Graphic Elements

Our momentum inspires our graphic elements. Structured and expressive, these visual components represent UF moving upward and onto the next discovery. In this way, they reflect our work at the University of Florida.

MOMENTUM LINES

LINES IN SPREADS

TIMELINES

USING THE LINES

KINETIC ENERGY MAPS

COMPOSITIONAL GRID

MOMENTUM LINES

Momentum starts in Florida and spans across coastlines and throughout the world. Momentum lines help to tell the story of the ripple effect felt by our university’s impact.

These vector lines help to anchor our type and images to the compositional grid and to create balance and unity among additional compositional elements.

Momentum lines will help direct the reader’s eye around the composition, so selecting the line option that works best for your layout is essential.

TIP: In the Transparency Settings of InDesign, play with the gradient feather setting to soften the edges of the momentum lines. This will help to make the lines feel endless.

samples of perspective lines, radial lines, upward lines, and forward lines

PERSPECTIVE LINES

Perspective lines are great for grabbing a reader’s attention. The solid and directional angles draw the eye toward the center of the composition. Because of this, it’s essential to place any copy or photos at the center of these grid lines. Do not place lines on top of the photography.

Samples of Perspective Lines

DO

Subtle color contrast
Maintain a subtle color contrast. Keep the lines center-aligned.
color box behind text
Use a color-filled box behind any type, ensuring no letters fall directly on the grid.
photography stacked in center of grid
Stack photography directly in the center of the grid.

 

DO NOT

stark contrast of perspective lines
Avoid stark color contrast, and do not increase the stroke weight.
type incorrectly placed on grid
Do not allow the type to fall on top of the grid.
incorrect photo leading lines
The lines should serve as more of a directional element than a decorative one, leading the eye to the center.
PERSPECTIVE LINE TEMPLATES

We’ve created a library of generic templates to make the design process faster. This library is not exhaustive and should continue to grow as more pieces are created. These layouts are good starting points, but each will require adjustments based on the piece’s unique content and size.

Download Templates

examples of perspective line templates

RADIAL LINES

Radial lines emphasize Florida’s ongoing impact around the world. These lines work best as a background texture behind short lines of copy or photography. Do not place lines on top of the photography.

radial line samples

DO

use subtle colors
Maintain a subtle color contrast. Keep the pattern center-aligned.
use an outer glow on text
Add an outer glow or color block behind the text to knock out the background lines.
stack photos in center
Stack photography directly in the center of the graphic.

 

DO NOT

stark color contrast
Avoid stark color contrast, and do not increase the stroke weight.
text set on radial lines
Do not set text directly over the background lines.
multiple photos on radial lines
Do not place multiple photos on top of the pattern unless they are stacked.
RADIAL LINES TEMPLATES

We’ve created a library of generic templates to make the design process faster. This library is not exhaustive and should continue to grow as more pieces are created. These layouts are good starting points, but each will require adjustments based on the piece’s unique content and size.

Download Templates

Radial Line Templates

UPWARD AND FORWARD LINES

Florida’s momentum is constantly rising. With this in mind, upward and forward lines infuse energy and drive into any piece. These patterns work best as background textures behind short lines of copy or photography. Do not place lines on top of the photography.

upward and forward line examples

DO

subtle color contrast
Maintain a subtle color contrast. Keep the pattern center-aligned.
color box behind text
If adding text is necessary, add a color-filled box behind the lines.
stacked photos in center
Stack photography directly in the center of the grid.

 

DO NOT

stark contrast lines
Avoid stark color contrast, and do not increase the stroke weight.
type over lines
Do not allow the type to fall on top of the lines.
lines on top of images
Do not place lines on top of images.
UPWARD AND FORWARD LINES TEMPLATES

We’ve created a library of generic templates to make the design process faster. This library is not exhaustive and should continue to grow as more pieces are created. These layouts are good starting points, but each will require adjustments based on the piece’s unique content and size.

Download Templates

Upward and Forward Lines Templates

Templates Graphic

 

Download Templates

LINES IN SPREADS

PHOTO-DRIVEN LAYOUTS

When using momentum lines with photos, consider simplicity and readability. Place lines behind the images to help draw the eye around the page. The momentum lines must never dominate the overall content of the photograph or the other elements in the composition.

Lines In Spreads

Type-Driven Layouts

TYPE-DRIVEN LAYOUTS

Momentum lines are an easy way to add visual interest to simple layouts. Use lines as accent elements in negative spaces, and allow them to interact with typography to keep the reader’s eye moving across the page. 

UNAPPROVED USAGE

Here are a few practices to avoid in using momentum lines. Adhering to these rules will ensure that our linework is consistent and recognizable.

