formula Guide 1000’. Coated colour swatches should be the master colour reference for all colour matching. Uncoated colour references have been selected for more desirable colour reproduction on uncoated materials.

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Lloyd’s primary colour

On-screen colour RGB and Hexadecimal colour breakdowns have been selected for on-screen applications.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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Pantone®* Coated

Pantone®* Uncoated

Process colour (CMYK) Coated

Process colour (CMYK) Uncoated

Pantone 682C

Pantone 676U

C25 M80 Y0 K18

C6 M100 Y0 K22

Pantone 610C

Pantone 610U

C0 M0 Y58 K6

Same as coated

Pantone 637C

Pantone 637U

C60 M0 Y15 K0

C55 M0 Y10 K0

The colours shown on this page and throughout this document are not intended to match the Pantone Color Standards, either through their on-screen display or subsequent colour output to hard copy. Please consult current Pantone publications for accurate colour swatch references. *Pantone is a registered trademark of Pantone, Inc.

Process (CMYK) colour printing Custom CMYK colour breakdowns have been selected to provide the best possible starting point for process colour reproduction. Where possible these values should be adjusted for the closest match to their respective Pantone colour swatches.

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Lloyd’s primary colour

Screen RGB (0-255)

Screen Hexadecimal

R158 G71 B112

9E 47 70

R222 G204 B18

E0 DB 6E

R110 G201 B224

6E C9 E0

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CORPORATION OF LLOYD’S COLOUR PRIMARY COLOURS ON BLACK BACKGROUNDS 3.4

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Used correctly, Lloyd’s primary colours will help to achieve consistency and increase the impact of Lloyd’s communications. Primary colours are not to be seen together, but to be applied on distinctly different parts or sections of an application. They are most effective when used to capture the audience’s attention and deliver key messages (see Section 7 for typical examples). On black backgrounds, use only one of the three primary colours, adding in white to highlight emphasis where appropriate.

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Fine detail in small type and keylines should be carefully considered for legibility when using colour. See the table below for a guide on when to use and avoid some applications of the palette.

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EFFECTIVE USE OF PRIMARY COLOURs.

EFFECTIVE USE OF PRIMARY COLOURs. white for emphasis

EFFECTIVE USE OF PRIMARY COLOURs.

EFFECTIVE USE OF PRIMARY COLOURs. white for emphasis

and mark

Colour legibility

EFFECTIVE USE OF PRIMARY COLOURs.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

EFFECTIVE USE OF PRIMARY COLOURs. white for emphasis


CORPORATION OF LLOYD’S COLOUR PRIMARY COLOURS ON white backgrounds 3.5

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On white backgrounds a single primary colour can be combined effectively with black for emphasis. Primary colours are not to be seen together, but to be applied on distinctly different parts or sections of an application. They are most effective when used to capture the audience’s attention and deliver key messages. Colour legibility (on white backgrounds)

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EFFECTIVE USE OF PRIMARY COLOURs. BLACK for emphasis EFFECTIVE USE OF PRIMARY COLOURs. BLACK for emphasis EFFECTIVE USE OF PRIMARY COLOURs. BLACK for emphasis

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S COLOUR PRIMARY COLOUR backgrounds 3.6

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On backgrounds created with the Lloyd’s primary colours, black can be combined effectively with white to highlight emphasis against the background. Primary colours are not to be seen together, but to be applied on distinctly different parts or sections of an application. They are most effective when used to capture the audience’s attention and deliver key messages. Within an application, large solid areas of a single primary colour can also be used (see Section 7).

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Fine detail in small type and keylines should be carefully considered for legibility when using colour.

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EFFECTIVE USE OF PRIMARY COLOURs.

EFFECTIVE USE OF PRIMARY COLOURs. white for emphasis

EFFECTIVE USE OF PRIMARY COLOURs.

EFFECTIVE USE OF PRIMARY COLOURs. white for emphasis

EFFECTIVE USE OF PRIMARY COLOURs.

