Our Name

How to use the Cru Singapore name in writing:

  • “Cru Singapore” is the preferred way to present our organisational name. Use it when using sentence case.
  • WHEN USING ALL CAPS, PRESENT OUR NAME AS CRU SINGAPORE 
  • when using lowercase, present our name as cru singapore

Only use approved versions of the logo

Our symbol (the cross) and wordmark (“Cru”) were designed to work together: the symbol provides context that enables understanding of the Cru organisation and mission. It also helps us achieve maximum visual impact.

The Cru Singapore logo should never be redrawn or re-created in any way. The wordmark and symbol share a fixed proportional relationship – never scale or reconfigure the elements.


Minimum Clear Space and Size

Our logo requires appropriate “clear space” around it to achieve maximum visibility and clear identification of the logo. Objects and words inserted too closely will confuse the audience as to where the logo starts and ends.

If you are inserting words/images around the logo:

  • Step 1: Place the Cru Singapore logo on your page in its desired position and size
  • Step 2: Measure the height of “cru”. (x cm)
  • Step 3: Leave x cm of clear space all around the logo. This space should be devoid of any words or images.

Preferred full-color logos

On light backgrounds, the preferred version is our full-color logo. On dark backgrounds, the logo may be applied with a full-color symbol and white wordmark. Do not place the logo on imagery or on complex backgrounds.

 

Single-coloured logos for specific types of usage are available if needed.

If necessary, contact us for high-res versions of the logo for ministry use. 

How to use this guide

This guide introduces the visual tools we use to build the Cru Singapore brand. It provides simple and straightforward instructions on how to apply them in communications.
  1. Name
  2. Logo
  3. Brand Architecture
  4. Colour palette
  5. Typography
  6. Imagery

Logo Lock-Ups

Cru ministries are visually linked to our parent brand through the use of logo “lock ups”.

A lock up is a Cru logo that is “locked up” to a modifier descriptive text that contains the ministry or entity name. Modifiers always appear in the same font size and color This consistency enables us to maintain a visual linkage to the parent brand

Non-Campus Ministries

Modifier size

The modifier is typeset in Freight Sans Pro Medium, all capital letters. Cap height of the modifier is equal to two fifth the height of the “r” in the Cru wordmark.

 

Modifier placement

Modifiers are top aligned with the wordmark at a distance defined by the width of the upper-left corner in the Cru symbol The modifier should never exceed two lines.

Campus Ministry Local Chapters

Modifier size

The modifier is typeset in Freight Sans Pro Light, all capital letters. Cap height of the modifier is equal to one third the height of the “r” in the Cru wordmark. The modifier size and line spacing may also be calculated with the formula at right.

Modifier placement

Modifiers are left aligned below the wordmark at a distance equal to one third the height of the “r” in the Cru wordmark. It is preferable but not always possible that the modifier not extend past the right edge of the logo. If it is two lines, try to keep both lines reasonably similar in length. The modifier should never exceed three lines.

Calculate Cru Modifier Font Size

[width of logo in inches] x 10 = font point size

Calculate Cru Modifier Line Spacing

Line spacing is the distance from the base of one line to the base of the line above it.

[font point size] = [line spacing point size]


Brand Architecture


Parent organization

     

Examples: dominant master brand strategy

     

Examples: social media branding identity (to fit circular/square profiles)


 Examples: endorsed brand strategy

Simply put a brand architecture is the structure of brands within an organizational entity. A brand architecture defines the way brands within our portfolio are related and differentiated from each other and from our parent organization.

Dominant master brand

The Cru Singapore brand architecture is guided by a dominant “master brand” strategy, which demonstrates a direct visual link between
Cru Singapore our parent organization and Cru Singapore ministries (our sub brands).

This approach provides consistency and clarity helping audiences understand how our brands are connected

Endorsed brand

Some of our ministries and ministry resources have adopted an endorsement strategy which maintains a less prominent link to the master brand In these instances the entity maintains its own identity logo and appears with one of the following Cru Singapore endorsements:

  • “A Cru Singapore Ministry”
  • “A Cru Singapore Resource”

Colours

Primary colour palette

Our primary colour palette comprises Cru Gold, Cru Gray and generous amounts of white. These are the dominant colors on all our communications.

Cru Gold

SCREEN
RGB: 249–182–37
HEX: f9b625

COATED PAPER
Solid Ink: PMS 123 C
CMYK: 0–24–94–0

UNCOATED PAPER
Solid Ink: PMS 115 U
CMYK: 0–10–100–0

GRAYSCALE EQUIVALENT
K=22

Cru Gray

SCREEN
RGB: 98–96–98
HEX: 666062

COATED PAPER
Solid Ink: PMS Cool Gray 11 C
CMYK: 0–2-0-68

UNCOATED PAPER
Solid Ink: PMS Cool Gray 11 U
CMYK: 0–0–0–65

GRAYSCALE EQUIVALENT
K=65

White

SCREEN
RGB: 255–255–255
HEX: ffffff

COATED PAPER
CMYK: 0–0–0–0

UNCOATED PAPER
CMYK: 0–0–0–0

GRAYSCALE EQUIVALENT
K=0


 

Secondary colour palette

Always use our secondary color in addition to, not in lieu of, our primary color palette.

Our secondary colors are Cru Orange & Cru Singapore Red. While an important part of our brand identity, it can also be overwhelming if applied in large amounts. We limit these colors to secondary information such as call-outs or information graphics (eg. prominent areas on pie charts; larger data sets on bar charts).

