The Crown Estate Book of The Brand

Version 1.
1 – March 2015
Corporate identity technical brand document
The Crown Estate

Book of the brand
The Crown Estate – Book of the Brand
1 Introduction
Contents
2 Logo
3 Colour
4 Typography
5 Imagery
6 Tone of voice
7 Application
8 Accessibility
9 Contact details
1.1
1.2 Brand importance
Introduction
A word of explanation
and welcome 1.3 Values
Our brand is much more than a logo.
It stands for who we are, what we believe
1.4 Sustainability
1.5 Customer focussed
in, what we do and aspire to, and how we
do business.
It also reflects the strategic objectives and

business behaviours that will help us
achieve our aims.
Like all good brands, ours has been

designed to express a distinctive and
1.6 Purpose
memorable personality that people can
build a relationship with.
It’s based on the reality of our business,

1.7 Our vision
our values, and the views of our people
and among those we work with.
The Crown Estate brand will work best

1.8 Conscious commercialism
1.9 Strategic objectives
when it’s clearly understood and
consistently communicated, which is
what this guide is here to help us do.
1.10 Behaviours
Welcome to the Book of the Brand.
1.11 How it comes together

1.2 The Crown Estate – Book of the Brand
Introduction – brand importance
Why our brand is

important
One business,
The Crown Estate is an independent
commercial business, created by Act of
Parliament and we invest in and actively
manage many diverse assets.
These include Regent Street and much of
one team,
St. James’s, as well as retail and leisure
parks throughout the country. We are one
of the UK’s biggest rural landowners, with
agricultural land, parkland and forestry,
and our active management also extends
to coastal land and the seabed.
Our brand has been developed to embrace

our diverse business, our culture, attitudes
and behaviours, what we look and sound
like, how we work with colleagues,
one common
sense of purpose
partners, customers, suppliers and the
wider world.
It’s a unifying force that helps us

communicate that for all our diversity,
we are one business, one team, with a
common sense of purpose. Visually and
verbally, our brand is about how we bring
our story to life.
For a more detailed view of our business, see 6.6

‘Tone of Voice – talking about our business’ and
search for ‘The Big Picture’ on the intranet.
Introduction – values
Our values are our

foundation
Commercialism
The Crown Estate has strong values.
We mean them, we are proud of them and
we are respected for them by the people
we work with and in the wider community.
Stewardship
‘Commercialism, Integrity and Stewardship’
are not there to balance each other out,
but because we believe that we are
stronger and work better when all three
are working together.
These values are the foundation of

our brand and we should try to be true
to them and express them in all our
dealings and communications on behalf
of The Crown Estate.
Integrity
Introduction – sustainability
Sustainability is
central to our brand
We believe that a successful business

and a sustainable business are one and
the same.
We take the long view and address

the economic, environmental and social
impact of doing business.
This helps us make sure that we make

a positive impact, and is central to our
business, our brand and our culture.
Introduction – customer focussed
We are customer
focussed
The Crown Estate is a customer focussed

business and we want everyone who works
with our customers, in-house or externally,
to be inspired and driven by the same
ideal: that customer focus is essential for
our business and that this means putting
outstanding service delivery at its core.
Our customers are those who pay us

rent or for whom we provide a service,
so colleagues across the business are
customers, just as much as tenants.
To help us deliver high standards of

service, we recognise the importance
of listening to and understanding our
customers and their needs. We monitor
and measure customer satisfaction, and
regularly examine the way we work from
the customer’s point of view. In other
words, we treat customers as we’d like
to be treated ourselves.
Introduction – purpose
Sharing a common The Crown Estate is an

sense of purpose independent commercial
business, created by
Our purpose is one of the key building
blocks of our brand. The history of Act of Parliament.
The Crown Estate can be traced back to
William the Conqueror and the Domesday
Book, and more recently, to 1760,
when King George III surrendered all his
hereditary revenues to Parliament in return
Our role is to make sure
for an income for life.
that the land and property
we invest in and manage
The Crown Estate Act of 1961 replaced
all previous Acts relating to our role, and
calls upon us to maintain and enhance
the value and return obtained from
The Crown Estate, ‘but with due regard to
are sustainably worked,
the requirements of good management’.
developed and enjoyed to
deliver the best value over
Our purpose defines what we believe to
be ‘good management’. These words have
been chosen carefully. So please read
them, think about what they mean and try
to use them or express the spirit of them
the long term.
whenever you’re talking or writing about
our business.
Introduction – Our vision
The value we deliver Our vision

is more than financial
Our vision is to be a progressive
100% of our revenue profit is paid to the
UK Treasury, but our role, expertise, and commercial business creating
the quality, scale, impact and importance
of the assets we actively manage mean significant value beyond our
that The Crown Estate delivers value that
goes beyond financial return. financial return.
Our aim is to help make things work better
and this aim headlines our 10-year vision
which drives and informs our brand.
We will work with partners and
By realising it, The Crown Estate will be
part of a wider movement of businesses
that are challenging conventional thinking
stakeholders to grow our business,
about how business should be done and
what good business means. outperforming the market, whilst
delivering sustainable long term returns
and making a positive impact through
our total contribution to the UK.
In everything we do, we are guided by

our values – commercialism, integrity
and stewardship.
Introduction – conscious commercialism
A single thought At the heart of how we work is an astute,

at the heart of our considered, collaborative approach that
business helps us create success for our business
Every strong brand has at its heart a core
proposition. It’s a kind of shorthand that and those we work with. We call this:
brings together our values, purpose and
vision into a short, memorable phrase that
says what we’re really about.
conscious
commercialism
Introduction – conscious commercialism
What does conscious Conscious commercialism is

commercialism mean? our challenge to ourselves and
our commitment to our partners,
It means being actively commercial and
ambitious for success. It means combining customers and the community
this with a thoughtful and responsible
approach. Being confident, considered,
empowering, energetic, honest, intelligent It reminds us that we aim to be at the forefront
and progressive. of modern business thinking, understanding and
It’s about understanding how things considering the bigger picture and the impact of
influence one another, making decisions what we do.
that have positive impacts in different ways
for different people, organisations and
the community, and delivering value for It challenges us to be enterprising, creating
everyone involved.
opportunities, and new and better ways of building
success and long term value for ourselves and
those we work with.
It requires us to deliver commercialism with integrity

and stewardship, because these are the values that
underpin our business.
It commits us to earn the support of the people we

work with.
Conscious Commercialism is our way of working,

our way of driving sustainable growth, value and
performance.
Introduction – strategic objectives
Our strategic
objectives 1
To actively manage
2
To secure access
3
To encourage a high
assets in our core to capital via third performance culture
Conscious commercialism underlies our
strategic objectives and is fundamental
sectors to drive total party funds under and be known as a
to how we achieve them. return and a strong management through great place to work,
income stream the selective use of so the best people
Our strategic objectives are designed to to Treasury strategic partnerships want to join, stay
guide us in setting our priorities and in and thrive
assessing how we’re doing against our
vision. There are six of them:
4
To ensure high
5
To measure, report
6
To be recognised
levels of customer and improve our and respected for
satisfaction through total contribution to delivering conscious
the value we deliver ensure that we create commercialism, and
and a commitment value beyond our for operating as one
to excellence in how financial return, acting business, one team,
we do business responsibly, with with a common
sustainability built into sense of purpose
everything we do
Introduction – behaviours
Our personal and We are enterprising We respect and are open

business behaviours in how we create value, and honest with each
agile and considered other and the people we
As part of the process of defining our
strategy, approach and brand, we asked
in how we do business work with
people in the business how we, as a group,
believe that we should behave to help us
achieve our aims and deliver all that we’re
capable of.
These are the behaviours we are

committing to. If we’re true to them, they
will drive, determine and reinforce our
values, purpose, vision and proposition,
and our business performance.
We do what we say We work collaboratively

