Design Guidelines

Stationery should be consistent campuswide. Please note the specific placement of each element. The official wordmark is placed prominently on the upper-left corner of each stationery item. The address block is left-aligned at the bottom. On the envelope, the department, college and address block is placed below the wordmark, noting the required area of isolation. On the business card, the individual’s name and degree(s) are placed beneath the wordmark. The areas of affiliation and college are left-aligned above the contact information. The secondary mark may be used on the reverse side of the business card.

SECONDARY LETTERHEADS

This image shows an example of a sub-identity letterhead.

PRIMARY COLORS

CSUN Red and Black are the “hero colors.” As such they should always play an important role on the page. Whether it’s highlighting the message or the most used color in a layout, these colors could be applied in various ways. Always use both colors for every audience and on all brand materials.

SECONDARY COLORS

You may use the secondary colors as background colors or “highlight” moments on a page. Pick and choose which colors work best for your layout. You do not need to use every secondary color on a spread. At times you may choose to not use any secondary colors. They are only to help with visibility on a page when red, black and white become too limiting.

TERTIARY COLORS

This palette is designed to only be used in subtle areas that complement the Primary CSUN Red and Black and secondary palette. Often only a small amount is needed and should never over power the primary palette. These colors often work good in overlay moments with photography or mixed in a gradient with the primary palette. Each color’s tint can be reduced to get the desired mix that works best with the Primary CSUN colors.

GRADIENTS

Gradients can be made only between the primary & secondary and primary & tertiary colors. These combinations may be used in specific circumstances, as long as the primary color is 75% dominant in the gradient.

CORRECT COLOR USAGE

If you would like, you may use as few as three colors, the primary CSUN red and black and a neutral color (or white). Using red as the main background color will help give your design the bold CSUN pride that it needs, especially applicable for undergrad, graduate and alumni audiences.

Pair tertiary colors with the primary palette to serve as a basis for a layout and to allow for the main palette to stand out on top. Use color boldly in applications to create space and impact, with areas of white and large areas of color. Select colors that align with the tone or theme of the communication.

When in doubt, use white — a key CSUN color and a neutral backdrop for content. Use color sparingly in patterns to prevent harsh contrasts. 

Like colors and imagery, fonts play an important role in the visual aspects of the university’s identity.

The only typefaces that should be used moving forward are those listed below. It’s important to keep the brand unified by using Formula, ATC Overlook and FS Lola whenever possible. Especially on all outward-facing marketing or advertising.

Formula is reserved exclusively for external print advertising.

Headline

Formula & ATC Overlook should primarily be used for headline treatments. Only use the weights listed below. Using bolder weights will help text feel more like a headline. 

Alternate Headline/Subhead

FS Lola should only be used occasionally for headline treatments. It would be best used when variation is needed for larger combination headlines. It may also be used for perspective type treatments.

Apex Serif: Body Copy 1

Apex Serif should be used for body copy. This serif pairs well with ATC Overlook and FS Lola, yet allows greater readability in long form copy. Do not use anything too bold or too light, otherwise it will not be easily readable. It should also be set at a size with reasonable leading so that it can be read in large blocks.

Georgia: Body copy 2

Georgia is a classic font, suitable for body copy in any scenario, but it especially pairs well when used with PP Formula to contrast its san serif angularity.

Helvetica: Body Copy 3

Atkinson Hyperlegible: Primary Web Font

Atkinson Hyperlegible is our preferred email and web-based font for enhanced user accessibility on screen. 

Script Fonts

Occasionally, a script font can be used for a more formal impression on communications, such as a Gala Invitation.

These script fonts can be used in headline lockups to separate two sections of a line. This works well with connecting words such as “yet” and “and.” You may also occasionally use these script fonts for headlines, where it’s appropriate for certain audiences, but never use script fonts for body copy. 

When the headline is used as the main image, use a variety of sizes, weights, etc. to create something that’s visually appealing and calls attention. Avoid using drop shadows and text effects where possible to prevent headlines from looking over-produced. 

For shorter headlines, use its scale to emphasize importance rather than variation in font weight. 

For certain marketing applications, it may be appropriate to play with prospective. Adding emphasis by light cropping of typography; integration of subjects into headlines; or rotation can help pique visual interest and emphasize key elements.

Legibility should always be the primary objective of body copy. Ensure body copy is always readable in the space that it occupies.

Longer sections of copy should utilize the Georgia or Apex Serif family to ensure maximum readability.

Break up long sections of copy with graphics or text such as quotes in order to keep the page engaging.

As a framing device, when appropriate, use line work to frame body copy. Left justified is the preferred paragraph orientation but use all line justification where appropriate.

For specific call-outs, quotes or mentions, use framing shapes like to contain important text for proper emphasis on busy backgrounds.

The sun, as a source of light, emergent energy, and radiant warmth, gives life to all inhabitants on earth. Just as the sun shines on all people, regardless of race, ethnicity, or background, it can serve as a symbol of inclusion and equality.

Education has the potential to empower individuals and shape their futures. The sun’s radiance is a reminder of the brilliance and potential within every student, waiting to be unleashed.

CSUN’s mission is to illuminate minds and ignite the futures of its students, empowering them to shine brightly in their chosen paths. For all those who attend CSUN, the futures will be BRIGHT.

The motifs below seek to emulate the same radiating energy form our earth’s sun, which directly correlates to the acronym of our university—CSUN is recognizable externally and synonymous with academic excellence and diversity.

Based on a 10”x10” grid system, these elements are designed to fit together like the patch work of a quilt. Using this grid system, users can design variations on these motifs for their own custom designs and patterns.

Variations in pattern are virtually endless, see the flanking swatches to see the variation possibilities. 

You may use the radiating motifs at varying widths, fills, strokes, and gradients, as long as the motifs are based on the grid system seen here.

Cropping and collaging are acceptable as long as the motifs are cropped in 2:1 ratios and strategically placed along the grid system lines.

Due to the robust graphic nature of these bold patterns, they should be used intentionally and with style. Be sure to include negative space in graphic composition and leave optimal room for headlines & typography. Align elements in the artwork to create a consistent visual rhythm. Alignment will strengthen and simplify the composition.

The use of fills is optional, as a stroke variation may suit a lighter, more sensitive composition depending on the audience. Always consider the end user and the compositional intent when applying bold patterns.

These patterns may be applied in our primary CSUN colors and tertiary palette as well.

Remember to keep a lot of white space in your compositions, and always try to create alignment between the different graphic devices and typography.

When applying graphics, a generous use of either white or black helps ground the vibrant graphics and CSUN colors. Always consider the application and audience when applying patterns.

When using graphic devices on digital interfaces, use them sparingly. Use as a light texture is preferred, especially when combined with photos.

Avoid overlapping patterns and typography with contrasting color.

Stick to a grid system that connects and respects the pattern’s interconnectedness with plenty of white space for additional elements.

Avoid overusing patterns and high contrasting colors.

When in doubt, treat patterns as lighter textures with analogous or or monochromatic color schemes.

Avoid busy patterns over busy imagery and overlaying too many graphics.

Give space to busy patterns and pictures. Allow patterns to blend and fade into imagery where appropriate.