EFFECTIVE USE OF PRIMARY COLOURs. white for emphasis

Colour legibility

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’S COLOUR Supporting colours 3.7

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Pantone®*

Process colour (CMYK)

Online RGB (0-255)

Online Hexadecimal

Pantone 716C

C0 M60 Y100 K0

R255 G153 B0

FF 99 00

The supporting colours will only be used for small areas, so the palette consists of a number of bold colours that will reproduce and display legibly in small amounts.

Pantone 583C

C30 M0 Y100 K10

R168 G181 B10

A8 B5 0A

Pantone 7468C

C100 M10 Y0 K28

R0 G120 B156

00 78 9C

Pantone 173C

C0 M80 Y80 K0

R212 G71 B15

D4 47 0F

No other colours or tints of these supporting colours should be used.

Pantone 7447C

C60 M58 Y0 K19

R102 G74 B120

66 4A 78

Pantone 605C

C0 M2 Y100 K7

R222 G204 B18

DE CC 12

The supporting colours should only be used on complex information graphics, graphs and charts.

Pantone 632C

C92 M0 Y15 K5

R0 G158 B186

00 9E BA

Pantone 513C

C44 M83 Y0 K0

R156 G26 B135

9C 1A 87

A palette of supporting colours has been developed for use with complex information graphics, graphs and charts.

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Colour reproduction and specification In lieu of Lloyd’s supporting colours you may use the Pantone®* references shown on this page. The standards are included in the current edition of the ‘Pantone Color Formula Guide 1000’. Custom CMYK, RGB and Hexadecimal breakdowns are included in the table (right).

Brand Guidelines for The Corporation of Lloyd’s 10.05 Version 1.0

Lloyd’s supporting colour

The colours shown on this page and throughout this document are not intended to match the Pantone Color Standards, either through their on-screen display or subsequent colour output to hard copy. Please consult current Pantone publications for accurate colour swatch references. *Pantone is a registered trademark of Pantone, Inc.

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CORPORATION OF LLOYD’S COLOUR USING THE SUPPORTING COLOURS 3.8

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Typical uses for the supporting colours are in complex information graphics, graphs and charts or for items that need colour coding – and we have shown some examples here. No other colours or tints of the supporting colours should be used.

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1 Lloyd's Blue (Pantone 637C)

00.0 00.0

00 00

00.0

00.0

00.0

00.0

00.0

00.0

00.0

00

00.0

00

00 00 00 00 00 00

Jan 03

93

94

95

96

97

Worldwide insurance industry

98

99

00

US Insurance industry

US Insurance industry

Bermudian insurance industry

Bermudian insurance industry

Alternative chart from PowerPoint®

Graph example 9 (30 pt Arial) Graph heading 45 40 35 30 25 20

9 Pantone 605C

15 10 5 0

10 Pantone 632C

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Q1 2003

one seven

two eight

Q2 2003

three nine

four ten

Q3 2003

five eleven

Q4 2003

Q1 2004

six

Source: Lloydís, as at 31 December 2002 (10 pt Arial, see user guide)

9

Presentation name 00 March 2005

01

02

03

04

year

Other corporate

Trade investors

U.K non-listed

Private individuals (limited liability)

U.K listed

Private individuals (unlimited liability)

Worldwide insurance industry

8 Pantone 7447C

11 Pantone 513C

Jan 04

00

6 Lloyd's Yellow (Pantone 610C)

Three additional colours may be used where strictly necessary to communicate the information:

15.0

14.4

00.0

00.0

5 Pantone 7468C

7 Pantone 173C

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2 Lloyd's Red (Pantone 682C)

4 Pantone 583C

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£bn

Capacity £bn

00

3 Pantone 716C

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Examples of supporting colour use in graphs

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Order of colours A preferred order of colours has been defined for use in PowerPoint® presentations. This order incorporates the three Lloyd’s primary colours, providing a set of 11 colours in total:

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© Lloydís

Source: Lloyd’s Finance Department, April 2004

year


CORPORATION OF LLOYD’S TYPOGRAPHY INTRODUCTION 4.0

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THE LLOYD’S TYPEFACES

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An important part of building a strong and distinctive visual identity is the consistent and correct use of the typefaces. Lloyd’s has developed its own unique primary typeface (Sansa Lloyds*), but the supporting typefaces are also very important in maintaining a constant ‘look and feel’. 4.1 Primary typeface (Sansa Lloyds) 4.2 Secondary typeface (Vectora) 4.3 Typeface for shared applications (Arial)

* The omission of the apostrophe in the Lloyd’s name is due to the technical restrictions associated with implementing the font. This is the only instance where the apostrophe may be omitted. Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S TYPOGRAPHY primary typeface (sansa lloyds) 4.1

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Lloyd’s primary typeface has been specially created to capture the ‘tone of voice’ of the brand. Sansa Lloyds is a ‘font’ of just capital letters. There are no lower case letters. This alphabet has been specially created to be typeset in the sizes and spacing for Lloyd’s.

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It should never be distorted or modified in any way or applied in any alternative colours to those of the Lloyd’s core and primary colour palette. Using Sansa Lloyds Sansa Lloyds must only be used sparingly and effectively. Its role is to capture and convey key messages to our audiences. It should never be used as body text. Typesetting specification Always typeset Sansa Lloyds ranged left with close visual line spacing and close character spacing (see the example, right) and never use below 10pt in size.

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Never allow Sansa Lloyds to be used at a size and/or colour which restricts the legibility of the message (see colour legibility tables, 3.4 to 3.6).

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Sansa Lloyds typeface

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abcdeFG 12345678 &£@$?!*; Sansa Lloyds specially-drawn alphabet

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Correct character and line spacing example

This example shows correct character and line spacing Incorrect character and line spacing example

This example shows INcorrect character and line spacing Incorrect use of Sansa Lloyds as a text size

Sourcing the Sansa Lloyds typeface You can obtain Sansa Lloyds in a number of font formats by contacting Lloyd’s Brand Strategy.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

SANSA LLOYDS SHOULD NEVER BE USED AS BODY TEXT OR IN A size OR COLOUR WHICH RESTRICTS LEGIBILITY (SEE COLOUR LEGIBILITY TABLES ON PAGES 3.4 TO 3.6)


CORPORATION OF LLOYD’S TYPOGRAPHY SECONDARY TYPEFACE (vectora) 4.2

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A secondary ‘supporting’ brand typeface has been selected for use with all professionally designed applications (eg, through external design and production agencies). Using Vectora Vectora may be used in a number of styles (see right). For body copy and general text content, Vectora Light and Roman (along with their respective Italics) should be used. Subheads may be specified in Vectora Bold. Vectora Bold Italic, Black and Black Italic are not approved styles and should not be used. Typesetting specification As body text, Vectora should be typeset with a standard character and line spacing and should always offer maximum legibility to its audience. Letterspacing and justification which results in wide or non-uniform word spacing should be avoided. Never allow the Lloyd’s brand typefaces to be distorted or modified in any way and always take care to apply the type in appropriate sizes and colours (see colour legibility tables on pages 3.4 to 3.6). Sourcing the Vectora fonts If you do not already have these standard cuts of Vectora and require further information on how to license them, please contact Lloyd’s Brand Strategy.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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Vectora 45 Light

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;’”><!?@&*)

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Vectora should be typeset with a standard character and line spacing and should always offer maximum legibility to its audience.

Vectora 46 Light Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;íî><!?@&*)

Letterspacing and justification which results in wide or non-uniform word spacing should be avoided.

Vectora 55 Roman

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;’”><!?@&*)

Never allow the Lloyd’s brand typefaces to be distorted or modified in any way.

Vectora 56 Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;íî><!?@&*)

Never use Vectora in Lloyd’s Yellow on a white background.

Vectora 75 Bold

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;’”><!?@&*)

Never use Vectora in Lloyd’s Red on a black background.