They are what we want to be known for
and should guide the way we act and
relate to each other in our working lives,
and inspire us to do our best for ourselves,
our colleagues and our customers.
and tackle our work with with colleagues and
spirit and commitment, partners, connecting
empowering ourselves people, ideas and
and others opportunities
Introduction – how it comes together Our values
Commercialism. Integrity. Stewardship
So how does it all
fit together? Our purpose
To make sure that the land and property we invest in and
manage are sustainably worked, developed and enjoyed to
The different elements of the brand all have deliver the best value over the long term
a role to play, but they don’t really work at
their best in isolation. It’s only when you
put them all together that they are able to
represent the brand and our business at its Our vision
most eloquent and powerful. To be a progressive commercial business creating
This diagram shows how they fit together,
significant value beyond our financial return
supporting and informing one another from
top to bottom and from bottom to top.
Our core proposition
Conscious commercialism
Strategic objectives
How we go about achieving our long term aims
Our personal and business behaviours

We are We respect We do what We work
enterprising and are open we say and collaboratively
in how we and honest tackle our work with colleagues
create value, with each other with spirit and and partners,
agile and and the people commitment, connecting
considered we work with empowering people, ideas
in how we do ourselves and and opportunities
business others
Introduction – how it comes together
How will we know if • More and more partners seek us out not just because of the
assets we manage, but because we are seen as being powerfully
it’s working? collaborative and adding value to the people and organisations
we work with.
For the brand to work and help our
business to continue to succeed in its • Customers increasingly report back to us their high levels of
aims, it has to be taken seriously and be satisfaction and recognise our commitment to excellence in
consistently applied.
how we do business.
So it’s crucial that we all get behind it and
support our way of doing business. This is
the most important contribution that each • Businesses both in and outside of our sectors look to us for
of us can make. leadership, inspiration and best practice in how to do business
We are already achieving much of what differently and demonstrate what good business is.
our strategic objectives call for and are
delivering conscious commercialism in
many areas of the business. Here’s how • Influencers and opinion formers regularly talk about us as a
we’ll know when we’re delivering it even progressive commercial business delivering real value to the
better, across the whole of the business:
UK economy.
• People want to work at The Crown Estate because we have a

reputation for being a great place to work, where you can push
your own professional development, find solutions, make things
work better and make an impact.
• Those we work with in commerce and industry, in the community

and in government appreciate and are impressed by the clear and
positive impact we make.
Introduction – how it comes together
One business,
one team,
one common
sense of purpose,
unified around
conscious
commercialism
2.1
2.2 Minimum clear area
Logo
The Crown Estate

logo and its use 2.3 Position
2.4 Size
2.5 Colour
2.6 The must nots
Logo – minimum clear area
Treating our logo

with respect
The brand is more than a logo, but our logo

is a very important symbol of our brand.
Please treat it with respect and, when using
it, follow these guidelines exactly.
The Crown Estate mark has been specially

drawn and has two clear elements: the
lettering and the crown symbol in a fixed
position.
To protect and display our logo and ensure

that it stands out visually, we should always
leave a minimum clear area around it.
This space should be equal to the cap

height of the name, as shown, and should
be kept free of any other type or imagery.
The minimum clear area may be increased,

but should never be reduced.
Logo – position
Positioning the logo
The logo is designed to be positioned

wherever possible ranged right. Where
design appropriate, it may also be used
ranged left, but should never be centred.
The images shown here depict positioning

and minimum space for the logo top
right, bottom right and top left on notional
brochure covers. As indicated in 2.2, this
space may be increased, but not reduced.
This applies in all media – in print,

advertising, film and online, and for
presentations, exhibition panels, signage
and so on.
Logo – size
Sizing the logo A6 = 6mm
A5 = 8mm
To achieve visual consistency across
various formats, we’ve set recommended
logo sizes depending on the size of page,
screen or frame you’re working on. Sizing
is based around international paper size
A4 = 10mm
standards. For any other format use the
nearest A-size as a benchmark.
Recommended dimension indicates

logo height.
Recommended sizes by height for: A3 = 12mm
A6 = 6mm
A5 = 8mm
A4 = 10mm
A3 = 12mm A2 = 16mm
A2 = 16mm
A1 = 22mm
There is no maximum height, but we should

try and retain the proportions of these sizes
when designing in larger formats. A1 = 22mm
Logo – colour
Our logo reflects

our diversity
To reflect the diversity, flexibility and

contemporary thinking of our business,
The Crown Estate logo can appear in any of
The Crown Estate colours (see 3.2 ‘Colour
– palette’), but always be mindful of legibility
when choosing which colour to use.
The logo may be reversed out in white on

coloured backgrounds and also on darker
areas of photographic images.
When colour printing is not an option,

the logo can appear in black or be reversed
out on a black or dark grey background.
The logo is always a solid colour or reversed

out of a solid colour. Never use tints.
We want to encourage the use of different

colours for the logo, but within reason and
the bounds of good taste. So, for example,
if the logo appears more than once in any
given publication, film, installation or online,
please keep the colour consistent.
Logo – the crown only
Using the crown on

its own
The image of the crown is an integral

part of the logo and should never be used
alone as a mark instead of the logo in
any medium.
It can, however, be used in special

circumstances – for example, as a signature
identifier in social media and, sparingly,
as a graphic icon or visual punctuation,
as shown.
Logo – the must nots
The must nots
Do not use the old blue and purple logo,

never show the crown and type in different
colours, and never alter the image of the
crown or the typeface.
Do not modify or distort the logo in any way.
Do not re-arrange the elements of the logo.
Do not reduce the minimum clear area.
Do not enclose the logo within a shape.
Do not place the logo at an angle.
Do not add shadows or graphic elements.
Do not reproduce a colour logo on a

background that clashes with it.
Do not place the logo on a patterned or

textured background.
Or do anything else that comprises its

clear identity.
Copies of the logo in all formats are

available from the Marketing and Internal
Communications Team in Corporate
Affairs, and all applications of the logo
must be approved by them before use.
Logo – joint venture
Using our logo with Partner Logo
partners’ logos Partner Logo

Partner Logo
Where our logo is to be used in conjunction

with other logos, it must appear in the
correct format and with the appropriate
hierarchy. This will vary from case to case.
Partner Logo
But whether our logo is dominant or
our logo and partners’ logos have equal Partner Logo
weight, we should never go below the
Partner Logo
recommended minimum height of 6mm
and the minimum clear area should be
always be maintained, as shown.
Partner Logo Partner Logo Partner Logo
Partner Logo Partner Logo

Partner Logo
3.1
3.2 Palette
Colour
Colour
3.3 Colours for digital formats
3.2
Colour – palette
A palette to be Dark blu

e
ple
expressive with
Pantone
Pur ne 2592 C 100%
541
to 00% M 60%
Pan M1 Y 0% Br
0% K 0% K 45%
C6 179 R0 G6 Pa igh
Y 0 %
3 5 B 3 B 114 nto t b
G #003F72 C n lu
R1
43 Y 7% e 29 e
8
3 0%
Our colour palette has been developed to 23B R 9
42 G 3 0% %
#8F M
0
0
4
Y 27% e 24
represent The Crown Estate as a diverse,
9
K 18%
9
#0 G
14
Pa k
M
0A 16 0%
n
Pin
modern and progressive business. Our
B
0D 0
nto
K
0%
B
8
palette is vibrant and varied, with deep, F 22

