qnb

Identity Guidelines
18.02.13
This document It is your resource
contains four sections: for reproducing our
visual identity.
The following pages
Core Elements 5
contain all you should
Applications 143 need to ensure our brand is
Digital 313
delivered consistently and
effectively across a number
Environments 423
of different applications.
Page 3
Core
Elements
1. Core Elements Our Brand
Our Brand 7 ‘Thinking Beyond’ is

Logo 29
our Brand Essence, it
drives us and unifies us.
Brand Flag 49
It keeps us consistent
Typography 81
wherever we are,
Colour 97 whoever we’re
Imagery 113
talking to, clients
and colleagues.
Page 7
Where we are today Where we want to be tomorrow
Today QNB is the However, we have

leading bank in Qatar. set our sights further;
our ambition extends
beyond Qatar.
“ QNB is the first
bank in Qatar, we By 2017 we wish to
have a proud history become a Middle East
you will see our and Africa icon.
logo everywhere” Thinking beyond;
we aspire to be a
global icon by 2030.
1. Core Elements Page 9

Our aspiration
Mission:
Be the institution of choice for customers,
Vision: employees, investors and suppliers
To be the dominant market player
Maintain the highest credit ratings
To become a MENA Have strong brand recognition and high brand value
icon by 2014 Enhance shareholder value
Business aspirations By 2017

To become a Middle East
& Africa icon by 2017 Balance sheet growth to breach high levels in 2017
Organic growth in existing markets with additional

growth from international acquisitions
Executing 2-3 acquisitions with controlling stake
Additional equity obtained externally

In order to realise
these aims we need
to evaluate who we are
nd
and what we stand for.
yo
nd for
be
,a s
We need to determine
w e
ro elv
how we can leverage

or rs
u
our many strengths to

om o
s t ng
succeed in a competitive
es ni
and expanding
cc io
su sit
market place.
Po
Page 13
Defining what makes us unique… what makes us QNB
On the one hand we

have the desire to build
At a fundamental level we are a We open doors for our customers; we
firm foundations for
thoughtful and future-focused bank. have insight and mutual understanding
of our customers’ ambitions and
our customers.
Our organisation is built on the quality we are able to act as a gateway to
of our relationships with people; we
are open and receptive to everyone.
business in the Middle East. We do this through our
“We treat all our
“QNB opens doors, depth of understanding
I was amazed how doors
customers like VIPs –
opened for QNB, how
of our customers’ needs,
it doesn’t matter how
much money they have”
smooth it is, we open and our knowledge and
doors for customers”
Our financial power is rooted
experience of the financial
in our risk-averse philosophy
to financial management; we
We have the ambition to grow;
we want to become a significant services industry.
are stable, solid and safe. financial services organisation
on the global stage. On the other hand we are
“QNB is the largest and
strongest bank in Qatar.”
“We need to grow outside agile and ambitious.
Qatar. We have hired
great international We have the ability to
talent but now we need
to integrate them fully”
evolve and translate
Behind these qualities lies
our understanding,
a unique fusion… knowledge and experience
to being successful in
MENA and beyond.
'Thinking Beyond' represents our
yo ept B
g on QN
ambition to create lasting value.
nd :
'
in l c of
Be c
It is a statement of our commitment
nk fu rt
hi er ea
to all of our customers.
'T w h
po e
a th
It is also a rallying cry for all of

is At
our people working at QNB.

Thinking Beyond Qatar
Thinking Beyond Today
and Tomorrow
Thinking Beyond Current
Customer Needs
Page 17
What does this mean for the way that we act? We are...
Our attributes guide Enriching

We are in the business
Insightful
Our customers are
Determined
We are dedicated to
the way that we behave of enriching the lives
of our customers.
ambitious. They want
a bank with ideas
building the financial
foundations for our
as an organisation. We take time to
and originality. customers that fulfil their
ambitions and deliver
understand their Our people are smart real long-term value.
They define our ambitions for today and and experienced.
They think beyond the We apply the same
tomorrow. We build their
character. trust to help and advise predictable. They act
quickly in pursuit of
persistency that has
built our success to our
them over the long-term.
the right solution. customers’ goals. We
We never take never put our needs
advantage, mislead or Providing our customers before theirs because
advise for short-term with solutions that we know that building
gain. To do this breaks are designed for them, sustainable value for
down the essential requires insight into their them will eventually
trust that will deliver goals, imagination and result in value for us.
long-term customer a depth of knowledge
value and loyalty. that can only come We want people to
from a bank with entrust their banking
We understand that unparalleled financial to us, knowing that
when our customers expertise and strength. at QNB the customer
do well, we do well. always comes first.
We want people to
think of QNB as the
bank they come to for
original solutions, the
best banking partner
to help them fulfil
their ambitions.