CORPORATION OF LLOYD’S TYPOGRAPHY TYPEFACE FOR SHARED APPLICATIONS (ARIAL) 4.3

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Many Lloyd’s applications are created in a digital environment and are shared between internal and external users. These users will not always have fonts such as Vectora on their computer systems. Non-availability of fonts risks our messages being displayed and reflowed in random default typefaces. To counter this risk, all shared applications are produced using the desktop standard Arial fonts in Regular, Regular Italic and Bold weights only. Typical examples of these applications are on-line (web) pages, presentations, word processing documents and spreadsheets which might be sent and shared with other parties. If you are in any doubt about which fonts to use for a specific application, please contact Lloyd’s Brand Strategy.

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Professionally designed and printed applications should always use Sansa Lloyds and Vectora fonts and should never use Arial fonts without the express permission of Lloyd’s Brand Strategy.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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Arial Regular

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;íî><!?@&*) Arial Regular Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;íî><!?@&*)

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Arial Bold subhead Text should be set in Arial Regular, ranged left and with regular line spacing and character spacing. Avoid justified and/or letterspaced text. When emphasis is required Arial Regular Italic may be used – but never use Arial Bold Italic, Arial Black or Arial Narrow. Allow a full linespace before subheads Bold may also be used to emphasise table headings or aid legibility at smaller sizes or when reversing type out of a colour.

Arial Bold

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (.,:;íî><!?@&*)

An additional half line of spacing appears between paragraphs within a block of text.


CORPORATION OF LLOYD’S BRAND LANGUAGE INTRODUCTION 5.0

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MAKING EVERY WORD COUNT

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When people talk about brands, they often give the impression that communicating what they stand for is mostly do with visual things such as logos, corporate colours and fonts. But we believe that the strongest brands are those that also use words in a way that conveys their distinctive essence. And our entire brand communication system has been developed on that basis: that the visual and the verbal should work hand in hand to communicate, coherently and compellingly, what makes Lloyd’s different. We believe that every word we use in our communications – every email, every letter, every report or proposal – can make a difference to the way Lloyd’s is perceived. The Lloyd’s Brand Language Guide has been produced as Appendix A to these guidelines. Please take time to read the guide carefully, and be sure to refer to it regularly when you’re writing anything that represents our brand. 5.1 Business communication basics 5.2 Our brand idea 5.3 Brand personality 5.4 Brand values

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’s BRAND LANGUAGE BUSINESS COMMUNICATION BASICS 5.1

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Understand your audience Be clear about your objective

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The six basic principles of good business communication 1 Use everyday language It’s always better to use the simple everyday term – the word or phrase that an intelligent, articulate person would use in conversation – than a longer word with the same meaning. 2 Keep it personal Good writing sets out to create a relationship and a rapport with the reader. One of the most important ways it does this is by addressing the reader directly and personally, using the first person (I or we) whenever possible, and even more important addressing the reader as “you”. 3 Be engaging Here, we’re talking about going further than keeping it personal; we’re talking about the critical importance of making your readers feel that you understand their point of view, and are addressing their interests and priorities. 4 Assume intelligence There’s no easier way to alienate readers than by patronising them, or by writing in a way that insults their intelligence. However little knowledge your audience may have of the subject in question, always assume that you are addressing intelligent individuals. 5 Make it easy These days, everyone has too much to do and too little time. So, whatever you’re writing, you should always assume that your readers are busy, and have other things they could or should be doing. It follows that you should do everything you can to make it easy for them to get what they need out of what they are reading. 6 Less is more Never tell your audience more than they need (or may be interested) to know. Is everything relevant from the reader’s point of view? And, if so, do they need to know it now (or could it wait until a later stage in our business relationship)?

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’s BRAND LANGUAGE OUR BRAND IDEA 5.2

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CONSTANT ORIGINALITY

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Lloyd’s brand idea: Constant originality Our brand idea is not a slogan or a strapline. It is the essence of what makes Lloyd’s different – and the thought that underpins everything we do. Constant • good faith • reliability • consistency • security

Originality • creativity • individuality • authenticity • adaptability

For more detailed information on ‘constant originality’ please refer to Lloyd’s Brand Language Guide (Appendix A).