3
bright colours.
5
#C 96
69
1
R
Pet
Pan
It’s here to be used. So don’t be afraid
C9 % K
Y 15
rol b
tone
R0
to vary your use of colour to convey some
1%
#00
19 B 85
M 94%
of the range and flavour of what we do.
K 27%
lue
G1
6
7DA
33
M0
215
2
Soft red
5 B
4
27%
Try not to focus on just one colour and
%
Pantone
Y 34%
R 171 G
#AB1355
avoid regularly using a particular colour for
164
C 0%
a specific portfolio, activity or sector. Also,
since our palette is broad enough for most
applications, try to avoid using tints of our
Burnt o
colours, other than as an aid to design and
Pantone
C 0%
Y 83%
R 193 G
#C1353
legibility in charts and tables.
% M 0%
0
%
569
B 12
180
K 11%
range
K 18
Shown opposite are the colour values for
M 76%
2
53 B 5
tone
each of the colours as a Pantone® reference,
2
l
Tea
4%
3
CMYK for the 4-colour process, and RGB
G1
Pan
8
847
C9
Y 56
0
for digital formats, Word or PowerPoint.
R0
#00
M ton M 27% 0
en
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Always match colours to the relevant

Pa %
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tar 11 %
n
C 100 G 1
reference. g
0 %
Y
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d
igh ne 3 M 0%
R
r
17 D0
B nto 32
#A
While we encourage you to be brave with 0%

1
B8
Gold B
K
the colours, please make sure that you are Pa % K

65 0% 190
41
C 10
Green
Pan
0
careful to maintain legibility and avoid using tone G

B
Y 0
colours that clash next to each other. C0 130 377 12 E20
%
Y 10 M Pantone R
8B
0% 35 M 0% #7
K 0% % C 43%
Remember that our logo and typography R 24 K 23%
0 G Y 100%
must always appear on white or reversed #F0 1
AB0 71 B 0 149 B 0
out in white on coloured panels. 0 R 113 G
0
#71950
See next page for specific digital formats.
3.3
Colour – colours for digital formats
Colours for digital Dark blu

e
ple
formats Pur
B 17
9 R0 G6
3 B 114
G 35 Br
43 #003F72
R1 3
igh
23B tb
#8F R
0 lue
#0 G
9
Please take care when using the brighter 0A 16
14
0D 0
B
colours for text in digital formats. Don’t use F B
22
8
k
3
42 G 3
Pin
Bright blue, Bright green, Gold, Mustard
5
#C 96
or Pink as body text colours as they make
69
1
type difficult to read at small sizes. Also
R
avoid using these as backgrounds for small
Pe
reversed-out text.
R0
trol
#00
G1
19 B 85
7DA
blue
All colours can be used as headline type.
25
4
Soft red
B1
R 171 G
#AB1355
64
Burnt o
R 193 G
#C1353
0
B 12
range
2
53 B 5
32
G1
l
8
Tea
847
0
R0
#00
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17 D0
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1
B
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B8
Br
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19
14
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Gold
1
0
0
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12 E20
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Green #7
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#F0 1
AB0 71 B 0 149 B 0
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#71950
4.1
4.2 Typeface
Typography
Typography
4.3 Legibility boxes
4.4 Single words
4.5 Graphic typography
4.6 Typographic style
4.2
Typography – typefaces
The brand typefaces
The typeface Helvetica Neue Roman 55

is The Crown Estate font, and is always
used across all Word, PowerPoint, Email
and digital formats.
Helvetica Neue 55 Roman

For design work, Helvetica Neue 45 Light
and Helvetica Neue 75 Bold can also be
used. Ask Information Services (IS) or the
Marketing and Internal Communications
Team in Corporate Affairs about acquiring
these fonts for your work.
Helvetica Neue Roman 55 has replaced Helvetica Neue 45 Light Helvetica Neue 75 Bold
Calibri as our font. This replacement should
be applied wherever feasible. However,
it is understood that a phasing process is
required for certain publications, reports etc.
and on certain platforms as the new font is
being installed. Calibri is a valid font where
Helvetica Neue Roman cannot be used.
Notes for designers:

When reversing out, use a larger point size
to distinguish headlines from body copy.
Or alternatively, use Helvetica Neue 75 bold.
Headlines in legibility boxes (see 4.3)

should always use Helvetica Neue 45 light.
If you want to highlight copy reversed out
or black on panels and charts, you can
use Helvetica Neue 75 bold, but please
use this sparingly.
For additional details of style relating to typography,

please see section 6.1, ‘Tone of voice and writing
style’, and section 8.1, ‘Accessibility’.
4.3
Typography – legibility boxes
How to create Legibility box

legibility boxes
Legibility boxes are a simple stylistic device

to aid legibility of headlines over imagery.
The boxes are black with 70% opacity and

are never in colour. Lorem ipsum Lorem ipsum
They can flex to accommodate different line
lengths and should follow these rules: amet at amet at
1. There should never be more than 4 lines
in a legibility box, with no more than 18
or 19 characters a line.
legibility box legibility box
2. O
n the first line, there is a gap of ½ an ‘o’
from the top of the copy to the top of the
legibility box, and 1 ‘o’ from the copy to
the left hand edge.
3. T
here is always a gap of 1 ‘o’ from the
end of a copy line to the right hand edge
of the legibility box.
4. On the last line, there is always a gap of

½ ‘o’ from the base of the descenders to
the bottom of the legibility box.
5. Only use Helvetica Neue 45 light.
Legibility boxes are aligned to the left,

but can be positioned vertically anywhere
on an image, so long as the positioning
doesn’t obscure too much of the image.
When using the boxes on a triptych,

the positioning and type size must be
consistent across all three panels.
4.3

legibility boxes
When creating a legibility box for a two line

headline the shape will vary depending on
Lorem ipsum Lorem ipsum

how the lines of copy break.
If the first line is longer, then the depth of

the top portion of the legibility box will align
with the x-height of the second line of copy.
If the first line is shorter, then the depth of

the top portion of the legibility box will align
with the baseline of the first line of copy.

on legibility box on legibility box
4.3

legibility boxes
When creating a legibility box for a three

line headline the shape will vary depending

on how the lines of copy break.
If the second line is shorter, then the
amet at amet at
depth of the top portion of the legibility
box will align with with the x-height of the
second line of copy. The height of the

bottom portion aligns with the baseline of
the second line and half an ‘o’ below the
descender of the third line.
If the second line is longer, then the depth

of the top portion of the legibility box will
align with with the baseline of the first line
of copy. The height of the bottom portion
aligns with the x-height of the third line and
half an ‘o’ below the descender..

amet at dolore amet at dolore
4.3

legibility boxes
Follow these rules onwards when creating

four line headings in legibility boxes.

amet at dolore amet at dolore
aliquam feugiat aliquam feugiat

amet dolore amet dolore
Please note: as well as being an aid to readability,
aliquam feugiat aliquam feugiat
legibility boxes are designed to assist the storytelling
style of The Crown Estate brand and help us put over
the hallmark stories that communicate conscious
commercialism in a clear and graphic manner.
For further guidance on this, see 5.2 ‘Imagery –

introducing the triptych’ and 6.1 ‘Tone of voice’.
4.4
Typography – single words
A single word
Commercialism
Very occasionally, you may want to create
a triptych of images each supported with
just a single word displayed graphically
to make a point or reinforce a message.
In this instance, it’s acceptable to enlarge
Stewardship
the copy, run it horizontally or vertically and
remove the legibility box, so long as the
type still reads clearly.
Integrity
4.5
Typography – graphic typography
Creating impactful Graphic typography

statements
From time to time, we can create impactful

One business,
one team,
statements by using boxes of colour and
white out type as an image or visual.
These coloured boxes should only ever

appear on a white background, never over
an image.
As with the legibility boxes there are some

simple rules:
one common
1. Each box must have a gap of at least one
‘G’ from the left and right hand edges, and
this gap must be consistent on all coloured
sense of purpose
boxes within a communication.
2. There must be a gap of ½ ‘G’ from the

x-height and baseline of the copy, and
One business,
the top and bottom of the coloured box.
3. B
oxes can be stacked one on top of
another, but never put two boxes of
the same colour together.
4. Also avoid placing colours that clash next

to each other. See 3.4 ‘Colour – clashing
colours’.
one team,
5. Type is always white out.
6. Boxes can be aligned left or centred,

one common
sense of purpose
but unless there is a very good design
reason, should not be aligned right.
4.5
Typography – graphic typography
Creating impactful Graphic typography

statements
One business,
one team,
one common
sense of purpose
One business,
one team,
one common
sense of purpose
4.6
Typography – typographic style
Creating legible, General principles:

- Avoid too many different styles of type.
readable copy Wherever possible, use colour and size

for emphasis, rather than differences in
and headlines type and weight (avoid italics for instance,

and keep bolds to a minimum).
- The ‘The’ of The Crown Estate must

always be written with a capital ‘T’.
- Don’t run text over a photograph or

patterned background without using a
legibility box (unless using a single word
headlines in a triptych, as described in
4.4 ‘single words’).
- Sentence case type is the brand style

and should always be used rather than
capitals (except, of course, in our logo).
- Avoid underlining.
Making body copy flow:

- Keep paragraphs short to avoid dense
blocks of text.
- Use a line space not an indent to indicate

a new paragraph.
- All text should range left with a ragged

right edge. Don’t justify type unless
there’s a really good reason, as this can
cause odd word spacing and be harder
to read.
Using subheads, quotations and ‘pull-outs’:

-M
ake use of subheads, large summary
text, highlights, quotations and editorial
‘pull-outs’ from the copy to help make the
story easy and interesting to read.
- Use bold, medium or colour (sparingly)

to highlight.
5.1
5.2 Introducing the triptych
Imagery
Imagery
5.3 Photographic style
5.4 Scale, scope and detail
5.5 Laying out the triptych
5.6 Using graphics
5.7 Legibility boxes
5.8 Copy and branding
5.9 Checklist
5.10 Commissioning photography
5.2
Imagery – introducing the triptych
Imagery, storytelling
and the triptych
The 3-part visual that we call the triptych is

central to the way The Crown Estate brand
looks and tells its story. It aims to portray
a straightforward visual and verbal narrative.
We use ‘hallmark’ stories to communicate

conscious commercialism and tell them
through three related images and simple
language, with headline sentences broken
into three parts.
This storytelling approach is about joined

up thinking, thoughts, actions and their
consequences. It’s about inputs, outputs
and outcomes; about something we did
or do, the result and the wider benefit
to customers, partners and/or other
stakeholders.
Our stories should always represent the

way The Crown Estate does business
and wherever possible, clearly illustrate
conscious commercialism in practice.
Like all good storytelling, it should have a

beginning, middle and an end. The imagery
should try to make the point of the narrative
obvious (helped by the words), prompting
a sense of curiosity and ‘connectedness’.
When it can, it should also try to convey

something of the spirit of our values:
‘commercialism, integrity and stewardship’.
Not balancing each other out, but working
better together.
5.3
Imagery – photographic style
Creating the triptych

in photography
As you’d expect, the photography that

supports the 3-part storytelling looks to have
a distinctive narrative style. To help us achieve
this, it needs to do a number of things.
It should be simple, real, ‘in the moment’,

spontaneous and unstaged. We should
look for interesting and arresting angles
and crops, and imagery that is active,
energetic and engaging.
It’s important to try and convey a sense

of humanity, likeability and approachability,
and to this end, including people in
photography is important, too. Every
triptych should have at least one shot that
includes a person or people.
We should also pay attention to colour

and try to make our imagery bright, upbeat
and vibrant.
Occasionally, to create a feature or break

up type, individual shots may be used
instead of the triptych, but they should
be used only sparingly. The triptych is our
‘signature’ visual.
For the most part, photography will

come from The Crown Estate’s media
library, but where suitable images are not
available, or to capture a specific shot
or story, photography will have to be
commissioned. (See 5.10 ‘commissioning
photography’).
5.4
Imagery – scale, scope and detail
Building-in scale,
scope and detail
One of the things the triptych does is to

help us show the considerable scale and
scope of The Crown Estate’s land holdings,
property and business, but to combine this
with a painstaking attention to detail that
we’re well known for.
Mixing wide, medium and close up shots,

different angles and crops will convey this,
while at the same time, adding character,
‘texture’ and visual interest.
Contrast architectural photography, land or

seascapes with overheads and low angles,
close ups of people and faces, and details
like those shown on this and the following
pages – a feature of a street or building, a
reflection in a shop window, a pile of bricks
or the bark of a tree,
Think about telling the story by using wides

and close-ups from a single sequence of
shots or by cropping a single shot in three
different ways.
Doing this well and with a little thought will

instantly signal the ‘rhythm’ of storytelling
and allow you to do interesting things with
layout. So far as possible, always make
sure that the images are obviously related
to each other and tell the story clearly.
Illustrating scale, scope and detail in three shots from

The Crown Estate media library
5.4
Building-in scale,
scope and detail
Imagery should always look to the narrative,

using big and small, scope and scale to
help tell the story.
5.4
Building-in scale,
scope and detail
5.4
Building-in scale,
scope and detail
Overview showing variations in imagery.

5.5
Imagery – laying out the triptych
Laying out the triptych
Interesting use of photography is one way

to set up storytelling, layout is another. Use
it to create the sense of a narrative, visual
‘choreography’, drama and pace.
The triptych is more than just any three

images placed next to each other.
Remember that we’re looking for ‘a

beginning, a middle and an end’, ‘thought,
action, consequence’, ‘input, output,
outcome’, ‘idea, purpose and effect’ and
so on, and take it from there.
When you’re not telling a specific story,

try to keep the storytelling feel in the shots
you select, as in the examples that follow.
The triptych is designed to be flexible.

It can be portrait or landscape.
Panels can be of any height or width

(though we don’t want ‘slivers’).
Widths will generally be equal, but you can

vary them if you want to focus on particular
images or change the pace of the story.
5.5
Spacing between panels should always be

equal and consistent, though the width of
the white gap will vary depending on the
size of the piece you’re producing.
As a guide, we’d recommend a 5mm white

gap on A4 formats, and using your ‘eye’ to
scale it up or down.
The triptych should never be allowed to

bleed top or bottom, left or right, but always
be framed in a proportionate white trim.
The panels don’t have to fill the space. They can

be placed on white as shown, with or without
accompanying headlines and copy.
5.5
Even when you’re not telling a specific story, try to keep

a storytelling feel to your image sequences, as here.
5.5
Different panel widths can be used to focus on a

particular image or change the pace of the visual.
Photography can be mixed with graphics (see 5.6
‘using graphics’).
5.5
Overview showing variations of layout.