Note: Accessibility is an essential factor when designing with momentum lines. Typography should never be placed on top of momentum lines without guaranteed legibility.

mixed patterns
Do not mix and match patterns. Use only one pattern per layout.
altered linework
Do not alter the linework.
disproportionate scale
Do not scale the linework disproportionately.
tilted linework
Do not tilt the lines from their original angle.
new pattern
Do not create new patterns.
increased line weight
Do not increase or decrease the original stroke weight.
modified stroke
Do not change the style of stroke.
deleted elements
Do not delete elements of the linework that disrupt the pattern’s flow.
illegible type
Do not place illegible type on top of the linework.

TIMELINES

Timelines use a series of photos to tell a story of momentum from start to finish. By varying the scale and width of the photos, these graphics depict continuity and progression. Timelines derive from our momentum lines and use repeating vertical lines in a horizontal direction. The distance between lines should not be equal — gaps between lines and photos represent the “behind-the-scenes” time spent working on the idea. 

Tip: Many people and details contribute to a great idea. It’s essential to feature a variety of subjects in timeline photos. Be sure to show the faces of the Gators who worked through the idea and include detailed shots that further illustrate the subject. Varying photography styles aid in storytelling and make for a more compelling visual.

visual example of how to combine the vertical momentum lines with photographs to tell a timeline story

USING THE LINES

Creating a timeline is straightforward; achieve a similar result every time by following the steps below. It’s important to remember that the amount of photography and copy will dictate how simple or complex each timeline looks. We recommend that only experienced designers create new timelines.

simple and complex lines
Always
start with either simple or complex lines.
separate lines
Step 1:
Separate the lines, leaving room for text and images.
varied thick and thin lines
Step 2:
Vary the thick and thin lines by playing with their placements. This subjective process requires a keen design eye to achieve the right balance.
dispersed lines
Step 3:
Disperse the lines – heavier on the left and lighter on the right – to achieve a look of increasing speed.
photos added to lines
Step 4:
Add a mixture of texture and hero images. Vary the scale and height of the photos for a sense of playfulness.

 

VERTICAL TEMPLATES

We’ve created a library of generic templates to make the design process faster. This library is not exhaustive and should continue to grow as more pieces are created. These layouts are good starting points, but each will require adjustments based on the piece’s unique content and size.

Download Templates

Vertical Templates

Horizontal Templates

HORIZONTAL TEMPLATES

We’ve created a library of generic templates to make the design process faster. This library is not exhaustive and should continue to grow as more pieces are created. These layouts are good starting points, but each will require adjustments based on the piece’s unique content and size.

Download Templates

UNAPPROVED USAGE

Here are a few practices to avoid when building timelines. Adhering to these rules will ensure that our timelines are consistent and recognizable.

 

same size images
Do not use images of the same width and scale.
too many lines
Do not use too many lines.
bookend images
Do not simply bookend the images with lines – intersperse the pictures and lines together.
misaligned lines
Keep the lines near the horizontal center of the page. Do not misalign them haphazardly.
too few images
Do not use too few images – aim for at least three photos to create visual movement.
distracting background
Do not use a distracting background pattern.

KINETIC ENERGY MAPS

The University of Florida’s energy is kinetic. Here, ideas bounce off each other, unlikely pairings collide, and momentum shifts in unexpected ways, all in the pursuit of the greatest solutions. We can visually express this Rube Goldberg style of collaboration through kinetic energy maps. These designs move the reader from one point to another with arrows, shapes, and stories.

This graphic element is an excellent tool for telling stories of collaboration. The constant motion created by the shapes and arrows is eye-catching and works well on social media.

Keep these designs simple — too many ideas in one layout can feel frenetic. The intention is to quickly get the reader from the entry point of copy to the closing copy while offering them a fun ride of copy mashups along the way.

Tip: Think of these layouts like a Rube Goldberg machine. Visualize dropping a ball from the intro copy, and imagine it traveling down the path of shapes and arrows. If the ball can easily make its way from start to finish, your reader will likely be able to do the same.

 

Kinetic Energy Maps Example Image

MAP ELEMENTS

The table below shows the standardized stroke and shape types that should always be used. Most applications in Adobe Creative Suite have a contextual menu for strokes that should be used to customize lines.

As shown, the stroke type should always be solid, dotted, or dashed. The shape type should always be a circle, rectangle, diamond, or rounded rectangle. The weight of these elements is variable, depending on the size and scale of the piece.

what the line palette looks like in Adobe CC.

map elements: circles, rectangles, diamonds, rounded rectangles. stroke types: dashed, dotted, solid.

what the arrow palette looks like in Adobe CC.

ARROW GUIDELINES

Lines and arrows are a great way to guide navigation within a kinetic energy map or to emphasize a word or phrase. They also convey process and place, reinforcing the concept of one idea leading to the next.