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’s BRAND LANGUAGE BRAND PERSONALITY 5.3

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CONFIDENCE AND FLAIR

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Our brand personality: Confidence and flair How should our brand personality be brought alive in the words that we use? We believe there are three key elements involved. To communicate Lloyd’s ‘confidence and flair’ our language should be: • • •

Assertive, but not arrogant Calm, straightforward, matter of fact Understated (classically British)

For more detailed information on communicating our brand personality please refer to Lloyd’s Brand Language Guide (Appendix A).

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’s BRAND LANGUAGE BRAND VALUES 5.4

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No communication is likely to reflect all four brand values, so it’s important to be aware which is most relevant to the task in hand. While the language you use should reflect one or more of our brand values, it’s even more important that nothing you write should contradict any of them.

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Our four brand values Our four brand values will influence the way we write about the Lloyd’s brand: 1 Appetite for risk This is best communicated by specific instances, rather than reckless-sounding claims. The more extreme the risk, the more important it is to be calm, matter of fact, and understated in the way we talk about it. 2 Expertise and intuition Tell your audience something Lloyd’s has done that demonstrates these qualities. In order to convey a sense of our expertise and intuition, we need to sound warm and human; professional, but not pompous or self-important. 3 Agility The unique structure of Lloyd’s makes us quick on our feet. Direct, energetic writing helps to communicate this. 4 Dependability Lloyd’s is trusted because for over 300 years, we have delivered on our promises. Nothing you write will destroy this reputation, but any attempt to mislead your reader, or obscure your true meaning, may damage it. Hyperbole can hurt us. It’s always better to under-promise and over-deliver. For more detailed information on communicating our brand values please refer to Lloyd’s Brand Language Guide (Appendix A).

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’s IMAGERY INTRODUCTION 6.0

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lloyd’s imagery

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Imagery has an important role to play. It should enhance and support the brand idea (constant originality), conveying quality and a clear message. One image is better than many. Black and white is preferred over colour. 6.1 Principles 6.2 Black and white or colour 6.3 People 6.5 Events 6.6 Risk insured 6.7 About Lloyd’s 6.8 Nimbus 6.9 Metaphors – the principles 6.10 Metaphors – 1 & 2 6.11 Metaphors – 3 & 4

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S imagery principles 6.1

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Lloyd’s imagery is: – real, un-posed, direct – confident and engaging – not manipulated or contrived – one image is preferred to many – black and white is preferred to colour – has a strong focal point It must consistently reflect the Lloyd’s idea and personality: constant originality, confidence and flair. Any image that looks mediocre through subject or crop is not appropriate. Before selecting a picture ask yourself these questions: – does the image deliver the message? – is it the best image I can find for the subject? – how can I use this image to the best effect? – should it be in black and white or in colour? – should it be large or small? – have I used the most powerful crop?

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S imagery black and white or colour 6.2

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When considering imagery, large black and white images are preferred. If necessary, the black and white imagery can be accompanied by colour imagery, but there should be a clear reason for using colour. Colour imagery should be used to support the black and white imagery and not compete with it. This approach applies to all applications including print, PowerPoint® and on-line.

A spread from the 2004 Annual Report showing the relationship between large and small imagery – black and white, and colour

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

The tradition of Lloyd’s is captured more powerfully by this image being in colour. The impact would have been lost in black and white.


CORPORATION OF LLOYD’S imagery people 6.3

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The list of criteria below will help as a reminder of what to look for when choosing an image: – real people – capturing a moment in time – natural and spontaneous – with depth and perspective – consider the crop – avoid clichés and stereotypes

A posed image, the subject remote and unnatural

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Situation has been staged

Using the phone as a prop with people acting inappropriately

Angled cropping to improve a very poor composition


CORPORATION OF LLOYD���S imagery people 6.4

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The same principles apply when photographing more than one person: – real people – consider how they relate – capture a moment in time – keep it natural and spontaneous – with depth and perspective – consider the crop – avoid clichés When photographing a large group of people it is still appropriate to follow the same approach. It is just as important to keep the group natural and spontaneous and to consider depth and perspective. Avoid placing a group in a long line facing the camera. Also take care not to let the location dominate. Another way to approach a group is to take a set of shots in groups of one, two or three and place them together in a dynamic layout. This way you can ensure everyone looks good.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S imagery events 6.5

