merchandise manual
v e r s i o n 1 | C RE A T E D 2 0 0 9
3
Co n t e n t s
Foreword
2
B
MERCHANDISE DESIGN GUIDELINES
11
USING OUR BRANDMARKS CORRECTLY
12
USING THIS MANUAL
3
OTHER CORE ELEMENTS OF OUR DESIGN STYLE 13
USING THE ROYAL COAT OF ARMS
A
INTRODUCTION
4
AS A DESIGN DEVICE
5
EXAMPLES OF CORRECT AND
OUR ORGANIZATION AND OUR BRANDS OUR BRAND VALUES
6
INCORRECT DESIGNS
15
OUR MERCHANDISE RANGE
7
USE OF IMAGES 17
MERCHANDISE EXAMPLES
9
MERCHANDISE FOR CHILDREN
10
LABELS, PACKAGING AND POINT
OF SALE MATERIALS
ADVERTISING FOR MERCHANDISE
RANGES INVOLVING MORE THAN
ONE OF OUR BRANDS 1
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PROMOTING ASSOCIATIONS WITH
18
21
23
THE ROYAL OPERA HOUSE TRADEMARK REGISTRATION 24
25
TRADEMARK AND COPYRIGHT NOTICES 26
APPROVAL PROCEDURE
27
Foreword
Our three core brands (Royal Opera House, The Royal Opera and The Royal Ballet) are among our most valuable
assets. They are widely recognized by opera and ballet audiences, not only in the UK but also worldwide.
Wherever they are used, their presence conveys credibility and creates expectations of the highest quality.
We have recently introduced a new approach to branding that is being applied to everything we do. This approach
includes new brandmarks for our core brands and a design framework to unify all printed materials and other visual
formats. It will ensure that our brands are used in a way that is consistent with our brand values and thus reinforce
our brand positioning each time they appear.
This Manual describes in detail how our approach to branding applies to our merchandise, its packaging and any
advertising and point-of-sale materials relating to our merchandise. Some of the guidelines provide a set of criteria
against which possible merchandise options will be judged; some of the guidelines are rules that must always
be adhered to. We hope that the balance between these provides enough flexibility to allow an interesting and
attractive range of merchandise to be created, while ensuring that our brands are protected for the future.
Gwyneth Campling Caroline Bailey
L i c e n s i n g M a n ag e rD i r e c to r o f M a r k e t i n g
August 2009
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U SIN G T H IS M A N U A L
This Manual has two sections; the first section provides an introduction to our organization, our brands and
our brand values, and explains the implications these have for our merchandise; the second section sets out
the guidelines that must be followed when designing merchandise that bears one of our brands.
The guidelines apply to all of the merchandise that carries our branding; they apply to merchandise produced and
sold by third-parties using our brands under licence, as well as to merchandise commissioned by the Royal Opera
House. The guidelines also apply to packaging, point-of-sale materials and advertising for our merchandise.
The guidelines in this Manual have been written to complement those in the Branding, Design and Copy Manual.
As many of the guidelines in this Manual refer to guidelines set out in the Branding Manual, it is essential that both
are used when designing merchandise and associated materials.
The Branding Manual has three sections. Section A explains how Royal Opera House brands should be used on
materials designed to look as if they are from the Royal Opera House, irrespective of who produces/commissions
them. Section B explains how third-parties can use Royal Opera House brands on materials that follow their house
style rather than ours. Section C outlines key aspects of our copy-writing style.
• All merchandise carrying a Royal Opera House brand must follow the guidelines in Section A of the Branding Manual; this will ensure that the Royal Opera House brand is dominant and that the merchandise looks as if it ‘belongs’ to the Royal Opera House.
• Packaging, point-of-sale and advertising for merchandise can follow the guidelines in Section A or Section B,
according to the prominence desired for the third-party/manufacturer brand: Section A guidelines should be used whenever the manufacturer brand is not present or is much less prominent than the Royal Opera House brand; Section B guidelines should be followed whenever the manufacturer brand has equal prominence to the Royal Opera House brand.
This is explained in more detail in the second section of this Manual.
If you have any questions relating to the contents of this Manual, please contact Gwyneth Campling (gwyneth.
campling@roh.org.uk / +44 (0)20 7212 9395). Questions relating specifically to the use of our brands/brandmarks can
also be addressed to Caroline Bailey (caroline.bailey@roh.org.uk / +44 (0)20 7212 9296).
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s e c t i o n A | i n t r o duct i o n
contents
A | i n t r o duct i o n
OUR ORGANIZATION AND OUR BRANDS OUR BRAND VALUES
4
5
6
OUR MERCHANDISE RANGE
7
MERCHANDISE EXAMPLES
9
MERCHANDISE FOR CHILDREN
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s e c t i o n A | i n t r o duct i o n
O U R OR G A NI Z A T ION A N D O U R B R A N D S
The Royal Opera House is an organization dedicated to providing world-class performances of both traditional
and modern opera and ballet, together with work at the forefront of the development of these art-forms.