We build
sustainable
value by putting
our financial
expertise and
power behind
your ambitions,
so together we
can confidently
create a firm
financial future.
This impacts positively on our
people and on our customers…
'Thinking Beyond' and living by our attributes

has tangible benefits for all of our stakeholders.
These benefits are expressed in our promise:
We build sustainable value by

putting our financial expertise
and power behind your ambitions,
so together we can confidently
create a firm financial future. …and also on the way that
we present ourselves.
Similarly, 'Thinking Beyond' and our attributes

form the basis through which our brand presents
itself visually and verbally.
These guidelines provide clear direction on how to

apply our visual and verbal systems to ensure that
QNB’s reputation lives in all of our communications.
Page 23
Brand Model
Attributes Promise Mission/Vision

• Enriching We build sustainable To become a Middle
• Insightful value by putting our East and Africa Icon.
• Determined financial expertise Mission/Vision
and power behind

your ambitions,
Attributes
so together we can
confidently create
a firm financial future. Promise
Essence
Thinking Beyond
The Brand Model

helps us to articulate
QNB’s values

Essence
The business power of a single thought
A Brand Essence is not derived through But it should be used to focus all communications.
a corporate identity logo or a design manual.
A Clear Brand Essence is as important
It is about the application of a special emotional internally as externally.
territory, based upon a rational truth.
It is a rallying call, a settler of debates, a definer
It is about creating a unique and of what is, a benchmark for people, products,
single-minded proposition. services, communications and expectations.
A Brand Essence controls every aspect of It is simple. It is without borders.

a company’s approach and business through It is everything. It is your reputation.
the power of this proposition.
It is not an advertising line but a deep and

singular concept that dramatises what
the company is inherently about.

1. Core Elements Logo
Our Brand 7 Our logo is the

Logo 29
centrepiece of our
visual identity.
Brand Flag 49
It is the asset by which
Typography 81
we are recognised,
Colour 97 and the familiar
Imagery 113
signal of our presence
across both Qatar
and the world.
Page 29
LOGO
Overview | This is our logo. It serves to clearly identify our organisation.
Our logo is our most unique element and one of the key components of
our visual identity system. It consists of a symbol and a wordmark.
Symbol Wordmark

Yesterday Tomorrow
The converging blue arrows signifying Our revitalised logo has been imbued with
prosperity, community and our focused substance and reflective energy. It confirms our
energy are the firm foundations solid foundations, the growing diversity of our
which QNB provides to enable our customers and the depth of our relationships.
customers realise their full potential.
Our new crimson Ribbon is a forward
Our customers are represented by looking statement of our promise of thinking
the vibrant crimson icon whose beyond, beyond today, beyond boundaries
growth has been secured. to deliver lasting value for our customers
and for ourselves. The ruby arrow can be
thought of as the customer, at the centre
of our business. The three blue arrows can
represent each of the values that influence us.

LOGO
The Enhanced Logo | We have an Enhanced Logo,
which is used for all purposes at larger scales where the
subtlety of its extra detail can be appreciated.
The Enhanced Logo is not used any smaller than 20mm in height.
Use the full colour Enhanced Logo on all applications

larger than standard A4 and A3 items.
For screen use however, you may use this logo version at any scale.
20mm
Minimum size (Enhanced Logo)
Top: Filename: QNB_logo_cmyk_20mm_above.ai

Bottom: Filename: QNB_logo_greyscale_20mm_above.ai

LOGO
The Standard Logo | We have one Standard Logo, which is
used for all purposes at an everyday scale, such as A4.
The Standard Logo is not used any larger than 20mm in height.
Use the full colour Standard Logo (top) on all applications such as
literature and stationery wherever possible. (See the 'Applications' section).
If the production process is grayscale, then be sure to use

the appropriate grayscale Standard Logo version (middle),
which has been especially designed for this purpose.
8mm
Minimum size (Standard Logo)
20mm
Maximum size (Standard Logo) Top: Filename: QNB_logo_cmyk_20mm_below.ai

Bottom: Filename: QNB_logo_greyscale_20mm_below.ai

LOGO
The Standard Logo | We also have additional logos within the Standard
logo suite that will rarely be used, but have been created should they
be needed. Scenarios would be if production or costing were limited.
The Five Colour Logo (top) is to be used on premium applications.

The frame of the Symbol is printed with a metallic
ink that creates a premium gloss appearance. QNB_logo_5col_20mm_below.ai
The Solid Standard Logo (second from top) is for use only on a three
colour specified production job, such as screen printing. Also a single
primary brand colour logo can be used in certain circumstances.
The Black & White Standard Logo (third from top) is for use
when the reproduction of our logo is limited by quality or
colour, such as facsimile machines or one colour printing. QNB_logo_solid_20mm_below.ai
The White Standard Logo (bottom) is rarely used,

and intended for co-branding situations.
QNB_logo_black_20mm_below.ai
8mm
Minimum size (Standard Logo)
20mm
Maximum size (Standard Logo) QNB_logo_white_20mm_below.ai

LOGO Measure a diagonal line across the format (x) Divide the diagonal by 30 (y)
Sizing | The size of our logo is always defined by the height

of the symbol element as previously outlined:
Logo dimension
)
(y
)
(x
Most items that use our logo will either already be pre-designed or have
a template, so it is not necessary to measure this size.
The most common sizes for the logo are:
Page size Logo height (y) Determines the symbol height
A3 17mm
A4 11mm
A5 8.5mm
(y)
C4 11mm
However, in some situations it may be necessary to size the logo

manually when incorporating it into the design, such as on non-
standard banners, or bespoke materials of other dimensions.
On such occasions, there is a simple rule to establish the appropriate

logo height which is outlined opposite. This rule is not absolute,
and adjustment can always be made for an effective design.