58%
5.6
Imagery – using graphics
Using simple,
bold graphics
fewer C02
The Crown Estate is a business that is rich
emissions since
in data, facts and information. To help us
put these across, we’ve created a very
winter 2009.
simple graphic language.
This uses graphic icons or symbols, bold

typographic numerals and reversed out type
on strong colours which are selected from
The Crown Estate colour palette.
Graphics can be used, as shown here,

as part of the triptych, to add impact,
interest and clarity, and provide evidence in
support of the story, by backing it up with
visible facts and figures. They can also be
used as standalone infographics, as shown
in the following.
- Class B Vehicles
To create your own graphic symbols in the - Class C Vehicles
brand style, use only simple icons – strong, - HGV Vehicles
minimal shapes and not overly illustrative -
in bold colours and colour combinations or
white out, and sparingly, where necessary,
Volume of Vehicles
using tints of colours from our colour palette.
Always – particularly when there’s a need

to create more complex charts and tables
or present lots of data – pay careful attention
to clarity, simplicity, spacing, colour and
typography, following these guidelines.
Quarters (2011-13)
during construction and indirectly through the supply chain over the longer term.
5.6
Imagery – using graphics
■ Site planning or development 19%
Using simple, ■ Manufacture or manufacturing

design 10%
6,830
bold graphics Total employment
■ Construction and installation 36%
■ Operation and maintenance 18%
■ Support services and other
FTE activities 14% Lessons learned in offshore transmission
■ Decommissioning 1%
Between2%
■ Specialised transport December 2013 and February FIGURE 2: Life cycle stages considered
2014, DNV GL interviewed a broad
SOURCE: RENEWABLEUK
range of industry stakeholders in order
to understand what issues they had Consent
encountered on offshore transmission

projects
FIGURE 8:to
Offshore wind operational date,
report
OFTO and the
2014
system impacts
availability of these.
percentage 1 April 2012 – 31 March 2013
A discovery An anomaly is A discovery An anomaly
is made observed on is made on is discovered Project Name Apr May Jun Jul Aug Sep Oct Nov Design
Dec Jan Feb Mar
on board. the sea bed. land or in the subsequent These interviews
TC Robin Rigg revealed that 100
offshore
100transmission
100 94.48 100 100 100 100 100 100 100 100
inter-tidal zone. to site work.
projects haveSands
TC Gunfleet suffered from, and been100
100 adversely
100 98.55 100 100 100 100 100 100 100 100
impacted
TC Barrow by, a range of challenges
100 and100issues100
across
100 100 100 100 100 100 100 100 100
project life cycles – from consenting and early stage Procure
TC Ormonde N/A N/A N/A 100 100 100 100 100 100 100 100 100
design through to FEED, installation and operations &
BT Walney 1 Figure 1 illustrates
maintenance. 100 97.79
typical 78.10
issues 97.97 98.74
which 100 100 95.86 100 100 100 100
BT Walney 2raised.
interviewees N/A N/A N/A N/A N/A N/A 100 100 100 100 100 100
Project Staff inform Site Champion Manufacture

431 FIGURE 9:
FIGURE 1: Reported outages
Typical issues affecting
identified Walney 1 April 2012 – 31 March 2013
as adversely
impacting
Outage offshore
date transmission projects
and time Reason Days, hours MWh
29 May 2012, 09:54
Planned
50 outage to fix a snagging issue and fit surge arrestors to offshore Install 2 days
Proportion of respondents (%)

OFTO 2,546
transformers. Snagging issues pertain to problems known prior to transfer 14 hours
229 from 40
the developer to the OFTO
To Nominated Contact 1 June 2012, 12:00 11,184
Planned
30 outage to fix a snagging issue and fit surge arrestors to offshore 11 days
Asset transfer
OFTO
103 from the developer to the OFTO
20
17 June 2012, 12:40 13,256
Planned outage to fix a snagging issue and fit surge arrestors to offshore 13 days
10 OFTO O&M
from the developer to the OFTO
0
1 July 2012, 12:00 2,339
Planned outage to fix a snagging issue and fit surge arrestors to offshore 2 days
Uncertain regulatory framework OFTO
transformers. Snagging issue pertain to problems known prior to transfer 9 hours
fromLack of competition in supply chain
the developer to the OFTO
HVDC lead times Whilst not all projects have experienced the same issues,
1 August 2012,and
Installation 08:13
burial of cable the evidence DNV OFTO
GL gathered does suggest that 1,449
most
9 hours
Planned outage to fix a snagging issue on an onshore circuit breaker
Interface management projects have been impacted in some way, typically
2 November
Suboptimal 2012, 08:06
design manifesting in either unexpected cost escalation or5,009
1 day
Unplanned outage
powerdue to a lightning strike on a connected electrical
needing to undertakeOFTOextra risk mitigation
Reactive 6 hours actions, or both.
system
Costthat tripped protection
of remedial equipment
work offshore sub
TOTAL
Consenting delays The full report details lessons learned across35783 MWh
the full life
Source: the full report cycle of offshore transmission projects, which for the
purpose of this analysis is as set out in Figure 2.
www.thecrownestate.co.uk
Some examples of infographics, charts and tables.

5.7
Imagery – legibility boxes
Placing headlines
and legibility boxes
As you will have seen in the typography

section of the brand book, 3-part triptych
headlines are carried reversed out in semi-
translucent ‘legibility boxes’.
These can be placed vertically anywhere

(within reason) in each of the panels and
should be positioned so as not to interfere
with the key elements of the imagery.
Helping secure by demonstrating of putting the
Each box in any given triptych should be
the future the benefits wind to work
in the same position, hanging from the top.
Each box should range left and be aligned
of offshore
with the edge of the panel.
They should never butt-up to the top or the

bottom of the panels – always leave space
– and there should, wherever possible, also
be space between the legibility box and the
right hand edge of each panel.
Where individual shots are used as a

feature, legibility boxes may be used in place
of conventional headline type, when the
placing of the headline should be as above.
Remember that when using 3-part

legibility boxes, we are trying to tell a story.
So headlines should provide a 3-stage
narrative, and copy and branding should
be placed as follows.
5.8
Imagery – copy and branding
Placing copy
and branding
When the triptych is used for specific

storytelling, headlines should always be in
three parts and in legibility boxes. Concluding
West End
headlines and/or body copy should be
reversed out of a colour to the right only,
in what is effectively a fourth panel.
Where The Crown Estate branding needs Because we can see the big
to accompany the copy, as opposite, Seeing the bigger shops and more picture and take a long term
please follow the guidelines provided in the
logo section of the brand book.
big picture and offices attractive places view, we are able to work
with our investment partners
helps create for people to to develop bigger and better
shops and offices and
The triptych can also be used as a
‘signature’ or lead visual without legibility enjoy improve public spaces. This is
transforming an iconic location
boxes, when headlines and copy can run and creating a sustainable,
vertically left or right in a single column, or world class retail and business
horizontally beneath the triptych, in one, environment, that in turn is
two or three columns. Headlines and copy attracting more major brands
should never run above the triptych. and leading companies, more
employees and visitors than
Imagery should always appear as a ever before.
triptych*, although, as we’ve mentioned,
individual shots may be used occasionally
as a feature or to break up type. If you want
to run type over an individual image, please
enclose it in a legibility box, as shown in the
examples which follow.
Apart from a fourth panel to accommodate

copy (see above), additional panels should
never be used.
*An exception is made for i-site, where to accommodate

deadlines and fast-changing news stories, the triptych
may be created using type in a coloured panel with only
two images. This should not be repeated elsewhere.
5.8
Placing copy
and branding
Copy to the left of the triptych, across a double

page spread.
5.8
Placing copy
and branding
Copy in a fourth panel to the right of the triptych,

across a double page spread.
5.8
Placing copy
and branding
Copy beneath the triptych on a single page.