Cru Orange

SCREEN
RGB: 221–125–27
HEX: dd7d1b

COATED PAPER
Solid: PMS 138 C
CMYK: 1–60–98–4

UNCOATED PAPER
Solid: PMS 145 U
CMYK: 0–44–100–7

GRAYSCALE EQUIVALENT
K=40

Cru Singapore Red

SCREEN
RGB: 190–15–52
HEX: be0f34

COATED PAPER
Solid: PMS 187 C
CMYK: 0–100-79-20

UNCOATED PAPER
Solid: PMS 200 U
CMYK: 0–100–63–12

GRAYSCALE EQUIVALENT
K=70


 

Accent colour palette

Always use our secondary color in addition to, not in lieu of, our primary color palette.

Our secondary colors are Cru Orange & Cru Singapore Red. While an important part of our brand identity, it can also be overwhelming if applied in large amounts. We limit these colors to secondary information such as call-outs or information graphics (eg. prominent areas on pie charts; larger data sets on bar charts).

Cru Deep Blue

SCREEN
RGB: 0–115–152
HEX: 007398

COATED PAPER
Solid: PMS 7468 C
CMYK: 98–6–10–29

UNCOATED PAPER
Solid: PMS 314 U
CMYK: 99–3–16–19

GRAYSCALE EQUIVALENT
K=50

Cru Bright Blue

SCREEN
RGB: 62–177–200
HEX: 3eb1c8

COATED PAPER
Solid: PMS 631 C
CMYK: 74–0–14–0

UNCOATED PAPER
Solid: PMS 3115 U
CMYK: 54–0–16–0

GRAYSCALE EQUIVALENT
K=27


 

Color proportion

Color proportion is all about how much “real estate” each color gets in a design space. Because our logo colours are all very intense, they compete with each other when used in equal proportions, creating a circus-like appearance.

Give Cru Gold, Cru Gray and White the greatest priority and space in your design. Add the secondary colours in a smaller proportion if needed. Then add the blues sparingly for accent.

Use the visual proportions to guide the balance of primary, secondary and accent colors within a design space.

Keep in mind that it is not necessary or desirable to use the full range of the palette in every design.

Use the visual proportions to guide the balance of primary, secondary and accent colors within a design space.

Typography

Primary applications (body text, headlines, captions) Freight Sans Pro

The Freight Sans Pro family is used for primary applications such as headlines, body text and captions. Headlines are set in Freight Sans Pro Light, all capital letters. All other text is set in sentence case.

Primary applications (body text, headlines, captions). Source: Phil's Fonts

Purchase fonts

Italic typography

Only use italic typography for specific purposes such as footnotes or publication titles (eg. source title in a footnote or publication title in a bibliography). Never use italics to highlight information. A more appropriate treatment for highlights is through the use of bold type or a change in color.


Secondary applications: Leitura Roman 3

Leitura Roman 3 is used for secondary applications such as call-outs and subheads. Leitura Roman 3 is used sparingly (as an accent only), and is set in all capital letters.

Secondary applications (subheads only). Source: fonts.com

Purchase font


Web, Office and desktop applications: Arial, Arial Bold and Times New Roman

  • Arial, sentence case, is used for body text and captions.
  • Arial, all capital letters, is used for headlines. Arial Bold may be used for emphasis on individual words.
  • Times New Roman, all capital letters, is used for subheads only.

Never use bold type for headlines or full sentences.

Cru Style Guide - primary fonts replacement Cru Style Guide - secondary font replacement


Imagery

Imagery style

Our imagery is designed to “capture a moment.” We depict culturally diverse groups of people experiencing Christ’s life-changing presence and opportunities to share Him with others. Images should appear natural, believable and optimistic.


Composition and lighting

Our images are simple, without clutter or distracting visual elements. Our lighting style is natural and does not appear manipulated. We don’t use photo distortions, and don’t rely on artificial filters or techniques. Exception: Converting images to grayscale. Frequently imagery provided by Cru members is shot under many different conditions and varies in technique or quality. This unpredictable combination can make imagery feel unrelated or haphazard. Converting images from color to grayscale can unify images by making them feel like they are part of a cohesive system. This technique can also improve images that have been shot in less controlled environments.

Imagery: what to avoid

Do not rely on overused inspirational stereotypes
Do not rely on overused inspirational stereotypes
Do not use religious artifacts or symbols as props; never use photos of people impersonating Jesus (Exception: organizational product shots; ie The Jesus Film Project)
Do not use religious artifacts or symbols as props; never use photos of people impersonating Jesus (Exception: organizational product shots; ie The Jesus Film Project)
Do not use images that appear staged or posed; imagery should be believable and give the impression that we've captured a moment
Do not use images that appear staged or posed; imagery should be believable and give the impression that we’ve captured a moment
Do not use imagery that depicts an artificial sense of happiness or sentimentality; imagery should be realistic in its depiction
Do not use imagery that depicts an artificial sense of happiness or sentimentality; imagery should be realistic in its depiction
Do not use images of mature adults only; our portfolio must also include youth-relevant, gender-sensitive and culturally diverse imagery
Do not use images of mature adults only; our portfolio must also include youth-relevant, gender-sensitive and culturally diverse imagery
Do not use clip art or illustrations; only use photographic imagery
Do not use clip art or illustrations; only use photographic imagery

Adapted from Cru Brand Identity Guidelines, May 2012

Contact us at corpcomms@cru.org.sg.