Our organization includes two world-famous Companies, The Royal Ballet and The Royal Opera, each of which
delivers a key aspect of our proposition: The Royal Opera provides world-class opera performances and related
events; The Royal Ballet provides world-class ballet performances and related events. Both are renowned for
their traditional work, yet increasingly recognized for contemporary work and for their efforts to support the
development of their art-forms.
We use our umbrella brand, Royal Opera House, across all printed materials and other visual formats; it unites
our work and confers the qualities and values associated with our brand onto whatever is being communicated.
It is always used in brandmark format on our communications and other materials.
The Company brands, The Royal Opera and The Royal Ballet, are used for performances by the Companies and
for events and materials relating to their work. In most situations, the Company brands are used alongside the
Royal Opera House brandmark, and are used in text format. In certain circumstances, including production-specific
merchandise (e.g. The Nutcracker souvenirs) and Company-branded merchandise (e.g. a Royal Opera diary), the
Company brands are used alone, in brandmark format.
The brandmarks of the Royal Opera House, The Royal Opera and The Royal Ballet have a clear visual link, designed
to strengthen our overall visual identity.
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s e c t i o n A | i n t r o duct i o n
O U R B R A N D V A L U ES
‘Excellence without arrogance’
These, our brand values, describe our approach to everything we do.
They unite and unify the different parts of our organization.
These brand values are shared by The Royal Opera and The Royal Ballet;
they apply to all aspects of our work, not only to performances, but also
to education events, our customer service, our communications and our
merchandise.
‘Excellence without arrogance’
Although they share the same brand values, the Royal Opera House,
The Royal Ballet and The Royal Opera have different brand personalities.
• Royal Opera House: principled, exacting, ambitious,
cosmopolitan, glamorous, inspiring
• The Royal Ballet: esteemed, dedicated, team-oriented,
elegant, captivating, awe-inspiring
• The Royal Opera: authoritative, confident, intellectual,
courageous, enthralling, passionate
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s e c t i o n A | i n t r o duct i o n
O U R M ER C H A N D ISE R A N G E
Our merchandise range must fit with both the core proposition of our organization and our brand values;
it must not devalue our brands or dilute our proposition by using our brands opportunistically on
inappropriate merchandise.
The table and notes below outline the types of merchandise that are appropriate for each of our brands.
Appropriate Brands
Merchandise Type
Royal Opera
House
The Royal
Opera
The Royal
Ballet
Production-specific merchandise – see note 1
Y
Y
Company-specific souvenir merchandise – see note 1
Y
Y
Souvenir merchandise – see note 2
Y
Souvenir merchandise that fits better with the personality of the Royal
Ballet brand than that of the Royal Opera House brand – see note 3
Merchandise relating to the part of our core
proposition delivered by the brand – see note 4
Y
Opera/
Singing
Ballet/
Dance
Notes
1
Production-specific and Company-specific souvenir merchandise should have broad appeal and be relatively inexpensive as its target audience is relatively small; for example: greetings cards, posters,
notebooks, mugs, pens, t-shirts, canvas bags, small boxes of chocolates, a small diary.
2As its target audience is larger than those of the individual Companies, Royal Opera House souvenir merchandise could include more expensive items in addition to those listed in note 1; for example: champagne, larger boxes of chocolates, an address book, opera glasses,
a leather-bound desk diary.
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3Souvenir merchandise that is relatively expensive can be branded with the Royal Ballet brand rather than the Royal Opera House brand if that particular merchandise has a much better fit with the Royal Ballet brand; for example: elegant, female-oriented products such as jewellery and perfume bottles.
4Because it could appeal to anyone engaged in opera/singing or ballet/
dance, merchandise relating to these activities could have a much larger target audience than any of the other categories of merchandise; for example: Royal Ballet branded dancewear could appeal to anyone anywhere in the world who participates in dance or ballet.
s e c t i o n A | i n t r o duct i o n
O U R M ER C H A N D ISE R A N G E c o n t i n u e d
‘Excellence without arrogance’
Our brand values lead to clear parameters for our merchandise. ‘Excellence’ means that our merchandise must be
of the highest quality, in both design and functionality.
• All merchandise must be fit-for-purpose and of good quality: products that last not products that
shrink/sag/fall apart; silk not polyester for ties and scarves; bone china not earthenware for mugs;
real leather not imitation leather for purses and wallets, although other materials could be used as long as they are not imitations of a better alternative.
• Our branding must be applied to merchandise in a way that is stylish and discrete (and not applied simply
by adding a brandmark as prominently as possible).
• Our branding must be applied in a way that is appropriate to the item it is used on: if one of our brands is used on a fashion item, the way in which the design incorporates our brand must be in keeping with a fashion item.
‘Without arrogance’ also has a number of implications for our merchandise.
• Our designs should not be obvious copies of other brands’ designs.
• Our merchandise should be ethically sourced, so that our brands are not tarnished by any associations
with child-labour, sweatshops or other such practices.
• Our merchandise should be fairly priced, so that we cannot be accused of charging a huge premium for
the presence of our brand.
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s e c t i o n A | i n t r o duct i o n
M ER C H A N D ISE E X A M P L ES
These illustrations provide examples of ‘on-brand’ merchandise.