5.8
Placing copy
and branding
A headline and legibility box can be used

over a single, impactful image. The legibility
box must align to the left-hand-edge of the
We aim to help make
things work better
image, but can be positioned anywhere
vertically as long as it doesn’t interfere with
or distract from the image.
When using a single image observe the

same rules regarding a frame as you would
with a triptych. Never use full-bleed imagery.
Also, remember that we are trying to

tell a story. For example the headline
and the image shown here are actively
demonstrating things working better.
Headline over an individual featured shot in

a legibility box.
5.9
Imagery – checklist
Checklist
• Use the triptych to tell hallmark • Mix scale and detail to give ‘texture’ • Storytelling copy and branding
stories visually and verbally. and ‘rhythm’ to your visuals. where necessary may be placed
in a fourth panel.
• Use or create real, ‘in the moment’ • Lay out the triptych to make the
photography, with interesting angles most of the shots and the story • For logo placement, follow the
and crops. (Don’t be afraid to be a and express a clear narrative. logo guidelines.
bit quirky).
• Use graphics where appropriate • Remember that the triptych is
• Always feature people whenever to add impact and show evidence. more than just any three images
you can and try to express the put together.
feeling of our land and property • Place storytelling 3-part headlines
being ‘worked, developed and in legibility boxes, hanging
enjoyed’ as per our purpose equidistantly from the top and
statement. ranging left.
5.10
Imagery – commissioning photography
Commissioning
photography, film
and video
When commissioning photography, film
or video, please follow the spirit of these
guidelines, particularly 5.3 and 5.4, and
brief photographers, directors, writers and
producers to think about clear, compelling
or engaging storytelling.
Because contrasting scale and detail,

interesting angles and crops are so much
part of our photographic and filmic style,
ask them to shoot ‘around’ the subject –
using wides and close ups to capture both
the key features of the story, and incidental
observations.
In film, video and digital media, remember

to try and capture the ‘in the moment’,
unstaged feel of our photographic style;
make it look real and not contrived,
corporate or over-produced. The spirit of
this applies equally to writing, voice-over
and choice of music, as well as imagery.
6.1
6.2 Our tone of voice
Tone of voice
Tone of voice
and writing style 6.3 Writing headlines
6.4 Writing body copy
6.5 Checklist
6.6 Talking about our business
6.2
Tone of voice – the way we speak to people
Our tone of voice is: Our tone of voice isn’t:
Our tone of voice
Simple and straightforward Corporate or complicated
Clear and confident Stuffy or overly formal

We all express ourselves in part through
our own tone of voice and we want our
brand to do that, too. We are a commercial Quietly authoritative Overworked or arrogant
organisation and aspire to communicate
our activity in an engaging manner.
Approachable Bossy or self-important
Like the imagery we use, our tone of voice
is about storytelling and communicating
our business message to the appropriate
audience. It’s about finding the right
words to communicate the facts that will
put across to people, clearly and simply,
who we are and how we do business.
Our tone of voice should also be a direct

expression of our values: ‘commercialism,
integrity and stewardship’ and of our core
proposition: ‘conscious commercialism’
(see section 1.7 conscious commericalism).
Think about our values and the way we

describe ‘conscious commercialism’, and
then think about how these things could
feed in to your conversation or presentation.
6.3
Tone of voice – writing headlines
Writing headlines
Our headline style should follow these

principles in order to help the brand
speak with a consistent, distinctive and
recognisable voice.
Headlines should aim to tell our hallmark

stories in simple, conversational, everyday
language, and make them positive,
engaging and accessible.
With headlines using the triptych (and so

far as possible with headlines in general),
we should try to think, again, of thought,
action, cause, effect, and of consequential
impacts; of inputs, outputs and outcomes.
Because of our unique role, expertise

and experience, we are able to do things
and make decisions that have positive
outcomes for our business, our partners,
customers, other stakeholders and the
wider community, and we should be keen
to express this.
The Crown Estate way of speaking in

headlines is explored a little more in the
examples that follow, which set up hallmark
stories from across the business.
Headlines are simple and clear each telling a complete

and self-contained story. Each expressing the story
of The Crown Estate’s ‘conscious commercialism’.
6.3
Tone of voice – writing headlines
The whole story

in as few words
as possible
We should try to make our headlines tell
the whole of the story and be complete
in themselves.
At the same time, they should retain

enough interest, intrigue or engagement to
make people want to read on when there’s
body copy to follow.
This is not about clever copywriting, but

about keeping it simple, clear and complete,
and keeping it short.
Headlines in general should be as short as

you can get them and still get the message
across. With headlines in the triptych, we
have a little more room to manoeuvre, but
should still be brief.
As a guide, use no more than a maximum

of seven or eight words per legibility box,
with no more than 18 or 19 characters
a line. Overall, try to use no more than a
maximum of 20 words across the three
legibility boxes.
We do not use full points at the end of

headlines or use any punctuation at the
end of copy in individual legibility boxes.
Otherwise, punctuate as normal.
6.4
Tone of voice – writing body copy
Offshore energy
Writing body copy Helping secure the future of offshore by demonstrating

the benefits of putting the wind to work
Offshore energy is an exciting new industry that’s already making a major contribution
to the UK’s energy infrastructure. As managers of the UK seabed, we’re applying
our experience, knowledge and expertise to help de-risk and develop the industry,
Whenever we’re writing copy for print or web, encouraging investment, and creating opportunities for our partners, our business
for film scripts, speeches and presentations,
and the country as a whole.
or speaking on behalf of The Crown Estate,
the same principles apply.
Start a conversation, use everyday language,

keep it simple, informative and engaging.
Remember thought, action, cause and Marine Data Exchange
effect, and consequential impacts.
We built the Marine Data Exchange to store a pool
In the examples that follow, copy
accompanies the headlines you’ve just seen,
of valuable knowledge that we can protect and share
adding detail to the story. In each case,
We understand that offshore energy companies have to invest in essential research to get
the copy follows a very basic storytelling
structure, which goes something like this. projects off the ground. Our internal systems team created the Marine Data Exchange to
store this research, reducing risk for us and those we work with by preserving any data that
Provide a context. Explain the issue or is collected. We’re also enabling this data to be shared, so we can spread knowledge and
the situation. Address The Crown Estate’s help the industry reduce expenditure, time and duplication of effort.
role, what action we’ve taken, what
value we are able to add. Point out the
benefits for our business, partners and
customers, and/or the positive effects for
the wider community.
West End
Seeing the big picture helps create bigger shops and
offices and more attractive places for people to enjoy
Because we can see the big picture and take a long term view, we are able to work with
our investment partners to develop bigger and better shops and offices and improve public
spaces. This is transforming an iconic location and creating a sustainable, world class
retail and business environment, that in turn is attracting more major brands and leading
companies, more employees and visitors than ever before.
6.4
Tone of voice – writing body copy
Regional retail parks
Writing body copy More welcoming environments attract more customers

benefiting shoppers, retailers and us
Making regional retail parks more welcoming places for shops and shoppers is not only
good for retailers, but good for our business too. We draw on our expertise to get the right
mix of tenants, improve the built environment and enhance the shopping experience for
These examples are written short. They are everyone. Ensuring that more people spend more of their time at our retail parks, more often.
each between about 50 and 70 words long.
When writing longer copy, try following the

same kind of structure, but break up the text
with short, engaging subheads that drive the
story on.
Strategic land
We shouldn’t expect our audiences to have
to read very long pieces of copy. Taking a long term view helps us help developers bring
more homes to market
It can help if between subheads we divide
our longer writing into bite-sized chunks of The strategic development of rural land can play a key role in meeting housing demand
three or four short paragraphs generally of
no more than 120 words in total.
around the UK. We take a long term approach and consult extensively with local authorities
and local communities. This makes us more effective at bringing forward suitable
We should try to make all our copy as development land for new homes to be built, contributing both to our own revenues and
concise as possible, especially when writing the UK’s housing stock.
for the web.
Windsor Estate
Providing movie locations funds riding trails and care for
centuries old trees creating better experiences all round
By encouraging the use of parts of the Windsor Estate for TV and film locations, we’ve
generated extra income that we invest back into the ecological management of this important
landscape. Through active and innovative management, we’ve built new relationships
and brought in new business that benefits the wider community, as well as our three million
Copy structure runs: context, our role, action taken, how annual visitors.
we add value, benefits for us, our partners, customers,
and the community. All copy should aim to illustrate
an aspect or example of ‘conscious commercialism’.
6.5
Tone of voice – checklist
Checklist
Try checking your writing, scripts or speaker