LOGO
Clear-space and minimum size | The logo is a precious asset and
we must protect it. To do this we have established an area around
the logo into which no other design element must intrude.
We call this the clear-space area. The clear-space area is

equivalent to the diameter of the symbol as shown opposite.
Clear-space exists in
order to protect our
asset and allow for
a clearer expression.
1. Core Elements
LOGO
Using the symbol alone | Sometimes, we may need to use our symbol
only, without the accompanying QNB wordmark. It is important
we only do this rarely and for well understood reasons.
We should only use the symbol alone when there is not sufficient space or
a correctly proportioned area to use the full Logo including the wordmark.
We should only use the symbol alone in contexts where the QNB brand
is already clear, ie the full Logo including the wordmark is nearby.
It is permissable to use the symbol alone when necessary, in

contexts where the QNB brand is already clear. For example,
a QNB building with prominent signage already featuring the
company name, may display the symbol alone in a specific
location. Similarly, the QNB symbol may be projected onto any
surface which is already within a QNB branded environment.
Another situation where the symbol may be used alone

might be an iPhone icon, or similar UI situation. This
would be due to the size and proportion available.
When the symbol is used alone, it must appear larger than 20mm, as
the higher resolution version with extra detail should always be used.
Our symbol should not

be overused, as repeated
use cheapens its stature.
1. Core Elements
Things to avoid
X DON'T alter the proportions X DON'T adjust the components X DON'T alter the colour X DON'T place over a colour
X DON'T effect the wordmark X DON'T effect the device X DON'T place over imagery X DON'T use as a super-graphic

1. Core Elements Brand Flag
Our Brand 7 Our Logo is often presented

Logo 29
in a specific way, which
we call the Brand Flag.
Brand Flag 49
The Brand Flag consists
Typography 81
of the Logo and a
Colour 97 graphic Ribbon device.
Imagery 113 The Brand Flag is
the primary means
by which we display
our core identity. It is
used wherever a more
sophisticated sense of
the brand identity is
needed rather than simply
using the logo alone.
Page 49
BRAND FLAG
Overview | This is our Brand Flag. It shows how a distinctive Ribbon
shape defends a white area for our logo to inhabit, no matter what
colour the background of the rest of the page is. It allows items
to have a background colour other than white, (in this case blue)
as the Logo itself must only appear on a white background.
The Brand Flag always points forward, leading QNB into the future.
It adds meaning to the Logo, embodying our brand essence of
'Thinking Beyond'.
1. Core Elements
BRAND FLAG
The Ribbon | This element which creates the Brand Flag has
been derived from the simple shapes found in our symbol. It is
a striking graphic shape which over time will serve alongside
our logo as a recognisable sign of the QNB brand identity.
The definite upper

and lower ends
of the Ribbon are
never seen, as it
always extends
beyond the confines
of the page.
1. Core Elements
BRAND FLAG
Construction | The Brand Flag has been carefully constructed to
celebrate our Logo, and to create a predefined space around it.
As is the case throughout our identity, the key measurement in arranging

elements is the height of the Logo (ie the diameter of the symbol)
The Logo diameter (x) is the same as the margin of most document pages, x
and defines the distance of the logo from the left hand edge of the page.
The principles behind the Brand Flag's construction are

shown here, but it is important to note that the Brand
Flag is never built manually from separate parts.
Pre-designed artwork files for the entire Brand Flag exists in all
necessary colours, and should always be used to guarantee consistency.
This page is simply for

information, NEVER
x
build the Brand Flag
yourself. Always use
the supplied artwork.
75
%
x
QNB Velvet
BRAND FLAG
Colour | The Brand Flag carries our distinctive brand
colours. When appearing as part of the Brand Flag, there
are two colour blends always used in the Ribbon.
The upper part of the Ribbon runs from QNB Velvet to QNB Ruby, while
the lower part runs from QNB Sand to transparent, which has the effect
of revealing any colour or image beneath.
QNB Ruby
Despite this differing

appearance created by the QNB Sand
transparent design, there
is only one Brand Flag.
Transparent
1. Core Elements
BRAND FLAG
Transparency | As the lower part of the Ribbon runs from QNB Sand to
transparent, this has the effect of merging the Brand Flag to the other
design elements, resulting in a consistent and complete graphic solution.
Shown right is the detail to this principle.
Despite this differing

appearance created by the
BRAND FLAG
Applied | Shown is the effect of applying the Brand Flag over
varied backgrounds. The transparent area of the Ribbon
helps the Brand Flag merge with the other elements. Despite this differing
appearance created by the
With a coloured background this has the effect of picking up the colour,
on photography the transparency reveals the image.