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A wide range of activities are captured under ‘events’, from charity functions to conferences. However, the criteria remain the same when selecting or commissioning a specific image: – important to capture the spirit of the event – needs to look well populated – people should be engaged with the event – keep image simple – natural and spontaneous – with depth and perspective If there is an identity/name for the event, capture it in context, on an exhibition panel or ticket, etc.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Considered cropping can be used to make images as powerful as possible. In this image, there are currently several focal points which distract the viewer.

With careful cropping, the girl becomes the clear focal point, and the image is strengthened.

The image appears posed and unnatural

Texture has been added to the image

Arty image, does not communicate a clear message

Flat image with little consideration of the composition


CORPORATION OF LLOYD’S imagery risk insured 6.6

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When choosing an image, make sure it: – is about real life – delivers impact – captures a moment in time – engages the viewer – tells a story Steer away from the ordinary and expected. Although disasters may be more immediate and dramatic, it is also worth considering the major advances and events that Lloyd’s have enabled. These make powerful stories and can use dramatic images.

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A compelling story that attracts the viewer’s interest

Interesting proportions between subject and background creating depth and perspective

Information presented in a clear and dramatic way

A sense of drama is achieved by using scale to change a viewer’s perspective

An image with no context, no obvious clue

It is hard to work out what is going on here

Is this a holiday palm or a symbol of devastation

Hard to believe this is an Olympic swimmer, posed and out of context

It is important to be sensitive to the content of an image depicting a disaster. It is not appropriate to exploit an individual’s suffering.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’S imagery about lloyd’s 6.7

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The Lloyd’s building is an iconic landmark, make sure the imagery reflects its stature. When selecting an image: – look for the most dramatic angle to show both form and function – do not distort or manipulate – make sure there are no distracting elements.

The location is not evident in the image, it could be anywhere

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Colour manipulated image

There is no focal point

The image has been distorted


CORPORATION OF LLOYD’S imagery nimbus 6.8

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Expertise and Intuition

Global

Risk appetite

Strength

Two chess pieces as ornaments, rather than on the board as the game

The globe on its own is all you need to convey the message

Manipulated image is weak and ambiguous

Staged and lacks subtlety

Nimbus imagery has been created by Lloyd’s employees for Lloyd’s. It is part of an ongoing initiative to build an image library. It is to be used internally at Lloyd’s, and when possible the photographer should be credited. The Nimbus imagery is grouped into helpful categories and can be accessed from the Lloyd’s menu within microsoft word, excel and powerpoint.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05


CORPORATION OF LLOYD’S imagery METAPHORS – THE PRINCIPLES 6.9

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It has been important to create a distinctive way for Lloyd’s to visually represent abstract ideas. This is an area where clichés abound, so take care. There are four possible ways to approach a metaphor for Lloyd’s: 1 To use an appropriate image of a literal idea (eg, the world for ‘global’). 2 To use an appropriate image of an abstract idea (eg, a secure knot for dependable). 3 To use an appropriate image of the Lloyd’s building to represent an abstract idea (eg, a pillar for strong foundations). 4 To use an appropriate image of Lloyd’s people to represent an abstract idea (eg, an attentive person for gut feeling). The detail on how to use these images correctly is outlined on the next two pages.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

1 Literal imagery

2 Abstract – using general imagery

3 Abstract – using the Lloyd’s building

4 Abstract – using Lloyd’s people


CORPORATION OF LLOYD’S imagery METAPHORS – 1 & 2 6.10

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When thinking of an image, think in conjunction with an appropriate word or phrase. It should help make the metaphor clear.

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anguilla to zimbabwe It is important to choose the right image. This globe is small time and sits on a desk...

Before selecting an image, ask yourself these questions:

This globe orbits in space...

It would be pointless and ‘off brand’ to caption this image ‘global’. The copy shown makes the image specific to Lloyd’s and more engaging.