notes against this list for both tone of voice
Does your writing provide information Will what you’ve said, presented or
and writing style. If you can tick the majority in a confident, quietly authoritative and written promote a dialogue, start a
of the boxes, it’s probably about right. knowledgeable manner? conversation or help build a relationship?
Is the language appropriate and relevant Does it leave you with a reason for
to your audience? continuing the dialogue?
Is the story you’re telling addressing what Is it simple and straightforward? Did you
your audience wants to know? Have you enjoy reading or listening to it?
been single-minded and prioritised the
message or messages you’re delivering? Does it sound natural and convincing
both when you read it to yourself and
Does your writing demonstrate customer when you read it out loud?
focus and show understanding of
the stakeholders it is intended for? Have you checked our style guide
for writing conventions? You can
Have you backed up claims and get a copy from the Marketing and
assertions with facts, evidence, Internal Communications Team in
testimonials, examples or case histories? Corporate Affairs.
Have you achieved your business reason

for writing it?
6.6
Tone of voice – talking about our business
Our brand story The Crown Estate is an independent commercial business,

created by Act of Parliament.
Our diverse assets include the whole of Regent Street and

To help us communicate our business and much of St James’s, as well as retail and leisure parks
our brand consistently, we’ve created a
very straightforward brand story.
throughout the country.
This is a simple, joined-up narrative that
aims to paint a clear picture of who we are, We are one of the UK’s biggest rural landowners, with
what we stand for, what we do and how
we go about it, and we should use it as the
agricultural land, parkland and forestry, and our active asset
basis for all our brand communications. management also extends to coastal land and the seabed.
You can use it as a finished and complete
piece of copy in its own right to introduce
people to The Crown Estate or use it as a
Our purpose is to make sure that the land and property we
guide for writing your own material. invest in and manage are worked, developed and enjoyed
Feel free to ‘borrow’ as much or as little sustainably, to deliver the best value over the long term. This
of the narrative as you need, but do bear
in mind that the words, phrases and
reflects our values of commercialism, integrity and stewardship.
descriptions used have been agreed within
the business. So to maintain consistency,
we should try and stick to them as closely At the heart of how we work is an astute, considered,
as possible.
collaborative approach that helps us create opportunities and
success for our business, our partners, customers and the
wider community. We call this ‘conscious commercialism’.
100% of our revenue profit is paid to the UK Treasury, but our

role, expertise, and the quality, scale, impact and importance
of the assets we actively manage mean that The Crown Estate
delivers value that goes beyond financial return.
7.1
7.2 Print
Application
Application
7.3 Digital
When all of the elements of our brand
and its visual and verbal identity are
7.4 Interiors
brought together, we can create a range
of communications which are consistent,
recognisable, memorable and have real
standout.
This will help us showcase our business as

the progressive and dynamic commercial
enterprise that we know it to be.
What follows are some sample applications

of communications designed and written in
the brand style, in a range of different media.
Application – print
Spreads from
‘The Crown Estate:
Our Story’
Some examples showing how imagery,
copy, type and colour come together.
Application – print
Other examples of Welcome to 1 & 2

St James’s Market
Social
contributions
the brand in print

1 & 2 St James’s Market is our largest ever project. Located – Revitalising ¾ acre of public space and creating a new
between Regent Street and Haymarket, it will offer 210,000 sq ft pedestrian square for residents, office workers and visitors,
of office space, 50,000 sq ft of retail and restaurant space, and with significant space given back to the public realm, thanks
a 10,000 sq ft new pedestrian square. to an underground service centre shared by two buildings
– Enhancing the environment for pedestrians with new
3/4
thoroughfares and less traffic congestion, thanks to a
consolidation centre where retailers can combine deliveries
and cut journeys to St James’s Market by up to 80%
Economic – Creating new space for jobs with retailers and firms based
in our buildings – Creating a healthier environment for office workers, retail staff,
contributions – Investing in the local area through our planning agreement,

funding public realm improvements, public art and more.
shoppers and others, thanks to responsible sourcing and
healthy materials policies that mean all paints are low VOC
acre
– Volunteering projects at St Andrew’s Youth Club,
Soho Primary School and Essendine Primary School, as
‘Investing in the well as work placements for students at Westminster
Kingsway College
local area.’ – Minimising disruption for our neighbours during development,

with a high Considerate Constructors Scheme target. of revitalised
public space
Environmental
contributions Heritage
–
–
BREEAM Excellent sustainability ratings for all office space
25% better energy efficiency than regulations require,
conservation
saving as much carbon as annual emissions from 2,200
homes, thanks to high performance glazing, heat recovery,
an efficient lighting system, photovoltaic roof panels and
a small scale combined heat and power system
– 40% better water efficiency than an average new building,
with low-flow sanitary fittings, leak detection measures – Revitalising St James’s Market, which enjoys a concentration
and greywater recycling for toilet flushing of listed buildings unparalleled in London, with new buildings
– Building Information Modelling to deliver design
25%
sensitively incorporated alongside historic elements
efficiency and minimise waste, and best practice site – Preserving the Regent Street frontage, at the same time
waste management plan targeting 90% recycling of as creating accommodation for modern offices, shops
construction waste and restaurants
– 8,000 sq ft of green roof space to enhance biodiversity, – Carefully designing façades on a new building in Haymarket
better energy efficiency cut urban flood risks and reduce the urban heat island to echo the neighbouring historic buildings in the Haymarket
than regulations require effect that makes London warmer. Conservation Area.
All information correct as at July 2014.
Strategic report Strategic report

Governance Governance
Financials Financials
Our investment strategy is influenced What we’ve been doing Firstname Secondname
Job Title
by our markets and underpins our Review of activities
16 New Burlington Place
approach to business. Throughout this section we discuss the main activities we undertake. London W1S 2HX
Tel: +44 (0)20 0000 0000
Whilst producing it we have been taking into consideration the Mobile: +44 (0)0000 000 000
We outline what we have been resources and relationships that we are reliant upon and how they
interconnect to create greater value.
firstname.secondname@thecrownestate.co.uk
doing across our portfolios through @TheCrownEstate
our core activities of investment, Whether it is investing in our

people and their know-how to build
Over the year we invested £263.6 million
in acquisitions, £248.1 million in capital
regions during the course of the year.
This has created strong competition
asset, development and property better networks and make better

deals for all parties or the efficient
use of natural resources, all that we
expenditure and made disposals realising
£457.2 million.
for the most desirable stock, but our
continued investment within these core
areas has added value to the quality of
management. do aims to enhance our physical

assets and deliver stronger
financial returns.
Urban
Within the Urban portfolio our key
our portfolio and will drive returns over
the medium to long term.
sectors are focused on the West End of In the West End we have been able to
London and in prime regional retail and consolidate our position through the
Investment management leisure space around the UK. Across the acquisition of adjoining interests and
During the course of the last financial West End there has been continued merging existing ones through leasehold
year, we have continued with our primary investment from domestic and overseas purchases. This has increased our
strategy of investment into our core capital which has driven pricing, and the footprint in these areas and allowed us
sectors, where we have critical mass and sector has witnessed record breaking further control of key areas within our
a high level of expertise, as well as timely investment volumes during 2013/14. portfolio. This strategy has been applied
disposals of non-core assets. We also Outside London, our investment markets in the purchases of 13 Charles II Street,
launched another strategic partnership have also experienced an increase 106 and 115 Jermyn Street which are
which released capital for reinvestment, in investor appetite not just for prime in St James’s, and Goldsmith’s House
spreads our development risk, and investments but also in secondary within the Regent Street Partnership.
strengthens our existing relationships. markets which began to recover in many This allows us to build on our know-how
Our development
plans for St James’s
continue apace, this
year attracting quality
fashion brands such
as Barbour, Duchamp,
Sunspel and Tiger of
Sweden alongside
desirable restaurant
offerings including
Villandry, Chop Shop
and Cicchetti.
The Crown Estate Annual Report 2014