BRAND FLAG
Clear space | We have established an area around the Brand Flag
into which no other design element must intrude. In addition to
this, the clear space area helps us define where — to the boundaries
of the format — we may place the Brand Flag (next page).
The clear-space area is defined by the diameter of the symbol (opposite).
Clear-space exists in
order to protect our
asset but also to help us
position the Brand Flag
on various formats.
1. Core Elements
BRAND FLAG
Position | The Brand Flag always sits on the left of any page or design.
The Logo always aligns with the left hand margin, and
the Ribbon extends beyond the page boundary.
While the Brand Flag is fixed horizontally in this way, it can be

moved vertically up or down according to the needs of the design. Text fits well aligned
Most items, such as brochure covers for instance, use a templated location up or down from
for the Brand Flag and so you should rarely need to position it yourself.
the wordmark's
baseline...
The Brand Flag is always

positioned on the left hand
side of an application.
...or left
The text alignments
shown are ideal, rather
aligned
than an absolute with the
rule. Balance should
always be sought.
letter Q.
1. Core Elements
BRAND FLAG
Position | Examples of the Brand Flag being positioned in Text alignment | These examples use the text alignment
accordance to the needs of different formats. Apart from principles shown on the previous spread.
logistic reasons, enabling the Brand Flag to move ensures it
This exact arrangement may not always be possible or desireable.
has personality and the design stays fresh and modern.
In particular, exceptions are made on credit cards, machine readable
templates, digital applications, and other templated items, and also when
the accompanying text is much larger or smaller than the QNB wordmark.
In these situations, it is often better to simply visually balance the

elements. The priority is to place text in an elegantly considered way.
The brochure
title goes here
With a subtitle below
This is a
booklet
It’s A5 size
This is a
leaflet
It’s tall and narrow.
BUSINESS DIVISION
BUSINESS DIVISION BUSINESS DIVISION

BRAND FLAG
Extreme formats
Extreme positions | The following examples are considered
require a pragmatic
the most extreme scenarios that you may encounter when
approach to the placing
looking to place the Brand Flag within your application.
of the Brand Flag.

BRAND FLAG
The Brand Flags shown
Special use | To accommodate production constraints, we have
are to be used ONLY
two further Brand Flag constructions — one for black and white —
when reproduction of
another for when we are unable to effectively express a gradient.
the full colour Brand
Flag is not possible.
Left: Filename: QNB_brandflag_greyscale_20mm_below.ai

Below: Filename: QNB_brandflag_black_20mm_below.ai

The Ribbon is a graphic
component, taken from our
pl ibb ere
Brand Flag and simplified.
to R h
. n
in ic s w
ay o
es ph i
m ra h i s
It is inspired both by our
co r g d t
ou an
...
national flag, and our desire
to keep moving forwards.
In some specific print literature
ea r
br u
situations, it can be used on its own

a so
k
to help bring a flavour of our brand

e
to brochure spreads for example.

ed m
ne eti
This section provides guidance...

es m
ey So
Page 73
Colour usage |
The Ribbon may
The Ribbon can also be placed on any of
live alone in print our primary colour
backgrounds, apart
from QNB Ruby Red,
The size of the Ribbon when used alone is exactly
the same as it would be if it were part of the Brand as shown here.
x
Flag. For example, on an A4 page, the Ribbon parts

are 75% the width that our symbol would be:
The lower part of
A3 page (17mm symbol) = 12.75mm Ribbon width
75
the Ribbon may be

%
x
A4 page (11mm symbol) = 8.25mm Ribbon width

A5 page (8.5mm symbol) = 6.5mm Ribbon width
any of the primary
colours, in sympathy
with the background,
The Ribbon used alone | The Ribbon shape and tints can be
originates from the Brand Flag, although used as needed.
we never disassemble the Brand Flag.
Any combination of
Instead, in order to use the Ribbon alone, colours can be used,
we employ a unique editable version, so long as the lower
which only comprises of two shapes, the part of the Ribbon
upper and lower sections of the Ribbon blends with the
as shown here, which always extend design, and all parts
beyond the confines of the printed page. of the Ribbon have
sufficient standout.
This Ribbon graphic uses the same
shape and proportions as found in the
Brand Flag, only it does not appear with
the Logo, and its colour varies.
When used alone, the Ribbon may move around

the page as needed, to create dynamic layouts.

The Ribbon in spreads | The Ribbon itself may be
used to good effect within print literature pages, for
example brochures and marketing material.
An appropriate time to use the Ribbon in this way would be to mark the Avoid overusing
start of a section, chapter or divide. This creates rhythm in a document, the Ribbon within
establishes a clear purpose for the Ribbon, and avoids it appearing documents. It serves
too often. only as an occasional
asset to rest the eyes.
When used alone in these situations, the Ribbon is made of only two
flat colours. The upper part is always QNB Ruby Red, while the colour of
the lower part can be chosen from our primary palette to complement
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the design context. (colours are outlined later in this section) Itatio. Et officae volorpo ribernatem
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When used alone, the Ribbon is never scaled up or down, but

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merely positioned in different places, and the edges always
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continue beyond the boundary of the page as usual. Hendaes dolorum eic tem que autatet ullacias re sant qui
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accullabore et ut voluptati corem explacearunt vel iustisc
L
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The Ribbon is a pre-drawn editable vector object included in Et ulpa voles velitem doloruptate voluptaqui dest as ma
dolupta tetusapitem hiciis desequam fugiaturibus et omnime
prorepedia core nis eos del is dia videstorro con cumquam
your InDesign page, so it does not need to be imported from

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doles re lanim es dolorro modis est, odi aboriti busdae
sus elluptur sintus. Cones porepreperum etur simusam,
offici culluptat remoloris esed estempore niaspi.
elsewhere and its bottom part can be recoloured easily.