2

Ensure the language is on brand – see the ‘Brand language’ section in this document.

dependable The crop of the image is important. Here the knot looks weak...

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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where THE WORLD TAKES RISKS

When an image is more lateral, the caption should be more literal, as shown.

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1

When an image is literal (as with the globe), the word/s should be lateral. As shown, it is not correct to place the word ‘global’ on this image.

– does the image deliver the message? – does it need a word/phrase to make it relevant? – is it the best image I can find for the subject? – how can I use this image to the best effect? – should it be large or small? – have I considered the crop? – have I considered how text sits on the image? – have I avoided clichés?

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Here the knot looks powerful and can now support the following caption...

Here the caption is literal to make the lateral image immediately relevant.

Words alone can also be very powerful.


CORPORATION OF LLOYD’S imagery METAPHORS – 3 & 4 6.11

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There is a rich source of imagery within Lloyd’s that would be powerful to use. This helps make these metaphors particularly relevant and unique to Lloyd’s.

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1

PEACE OF MIND

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strength

When thinking of an image, think in conjunction with an appropriate word or phrase. It should help make the metaphor clear. Before selecting an image, ask yourself these questions: – does the image deliver the message? – does it need a word/phrase to make it relevant? – is it the best image I can find for the subject? – how can I use this image to the best effect? – should it be large or small? – have I considered the crop? – have I considered how text sits on the image? – have I avoided clichés?

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Ensure the language is on brand – see the ‘Brand language’ section in this document.

The word/phrase does not always need to sit on top of the image, it can sit alongside.

2

know how

a fresh approach

gut feeling The people make Lloyd's special. To make the images powerful and not ordinary, the cropping must be powerful.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Do not worry about people being unrecognisable in bold crops. The overall message is what is important.

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originality


CORPORATION OF LLOYD’S imagery where to find the imagery 6.12

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Powerful imagery comes from good photographers. You can source good photography from commercial image banks, from recommended photographers or from the growing Lloyd's image bank. Commissioning a photographer is no different to a copywriter, architect or film maker; make sure they specialise in the subject you want covered. A good photographer takes a brief and invests time into planning the shot and interpreting that brief to the best effect. Confidence and flair in everything we produce is key.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S APPLICATIONS INTRODUCTION 7.0

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BRINGING THE ELEMENTS TOGETHER

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When applied consistently and correctly, the Lloyd’s identity is very distinctive. It has the ability to convey clear messages about our organisation and to build, and maintain, a strong reputation with our audiences. The following section brings together some examples of applying the basic elements together within applications. 7.1 Publications 7.3 Stationery 7.4 PowerPoint® presentations 7.5 Events

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S APPLICATIONS pUBLICATIONS 7.1

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The examples on this page show how the basic elements are applied across different publications.

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Annual Report cover, single-page and double-page spread (at 18% actual size)

Each cover, page or spread brings together combinations of type, colour, tone of voice and imagery. The overall impression is one of recognisable consistency for the Lloyd’s brand.

Annual Report double-page spread (at 18% actual size)

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

Annual Review cover and single inside page


CORPORATION OF LLOYD’S APPLICATIONS pUBLICATIONS 7.2

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The examples on this page show the same use of the basic elements for 1/3rd-A4 publications. Each cover, page or spread brings together combinations of type, colour, tone of voice and imagery. The general ‘look and feel’ is in line with the examples shown on the previous page, reinforcing the consistency of the Lloyd’s brand.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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1/3rd-A4 front covers (at 20% actual size)

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CORPORATION OF LLOYD’S APPLICATIONS STATIONERY 7.3

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The examples on this page show how the basic elements are applied across Lloyd’s pre-printed stationery materials.

Examples shown at 40% of actual size

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S APPLICATIONS Powerpoint® presentations 7.4

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PowerPoint® presentations are a highly-visible manifestation of the Lloyd’s brand. As such, it is vital that they area visually consistent in how they use the basic elements of our identity. To aid the process of creating consistent presentations, a comprehensive template has been made available. This template includes a number of typical examples (some of which are shown on this page). Always respect the presentation template designs when creating presentations. Try not to place too many words onto a single slide and also avoid the use of low-quality or inappropriate images or illustrations.