17 18 The Crown Estate Annual Report 2014
Application – digital
The Crown Estate

homepage
The Crown Estate brand guidelines apply

to all media. However, we recognise that
in some digital applications, particularly
on the internet and intranet, a little more
flexibility in applying them may be required.
Please try to apply the guidelines as

consistently as possible, using the triptych
and legibility boxes as signature visuals,
wherever possible and appropriate.
If you are in any doubt about what may

or may not be acceptable, then please
contact the Corporate Affairs, Marketing
and Internal Communications Team.
i-site landing page
A level of flexibility has been built into the

design of i-site, to help facilitate deadlines
and a quick turnaround.
Please note that the use of the triptych with

type and just two images is an exception,
and is for use on i-site only.
Pages from This is how a divider page

PowerPoint would look
presentations One business,
one team,
These are PowerPoint pages showing
headline and divider styles, copy and one common
graphics. In PowerPoint, the brand style
aims for brevity and simplicity. sense of purpose
PowerPoint templates can be downloaded
via i-site or are available by contacting the
Corporate Affairs, Marketing and Internal
Communications Team.
Application – interiors
Display panels in
New Burlington Place
Featured display panels in our offices

show the brand and the triptych writ large,
combining headline messages from across
the business with imagery and graphics.
Accessibility
Alternative formats
We recommend that publications intended
Also avoid italics, which many
partially-sighted people find difficult to
Use a matt paper, unless there’s a good
reason for using gloss or semi-gloss, and
for wider audiences should be made read. For titles like ‘The Times’, use single avoid gloss varnishes.
Making our brand available on request in alternative formats

such as braille, audio cassette or digital
quotation marks instead.
Consider using off-white instead of bright
accessible to all audio formats and in large (18 point) type,

with details of how they can be obtained.
Line length, letter and line spacing
As a guide, aim for 8 – 13 words a line.
white papers – they make reading easier
for people with visual or reading difficulties
Use short paragraphs and separate them – and think about using (sparingly) cream
With film, consider using audio description with a line space. or other similarly light coloured papers.
and subtitle options.
Accessibility means providing equal access Typefaces are designed with an optimum Good, accessible design
to all users, regardless of physical ability, Referencing facilities space between each character. For the Generally, try to keep designs clean,
browsing platform or operating system. We Where relevant, communications should sake of legibility, try to avoid condensing simple and uncluttered with good visual
want The Crown Estate to communicate with include information about facilities available or extending type. navigation. This will aid accessibility and is
the widest possible audience every day. for disabled people. For example, are there likely, anyway, to be better design.
disabled parking facilities, are assistance Line spacing (also called line feed or
Under the Disability Discrimination Act dogs welcome, and are wheelchairs or leading) should be 1.5 or 2 point sizes
1995, employers and service providers are scooters available for visitors? larger than the type size, when measured
obliged to make reasonable adjustments from baseline to baseline. If it’s too narrow
to ensure accessibility for all. Type size or too wide, it will be harder to read.
In communications to wider audiences, our
We need to do this not simply to comply recommended minimum size for body copy Type alignment
with the law, but because people have a is 11 point. Type should range left, with a ‘ragged’ right
right to be able to access our messages hand margin, as this makes it easier to find
easily. This helps promote a culture The RNIB ‘See it Right’ guidelines – the start and finish of each line, and the
of equal opportunities and makes good www.rnib.org.uk – recommend a minimum spaces between the words are equal.
business sense. x height of 2mm (x height is the height
of a lowercase ‘x’), and for large print Don’t split words with hyphens at the end
documents, a minimum of 2.8mm. of a line – it’s not necessary if you’re using
left aligned type – and be sparing with your
For targeted audiences, smaller type sizes use of hyphens in general.
are acceptable. Common and design
sense should be applied. If you want or need to use justified type,
double-check that it’s readable.
Capitals and italics
Avoid using capitals for text unless you Contrast, reversing out and paper stocks
have a very good reason and be sparing Aim for a visible tonal contrast between text
with your use of title case (capitalising each and background, particularly when reversing
word in headings). Both can impair legibility. type out of a colour or photograph. Check
the size and weight of type to make sure
it’ll be legible.
Please protect our

brand and ask if in
any doubt
Our brand is vitally important to our
business and it’s the responsibility
of everyone who works in and with
The Crown Estate to do all we can
to respect and look after it.
If you are in any doubt about applying

the brand or any of its elements, then
please don’t hesitate to contact our
brand guardians in the Marketing
and Internal Communications Team
in Corporate Affairs.
Emma Twyman
Head of Marketing and Internal
Communications
020 7851 5011
Emma.Twyman@thecrownestate.co.uk
Tom McGuigan
Marketing and Social Media Manager
020 7851 5047
Thomas.McGuigan@thecrownestate.co.uk

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The Crown Estate

It also reflects the strategic objectives and

Like all good brands, ours has been

It’s based on the reality of our business,

The Crown Estate brand will work best

1.11 How it comes together

Why our brand is

These include Regent Street and much of

Our brand has been developed to embrace

It’s a unifying force that helps us

For a more detailed view of our business, see 6.6

Our values are our

These values are the foundation of

We believe that a successful business

We take the long view and address

This helps us make sure that we make

The Crown Estate is a customer focussed

Our customers are those who pay us

To help us deliver high standards of

Sharing a common The Crown Estate is an

The value we deliver Our vision

In everything we do, we are guided by

A single thought At the heart of how we work is an astute,

What does conscious Conscious commercialism is

It requires us to deliver commercialism with integrity

It commits us to earn the support of the people we

Conscious Commercialism is our way of working,

Our personal and We are enterprising We respect and are open

These are the behaviours we are

We do what we say We work collaboratively

Our personal and business behaviours

• People want to work at The Crown Estate because we have a

• Those we work with in commerce and industry, in the community

The Crown Estate

Treating our logo

The brand is more than a logo, but our logo

The Crown Estate mark has been specially

To protect and display our logo and ensure

This space should be equal to the cap

The minimum clear area may be increased,

Positioning the logo

The logo is designed to be positioned

The images shown here depict positioning

This applies in all media – in print,

Sizing the logo A6 = 6mm

Recommended dimension indicates

Recommended sizes by height for: A3 = 12mm

There is no maximum height, but we should

Our logo reflects

To reflect the diversity, flexibility and

The logo may be reversed out in white on

When colour printing is not an option,

The logo is always a solid colour or reversed

We want to encourage the use of different

Using the crown on

The image of the crown is an integral

It can, however, be used in special

The must nots

Do not use the old blue and purple logo,

Do not modify or distort the logo in any way.

Do not re-arrange the elements of the logo.

Do not reduce the minimum clear area.

• People want to work at The Crown Estate because we have a

• Those we work with in commerce and industry, in the community

4. On the last line, there is always a gap of

2. There must be a gap of ½ ‘G’ from the

4. Also avoid placing colours that clash next

6. Boxes can be aligned left or centred,

- The ‘The’ of The Crown Estate must

- Don’t run text over a photograph or

- Sentence case type is the brand style

- Use a line space not an indent to indicate

- All text should range left with a ragged