Eratur, ipsaepudi dem. Nam, sequis aborehent. Tur am ium estore
acerestiist, tem. Dam exeraerorunt qui ut aboresti volori doluptae
et ius demped et, sam aceatias quos minim fugia volum expelli
quaecta voluptas sectempore magniae ratenihil maionec ullorum
int pelisimus restia imin plant aboriaepro bea volent, ut mint,
te ent ad quiaspedit officipictis aut od moditatur, odis dolori
veniscid et quiam il ini incider iberspe ribusap ererum ut maximi,
The Ribbon may be moved around the page sympathetic with the sin coreniae. Ut deratiusae res magnihicabo. Ad ut quae. Dam
vid maiore voluptaquas repelesedis quis doluptam re volupis il
id es ipit quo beaquia voloresequo quidunt magnia qui omnihic
tectiorrum laborro omnis eosant esti cum, nos apiet qui inus, te
design, and can hold large or small type at a 45 degree angle. Est que a con nobisiti sinciur, ius everion nonsedio debisimi,
odistrum eatas resciaerfera porporp orehendi aut ius aspel mi,
ut ut ipsunt ullam fugit aceptus milit et, inistius eum etusam
ut odiant laborende apiderum eruntiatur, seque estiis maio. Et
volor aspedictis aliquia tibusan deligenist fugit offictium hictur
alis sitis explate ipidi te laccae dia peditas aut voluptiberat
The Ribbon should be used sparingly in these officimus sam endel etur? Amus ium qui di officil loriatio. Igenist
quam que sit ullam et eiunt rate et faccuptam sinctatint que
audaeptum dis ad maxim sum qui blabor aut quam fuga.
situations, as overuse will diminish its power.

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is dolor apis eos sam incidip isquas expersped unt eum qui od
qui ipiciae. Itaturesto magnis re explita tenimpe nonse dest,
vollupt urehendus alis estiaspelit et lam ullacium liquibusdam
listo cone poriam alia volorro ma voluptates et ent rehent.
These principles mean that within consistent constraints, the 22 23
Ribbon can be used to add graphic variety and life to layouts.
Page 77
Things to avoid - Brand Flag Things to avoid - Ribbon alone
X DON'T place on similar photo colours X DON'T alter the size relationships X DON'T recolour the upper part X DON'T reveal the edges
X DON'T flip X DON'T draw, construct or distort X DON'T use over Ruby Red colour X DON'T distort or transform
X DON'T break the clear-space rule X DON'T fill the lower Ribbon X DON'T use as a graphic X DON'T overuse
t
no
se
Do
do
ea
er
pl
ev
is
th
1. Core Elements Typography
Our Brand 7 Typography is our

Logo 29
written identity.
Brand Flag 49
Our typeface family
has been carefully
Typography 81
chosen to represent
Colour 97 us internationally, in
Imagery 113
Latin, Greek, Cyrillic
and Arabic languages.
Page 81
We speak with
authority in a hum
and approachable
one. We are people
rusted advisor.
TYPOGRAPHY
Primary typeface | Cordale is a modern serif typeface that is
easy to read and has a strong but subtle character. Designed by
Dalton Maag in London, it has been specially produced to work
well for digital typesetting and lithographic printing. Regular
Cordale is our primary typeface for use across all applications for
all styles of messaging, headlines and body copy. It contains full
Italic
character sets for Arabic, Latin, Cyrillic and Greek alphabets.
Bold
Bold Italic
Cordale Consult the Corporate

Communications team if you have
any queries regarding this typeface.
Cordale is is provided by:
www.daltonmaag.com
[email protected]
Tel: +44 (0) 20 7924 0633

TYPOGRAPHY
Primary typeface | Cordale contains a full Arabic character
set and has been designed specifically to function across
‫طقس‬
multiple languages. This makes it the perfect typeface
choice for an international company based in Qatar.
‫ددعتو‬
‫برحلا‬،
‫يلبح‬
Consult the Corporate
Communications team if you have
‫مث‬. ‫لواح‬
any queries regarding this typeface.
Cordale is is provided by:
www.daltonmaag.com
[email protected]
Tel: +44 (0) 20 7924 0633

TYPOGRAPHY
Type styles | On this page you will see some suggested
type styles for use across our identity. Display size 54/60
All typography is based on a 12pt baseline grid, which ensures a sense
of calm solidity. Consequently, leading (the space between lines) is Title and Large Header 32/36
ideally a multiple of 12pt, and the type size is set within this.
Leading and type sizes are always set comfortably (see right), this allows
"Large Quote Text" 30/33
us to run multiple languages on the same baseline and maintain legibility. "Quote Text" 22/24
Arabic layouts should follow the same direction although Subtitle / Small Header / Large text 16/24
it is understood that it may be necessary to reduce font business descriptor 10/24
sizes by one or two point sizes in some instances.
Pull/Large text 14/18 Body Intro 10/12: Content 11/12 .......................01

