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
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.
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.
DO
 Maintain a subtle color contrast. Keep the lines center-aligned. |
 Use a color-filled box behind any type, ensuring no letters fall directly on the grid. |
 Stack photography directly in the center of the grid. |
DO NOT
 Avoid stark color contrast, and do not increase the stroke weight. |
 Do not allow the type to fall on top of the grid. |
 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.
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.
DO
 Maintain a subtle color contrast. Keep the pattern center-aligned. |
 Add an outer glow or color block behind the text to knock out the background lines. |
 Stack photography directly in the center of the graphic. |
DO NOT
 Avoid stark color contrast, and do not increase the stroke weight. |
 Do not set text directly over the background 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.
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.
DO
 Maintain a subtle color contrast. Keep the pattern center-aligned. |
 If adding text is necessary, add a color-filled box behind the lines. |
 Stack photography directly in the center of the grid. |
DO NOT
 Avoid stark color contrast, and do not increase the stroke weight. |
 Do not allow the type to fall on top of the lines. |
 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.
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.
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.
 Do not mix and match patterns. Use only one pattern per layout. |
 Do not alter the linework. |
 Do not scale the linework disproportionately. |
 Do not tilt the lines from their original angle. |
 Do not create new patterns. |
 Do not increase or decrease the original stroke weight. |
 Do not change the style of stroke. |
 Do not delete elements of the linework that disrupt the pattern’s flow. |
 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.
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.
 Always start with either simple or complex lines. |
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 Step 1: Separate the lines, leaving room for text and images. |
 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. |
 Step 3: Disperse the lines – heavier on the left and lighter on the right – to achieve a look of increasing speed. |
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 Step 4: Add a mixture of texture and hero images. Vary the scale and height of the photos for a sense of playfulness. |
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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.
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.
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.
 Do not use images of the same width and scale. |
 Do not use too many lines. |
 Do not simply bookend the images with lines – intersperse the pictures and lines together. |
 Keep the lines near the horizontal center of the page. Do not misalign them haphazardly. |
 Do not use too few images – aim for at least three photos to create visual movement. |
 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.
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.
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.
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.
DO
 Select photos with lots of negative space and even colors and contrast. |
 Use objects within the photo to frame the path of the map. |
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top 2/3 bottom 1/3 |
DO NOT
 Do not use busy-looking photos with harsh contrast. |
 Do not use the faces of people. Only use hands if it helps to illustrate the story further. |
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
 Select images that use even patterns and lines. |
 Select images with ample negative space. |
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DO NOT
 Don’t use images that are busy or overly distracting. |
 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.
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
 No shapes other than the approved list can be used in kinetic energy maps. |
 All text should sit comfortably inside the approved shapes. |
LINES
 Do not create “S” curves. |
 Do not cross curves. |
 Do not loop curves. |
COLORS
 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.
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 (8.5×11) Covers, long passages of text, text, and images |
 3-column grid (8.5×11) Covers, long passages of text, text, and images |
 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 (8.5×11) Complex layouts with text, images, and graphics Pages with small text |
 Samples |
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