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Bullet - version 1 (30 pt Arial)

TITLE TO GO HERE

INSERT A STATEMENT HERE TO A MAXIMUM OF FOUR LINES.

All bullet points are 18 pt Arial Bullet points should be constrained to a maximum of two lines where possible This is a second level bullet point, also 18 pt Arial

00 Month 2005

Click on this text box and Select All (Ctrl+A) to select all the text for easy editing - Third level bullet points are 18 pt Arial - Third level bullet points should also be constrained to a maximum of two lines

2

Title slide

© Lloydís

Typical bulleted text slide

Basic text table 1 (30 pt Arial)

3

Presentation name 00 March 2005

© Lloydís

Punctuation/statement slide

Text with picture right (30 pt Arial)

Table heading if required (18 pt Arial)

Bullet points for this slide type are 18 pt Arial 2002

Most importantly, never adapt the approved presentations to form a modified style.

Presentation name 00 March 2005

2003

Stat. 1 (14 pt Arial)

£10,000

£10,000

Stat. 2 (14 pt Arial)

£10,000

£10,000

Stat. 3 (14 pt Arial)

£10,000

£10,000

Stat. 4 (14 pt Arial)

£10,000

£10,000

Stat. 5 (14 pt Arial)

£10,000

£10,000

Stat. 6 (14 pt Arial)

£10,000

£10,000

Bullet points should be constrained to a maximum of 4 lines Click on this text box and Select All (Ctrl+A) to select all the text for easy editing Bullet points for this slide type are 18 pt Arial

Source: Lloydís, as at 31 December 2002 (10 pt Arial, see user guide)

4

Presentation name 00 March 2005

© Lloydís

Basic table slide

5

Presentation name 00 March 2005

© Lloydís

Text with image slide

6

Presentation name 00 March 2005

© Lloydís

Full image slide

Graph example 1 (30 pt Arial)

CHAPTER NAME HERE

Graph heading if required (18 pt Arial) 100

80

60

40 % Growth

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20 0 One

Lloydës

Two

Three

Four

Five

Six

Companies Source: Lloydís, as at 31 December 2002 (10 pt Arial, see user guide)

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Presentation name 00 March 2005

Chapter/divider slide Brand Guidelines for The Corporation of Lloyd’s 31.10.05

© Lloydís

8

Presentation name 00 March 2005

Typical bar chart slide

© Lloydís

9

Presentation name 00 March 2005

Closing/signature slide

© Lloydís


CORPORATION OF LLOYD’S APPLICATIONS EVENTS 7.5

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A wide range of displays and applications may be required when hosting and participating in events. It is important to consider Lloyd’s role and involvement in each event and to ensure that an appropriate level of brand visibility is applied. The examples on this page show how the basic elements are applied across some typical events applications.

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S further information

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NEED HELP OR WANT TO PROVIDE SOME FEEDBACK?

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To provide feedback, share information or seek answers to questions you may have about the implementation of the Lloyd’s brand, please contact: Nileema Allerston Brand Development and Protection Manager Lloyd’s One Lime Street London EC3M 7HA Telephone +44 (0)20 7327 5015 Fax +44 (0)20 7327 5229 Email nileema.allerston@lloyds.com Ian Dodds Brand Communications Manager Lloyd’s One Lime Street London EC3M 7HA Telephone +44 (0)20 7327 5439 Fax +44 (0)20 7327 5229 Email ian.dodds@lloyds.com or email brandstrategy@lloyds.com

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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CORPORATION OF LLOYD’S appendix a brand language guide (A)

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MAKING EVERY WORD COUNT

Brand Guidelines for The Corporation of Lloyd’s 31.10.05

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The Lloyd’s Brand Language Guide has been produced as Appendix A to these guidelines. Please take time to read the guide carefully, and be sure to refer to it regularly when you’re writing anything that represents our brand.


Lloyd's Brand manual