Space after 6pt
Space after 12pt
Ad eum, officatia quam, utem. Type style..............................02
Ad eum, officatia quam, Accabo. Itatio. Et officae volorpo
ribernatem quis velendi onsectio
utem. Accabo. Itatioy. voluptiis di bernam aliquatae With space after ...................03
Etem et officae volorpo nihilignat rest, ullestem fuga.
ribernatem quis velendi Set to 6pt ...............................04
We always print our
Body Text 8.5/12
onsectio ramu voluptiis Space after 6pt
body copy in black. di bein bernam aliquatae Hendaes dolorum eic tem que autatet Caption 8.5/12 (65% tint)
nihilignat rest.
Display, titles, quotes
ullacias re sant qui quam delecearum Space after 6pt
quaecum ipis sus rehendenim que ist
and subtitles may use

aut volupta speris est, quis perestia Italicised copy is for when we wish
estia conecae laborum rae parum to sound conversational or when the
additional colours.
rae. Aperorempel invene consequi copy is 'in parallel' to the core copy.
dolum ea eniti accullabore et ut Instances are quotes and captions.
voluptati corem explacearunt vel
iustisc imendan dipistem aceptiu
stiatistiate volorruntium labo.
Et ulpa voles velitem doloruptate

voluptaqui dest as ma dolupta
tetusapitem hiciis desequam
fugiaturibus et omnime prorepedia
core nis eos del is dia videstorro con
cumquam doluptae porem imoluptas
ium, officient as dolorro es res doles
re lanim es dolorro modis est.

TYPOGRAPHY
System typeface | As Cordale is a unique typeface choice,
there will be situations where we cannot use it. Arial is a freely available system
typeface, installed as a matter of
course on computer operating
Such situations are when digital documents are being produced, most systems worldwide.
notably in Microsoft Office formats or when there is a licensing issue. Arial has been chosen for its flexibility
in rendering both Latin and Arabic
characters, one of the few fonts which
In keeping with all major corporations with a distinctive identity, can handle both character sets.
we choose a system replacement for our typeface in these situations.
Our system replacement font is Arial, which is present

on all computers and operating systems.
The system typeface is Arial, for use
when Cordale is unavailable.
‫برحلا ددعتو طقس‬،

‫مث‬. ‫راتسلا لواح‬
‫يزانل الا و دوهجملل‬
‫رهق عم ةيركسعلا‬.
‫ثحب ةعب ّتملا يوجلا‬
‫ماعلا يف مضو لب‬،
‫مأ ةضراعمب ايناملأ‬
‫نابايلل مدعل متي‬.
‫ةيلمع لك الب‬

The system typeface
TYPOGRAPHY
System typeface summary | As a guide you may find situations
when you are only able to use the system typeface:
is Arial. The
PRINT
All printed material Cordale/Arial (Latin/Arabic)
Note: Arial can only be used on forms and no other printed material
DIGITAL
system typeface is
Online headings Cordale (Latin/Arabic)
Online Body copy Arial
ATM screens Cordale (Latin/Arabic)
Other bespoke formats Cordale (Latin/Arabic)
Arial. The system

MS OFFICE
Email
A rial
(first default system
typeface is Arial.
font specified in HTML)
Word & Excel Arial
PPT Times New Roman
The system typeface

is Arial. The system
Things to avoid
X DON'T use other typefaces X DON'T loosely track the type X DON'T over track the type X DON'T have loose leading
X DON'T fully justify text X DON'T colour body copy X DON'T use bold for body copy X DON'T make type illegible
cuptae es si ad mil eat ident

quaes nulparcil experrum repuda
non nis dit ea commolu ptatem
et harum explitiam, odi ullor
remposa nimpore cusae nulla
parum etus maxim repudit
undandi gnihill endebiti dolorepe
diati que veliquatem eu

1. Core Elements Colour
Our Brand 7 Our colour palette has

Logo 29
been developed in order
to express our values,
Brand Flag 49
individuality and to
Typography 81 help differentiate us
Colour 97
from our competitors.
Imagery 113
Page 97
COLOUR
Overview | Our primary colour palette features in the genetics of our logo.
Velvet
Ruby
Sky
Sapphire
Our palette consists

of colours within the
red and blue colour
spectrum — a high
tone and dark shades.

COLOUR
Primary palette | Our palette contains regionally relevant hues, tailored
for modern expression. The core primary colours originate from three
Sky Sapphire
colour territories — blue, red and neutrals. From each of these territories
we have two opposing colours — a high tone and a dark shade.
Velvet Ruby
Our colours are CMYK.
Sky 80c.40m.0y.0k
Sapphire 100c.85m.0y.55k
Velvet 30c.100m.100y.80k
Ruby 16c.100m.14y.42k Sand Stone
Sand 13c.13m.15y.0k
Stone 40c.25m.30y.60k

COLOUR
Secondary palette | Our supporting colour palette can help with the
communication of data within tables, charts and graphs. The colours are
Plum Ocean
differentiated and bright — ideal to compliment our primary palette.
Mint Steel
Our colours are CMYK.
Plum 50c.85m.0y.0k
Ocean 85c.0m.20y.0k
Mint 40c.0m.60y.0k
Steel 30c.30m.15y.0k Mustard Citrus
Mustard 0c.30m.80y.0k
Citrus 0c.70m.100y.0k