While lines seem like elementary graphic devices, applying them thoughtfully can elevate a design. An easy way to do this is to establish a standard weight for lines and arrows throughout an entire piece of collateral. Another is to ensure the weights consistently relate to another design element in the layout, like the weight of the text.

Note: For standard print pieces (around 8.5 by 11 inches), the rule weight should generally be 2 or 3 points and not exceed 5 points. This rule of thumb can be scaled up proportionally for larger pieces.

Arrow corners: straight, hard corner, rounded corners, custom curved lines. Arrow stroke types: Dashed, Dotted, Solid. Plus what the arrow palette looks like in Adobe CC.

PHOTO BACKGROUNDS

When creating a kinetic energy map, a background flood of orange or blue is often the most straightforward design solution. But by using a background image representing a location or purpose, we can further illustrate the idea of collisions and momentum from Florida. When designing a kinetic energy map with a background photo, use a single image representing the piece’s broader concept. The image must be simple, with about 2/3 of the image offering negative space. Avoid photos with distracting details within the negative space to achieve optimal legibility. The remaining 1/3 of the photo should be contextual, offering a sense of place or concept without being overly descriptive. Do not feature faces in these background photos.

Photo Backgrounds

DO

background photo with lots of negative space, even color, low contrast
Select photos with lots of negative space and even colors and contrast.
photo background that frames a map
Use objects within the photo to frame the path of the map.

 

two-thirds, one-third division of photo background  

 

 

 

 

 

 

top 2/3
negative space

bottom 1/3
contextual space

 

DO NOT

busy background photo
Do not use busy-looking photos with harsh contrast.
face in center of background photo
Do not use the faces of people. Only use hands if it helps to illustrate the story further.

Multi Color Backgrounds

MULTIPLIED COLOR BACKGROUNDS

Some images that work well for storytelling may have areas of stark contrast or distinctive details that lessen legibility. In these instances, we can apply a multiplied layer of our Core Blue on top of the image. This technique helps to even out the image and provides a clean background for the kinetic energy map. This technique works best on mostly grayscale images and will not work for all images. Photos that are too busy or detailed will distract from the map. Use this design style sparingly.

DO

background image with even pattern
Select images that use even patterns and lines.
background image with negative space
Select images with ample negative space.

 

sample of multiplied effects illustration of how the effects/transparency/multiply look when set properly.

 

DO NOT

background image that is overly busy
Don’t use images that are busy or overly distracting.
background image that is full color
Don’t use full-color photos.

 

HORIZONTAL AND VERTICAL TEMPLATES

We’ve created a library of generic horizontal and vertical templates to make the design process faster. This library is not exhaustive and should continue to grow as more pieces are created. 

The amount of copy will dictate the number and orientation of the shapes. The headline, body copy, logo, and call to action will also dictate the overall design. These layouts are good starting points, but each will require adjustments based on the piece’s unique content and size.

Download Templates

examples of horizontal and vertical templates

UNAPPROVED USAGE

Here are a few practices to avoid when building kinetic energy maps. Adhering to these rules will ensure that our maps are consistent and recognizable.

SHAPES

unapproved shapes
No shapes other than the approved list can be used in kinetic energy maps.
text outside the shape
All text should sit comfortably inside the approved shapes.

LINES

unapproved "s" curve
Do not create “S” curves.
unapproved crossed curves
Do not cross curves.
unapproved looped curve
Do not loop curves.

COLORS

unapproved multi-color shapes
All shapes must be shown in one color. Do not combine colors.

 

TEXTURE

Everything a student accomplishes at UF relates to many hours of learning and hands-on experience. The grit texture alludes to this idea. 

Increasing the size of this file can lead to an over-scaled grain pattern, so use caution when incorporating this element. Consider legibility when combining this element with color and type. This texture should be paired only with our core colors or gradients and not applied to photographs.

Note: Use the transparency setting. Multiply when applying the texture on top of colors.

texture setting window in adobe creative cloud

how the texture appears when multiplied over gradients

COMPOSITIONAL GRID

There are four standard column grids to choose from – 2-column, 3-column, 4-column, and 6-column. The content and layout of each piece will decide which grid works best in a given situation.

Tip: Not everything will fit perfectly in the grid; that’s okay. Grids are a foundation to build on, allowing for some flexibility.

2-column grid
2-column grid
(8.5×11)
Covers, long passages of text, text, and images
3-column grid
3-column grid
(8.5×11)
Covers, long passages of text, text, and images
4-column grid
4-column grid
(8.5×11)
Complex layouts with text, images, and graphics
Pages with a lot of callouts, details, and stats
5-column grid
5-column grid
(8.5×11)
Complex layouts with text, images, and graphics
Pages with small text
Page spreads using different compositional grids.
Samples