COLOUR
Pantone® | Both of our colour palettes should work in CMYK across
all potential applications negating the need for the Pantone®
Sky Sapphire
system. The reason being that our visual language consists mainly
of gradient fills, rarely do we use large areas of solid colour.
660c 289c
However, you may use this page as reference for our Pantone®
colour equivalents for each of our colours within both palettes. Ruby Velvet
228c 4975c
Sand Stone
Warm Grey 1c 425c
Plum Ocean
258c 3115c
The Pantone® values
shown are for reference
Mint Steel
only — the CMYK values
are to be used at all times.
359c 5295c
Mustard Citrus
1365c 158c
COLOUR
Gradients | We have artwork files available, using special colour
combinations, positions and transitions from our primary colour
Ruby Sand
palette that combine to create a graduated artwork suite. All available
combinations are shown (right). The artwork files are supplied. Velvet White
Sand Sapphire
Sky Ruby
Our graduated artwork Sapphire Sapphire

suite adds colour options
and sophistication to
applications that do not
Sand Sky
utilise photography.
LEFT COLUMN (top to bottom)
Filename:
QNB_grads_A4_ruby-velvet_-45.tif
QNB_grads_A4_sand-sky_-45.tif
QNB_grads_A4_sapphire-sand_-45.tif
QNB_grads_A4_sky-sapphire_-45.tif
Sky Stone 01
QNB_grads_A4_stone-sand_2_-45.tif
RIGHT COLUMN (top to bottom)
Filename:
Sapphire Sand 01
QNB_grads_A4_sand-paper_-45.tif
QNB_grads_A4_sapphire-ruby_-45.tif
QNB_grads_A4_sapphire-sky_-45.tif
QNB_grads_A4_stone-sand_-45.tif
QNB_grads_A4_velvet-sapphire_-45.tif
Stone 01 Velvet
Sand 02 Sapphire
COLOUR
Gradient artwork files | We have artwork files available, which
Place the gradient file on
allow you to place within your artwork at a given size to the format
the bottom right of your
you are producing. The files are square to the largest diameter, and
application at a 1:1 scale.
when you place the files you should follow the example (below).
This example is using an

A4 gradient file
Filename: QNB_grads_A4_sky-sapphire_-45.tif Place the file to the bottom right corner

of the application and scale 1:1

Things to avoid
X DON'T invent new colours X DON'T alter the colour properties X DON'T affect the colours X DON'T marry solid colours
Sky
80c.40m.0y.60k
X DON'T invent gradation colours X DON'T invent gradation types X DON'T marry solids to gradients X DON'T overuse colour
Sky
80c.40m.0y.0k

1. Core Elements Imagery
Our Brand 7 Imagery is one of

Logo 29
the most powerful
assets that our
Brand Flag 49
brand possesses.
Typography 81 'A picture paints a
Colour 97
thousand words'.
Imagery 113
Imagery can be
evocative, dramatic
or peaceful. It can
convey any mood or
human emotion.
When a picture is not
suitable, we have a
range of graphic shapes.
Page 113
IMAGERY
Our photography style is a visual representation

of Thinking Beyond. We use depth-of-field to
lead the eye beyond the foreground, revealing
the compelling story within the image.
We have three thematic categories for our
photography: People, Places and Abstract.

IMAGERY
People: We focus on both local and

international audiences in real life
situations. A reportage approach
is taken whereby we capture an
authentic moment in time.
IMAGERY
Our people are global
Examples | A typical selection of images that fit into our style
citizens, engaging and
not gender-biased.
Reportage
Depth of field

IMAGERY
Guidance | Some advice on Reportage imagery
Reportage imagery is... Reportage imagery isn't...
...high quality, high production values ...'snaps' or spontaneous shots
...deep blacks and tertiary colour ...overly colourful or bright
...strong depth of field ...blurred or frantic
...striking composition ...banal or unengaging
...an enigmatic foreground ...humorous
...targeted in focus ...superficial
...refined and considered ...generic or corporate
...revealing a sense of story ...artificial

IMAGERY
Places: Our places photography

consists of both local and
international locations such as
cityscapes or environments.
IMAGERY
Our places are city

focussed, modern and
have a business focus.

IMAGERY
Guidance | Some advice on Places imagery
Places imagery is... Places imagery isn't...
...impressive ...predictable
...illuminating ...generic and corporate
...modern ...small-scale
...business-orientated ...always Qatar
...cosmopolitan ...artificial
...high quality ...leisure-orientated
...authentic ...'postcard' views
...strikingly composed ...uninteresting locations

IMAGERY
Abstract: When we need to

communicate a metaphor, be
ambiguous or allude to quality, we
focus on objects or environmental
details. In order to add relevance to
the photo choice the accompanying
message is paramount.
IMAGERY
Our people notice things
Examples | Abstract is about Thinking Beyond the surface,
that others ignore.
noticing details others may ignore. Abstract imagery should
be used in situations where people or place shots are not appropriate
or available. They can also be used to provide some variety
to brochures or convey a theme or tone where appropriate.
Unusual
Well considered

IMAGERY
Guidance | Some advice on Abstract imagery
Abstract imagery is... Abstract imagery isn't...
...fascinating ...completely meaningless
...relevant ...emotionless
...high quality ...confusing or cryptic
...thought provoking ...unrelated to the subject
...technically impressive ...bland or banal
...positive associations ...negative associations
...restrained in colour ...garish

IMAGERY
Photography effects | The look and feel of our brand photography
1.
is extremely important. When selecting photography, ensure
Take this photograph for instance.
that images are compelling, credible and tonally in-keeping with
the examples illustrated. All of this is easily achieved in-camera, Subject
however sometimes we acknowledge that we would need to source
Photography style
Royalty Free stock imagery which may not fully comply to our visual
aesthetic. In view of this issue we suggest the following processes. X Colour
2. 3.
Every photograph may

need any number of
effects the same or
similar to these. These
Each photograph would serve as an example of
need an individual how you could achieve
the correct result.
approach. However this
is an indicative solution
to a potential problem.
4.
Our preference.
Subject
Photography style
Colour

IMAGERY
Product Advertising | Photography direction. Campaign
related photography surrounding the product:
• The image subject should always support the

message of the product and the copy.
• The subject matter must be simple, to allow a simple story to be told.
• Images chosen should have a key focal point, whether

that be in the foreground or background.
• Choose positive images which support the brand values:

Enriching, Insightful, Determined.
• W hen creating a campaign with multiple images, they

must all feel part of the same family and not contrast.
• Do not obstruct the key focal point with the white banner or headline.
• Avoid images with too much clutter.
• Full colour photography only must be used.

IMAGERY
Pattern | Some applications may need to be mnemonically branded with
our pattern. An example may be where we are unable to use any of
our core visual assets (colour, photography, typography) — such as
cheque book slips. Another instance may be credit cards — where
there is a need to stretch the look and feel across a number of similar
items. The pattern exists to help us address these instances.
Our pattern is based on our Ribbon and logo symbol. The shape is flexible
enough to allow for a great variety of expression, yet remains familiar.
Our pattern is to be
used only when you
are unable to use other
assets. Consult the
Brand Team for guidance
should you need too.
1. Core Elements
IMAGERY
Pattern | Our identity pattern can create quite a different
feeling when used at different scales. For this reason there are
roughly four different levels of impact that it can create:
Fine Standard Close Magnified
At this scale, the detail of the At this scale, the shapes of the At this scale, the shapes At this scale, the shapes are
pattern is not very apparent, pattern are obvious, but there are very clear and the celebrated fully, and there is
and it acts more as a texture. is still a lot of repetition which repetition less obvious, so far less sense of repetition.
makes it feel visually busy. there is a calmer feeling.
1. Core Elements

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Identity Guidelines

Our Brand 7 ‘Thinking Beyond’ is

Today QNB is the However, we have

1. Core Elements Page 9

Vision: employees, investors and suppliers

To be the dominant market player

Maintain the highest credit ratings

icon by 2014 Enhance shareholder value

Business aspirations By 2017

Organic growth in existing markets with additional

Executing 2-3 acquisitions with controlling stake

Additional equity obtained externally

1. Core Elements Page 11

how we can leverage

our many strengths to

On the one hand we

It is also a rallying cry for all of

our people working at QNB.

Our attributes guide Enriching

1. Core Elements Page 19

'Thinking Beyond' and living by our attributes

We build sustainable value by

Similarly, 'Thinking Beyond' and our attributes

These guidelines provide clear direction on how to

Attributes Promise Mission/Vision

and power behind

The Brand Model

1. Core Elements Page 25

The business power of a single thought

A Brand Essence controls every aspect of It is simple. It is without borders.

It is not an advertising line but a deep and

1. Core Elements Page 27

Our Brand 7 Our logo is the

1. Core Elements Page 31

1. Core Elements Page 33

Use the full colour Enhanced Logo on all applications

Minimum size (Enhanced Logo)

Top: Filename: QNB_logo_cmyk_20mm_above.ai

1. Core Elements Page 35

If the production process is grayscale, then be sure to use

Minimum size (Standard Logo)

Maximum size (Standard Logo) Top: Filename: QNB_logo_cmyk_20mm_below.ai

1. Core Elements Page 37

The Five Colour Logo (top) is to be used on premium applications.

The White Standard Logo (bottom) is rarely used,

Minimum size (Standard Logo)

Maximum size (Standard Logo) QNB_logo_white_20mm_below.ai

1. Core Elements Page 39

Sizing | The size of our logo is always defined by the height

The most common sizes for the logo are:

Page size Logo height (y) Determines the symbol height

However, in some situations it may be necessary to size the logo

On such occasions, there is a simple rule to establish the appropriate

1. Core Elements Page 41

We call this the clear-space area. The clear-space area is

It is permissable to use the symbol alone when necessary, in

Another situation where the symbol may be used alone

Our symbol should not

1. Core Elements Page 47

Our Brand 7 Our Logo is often presented

Word & Excel Arial