NOTE
Some of the Royal Opera House merchandise in existence today does not comply with the guidelines in this
Manual; these items were created before our new approach to branding was developed. Because of this, existing
merchandise must not be assumed to provide an indication of what is acceptable.
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M ER C H A N D ISE F OR C H I L D REN
Merchandise for children must follow the principles described earlier; products must be of superior quality
and designed to last.
If the colour pink is used on Royal Ballet merchandise designed for young girls, the pink used must be
a pastel shade.
These pinks are appropriate.
PANTONE
1767
PANTONE
1895
PANTONE
230
PANTONE
250
PANTONE
1915
PANTONE
205
PANTONE
252
These pinks are not.
PANTONE
1785
The Royal Ballet
brandmark is on the
base of the mug.
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s e c t i o n B | m e r cha n d i s e d e s i g n gu i d e l i n e s
contents
B | m e r cha n d i s e d e s i g n gu i d e l i n e s
USING OUR BRANDMARKS CORRECTLY
12
OTHER CORE ELEMENTS OF OUR DESIGN STYLE
13
USING THE ROYAL COAT OF ARMS
AS A DESIGN DEVICE
14
EXAMPLES OF CORRECT AND
INCORRECT DESIGNS
15
USE OF IMAGES 17
LABELS, PACKAGING AND
POINT OF SALE MATERIALS
18
ADVERTISING FOR MERCHANDISE
21
RANGES INVOLVING MORE
THAN ONE OF OUR BRANDS 23
PROMOTING ASSOCIATIONS WITH
THE ROYAL OPERA HOUSE
24
TRADEMARK REGISTRATION
25
TRADEMARK AND COPYRIGHT NOTICES
26
APPROVAL PROCEDURE
27
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s e c t i o n B | m e r cha n d i s e d e s i g n gu i d e l i n e s
U SIN G O U R B R A N D M A R K S C ORRE C T LY
The Branding, Design and Copy Manual describes how our brandmarks must be used. The guidelines
listed below apply whenever the brandmarks are used on merchandise.
Royal Opera
House brandmark
Royal Opera
& Royal Ballet
brandmarks
page 16
page 25
page 16 & 18
page 25 & 27
Brandmark colours – see note 2
page 17
page 26
Clear space around the brandmark – see note 3
page 19
page 28
Minimum size of the brandmark – see note 4
page 21
page 30
Background control
page 22
page 25
Incorrect use of brandmark
page 23
page 31
Using the brandmark in design – see note 5
page 24
page 32
Reproducing the brandmark correctly – see note 1
Positive or negative version of brandmark
Notes
1 The guidelines state ‘neither the Royal Coat of Arms nor the wordmark can be used on its own’; this rule does apply to merchandise (although the Royal Coat of Arms can be used as a design device - see note 5). Merchandise cannot be branded with the words ‘Royal Ballet’, ‘The Royal Ballet’, ‘Royal Opera’, ‘The Royal Opera’ or ‘Royal Opera House’ written either in text or using a wordmark.
2 We may allow our brandmarks to be presented in a different colour than those specified if the material of the merchandise necessitates this; for example: if etched onto coloured glass or embossed onto leather. We are very unlikely to allow the brandmarks to be printed in any colour other than those specified.
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3 When the brandmarks are used on a photographic or other varying background, there does not have to be clear space between any background image and the brandmark as long as the rules for background control are complied with.
4The rules for preferred size of the brandmarks do not apply to merchandise; they apply only to print applications. The rules for minimum size do apply.
5 The guideline that allows the Royal Coat of Arms to be used as a design device is described in more detail on page 14.
s e c t i o n B | m e r cha n d i s e d e s i g n gu i d e l i n e s
O T H ER C ORE E L E M EN T S O F O U R D ESI G N S T Y L E
The Branding, Design and Copy Manual also describes other core elements of our designs and provides design
templates. The guidelines and templates listed below are relevant to merchandise.
Master and secondary typefaces – see note 1
pages 34 & 35
Royal Opera House red – see note 2
page 39
Design template: merchandise using the umbrella brand alone
page 66
Design template: Company and production - specific merchandise page 67
Referring to our brands in copy
Copy-writing generally – see note 3
pages 84 - 86
pages 82-97
Notes
1All merchandise that incorporates text (such as greetings cards) must use Gotham for that text. This typeface will not be provided by the Royal Opera House; merchandise manufacturers must purchase their own licence for this. If an item of merchandise includes a booklet about our organization, one of our Companies or the product itself, Sabon Next may be used for body-copy instead of Gotham; again, the merchandise
manufacturer must purchase the licence for this. The alternative typefaces described in the Branding
Manual cannot be used; these are only permitted in electronic communications and internal documents.
2Any merchandise using the colour red to evoke associations with our main house auditorium or red programmes must use the red specified here.
3 The copy guidelines are only relevant for items of merchandise that include a significant volume of text
(e.g. a booklet). The Publications Department of the Royal Opera House is able to provide help with
copy-writing and checking.
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s e c t i o n B | M ER C H A N D ISE D ESI G N G U I D E L INES
U SIN G T H E RO YA L C O A T O F A R M S
A S A D ESI G N D EVI C E
Many organizations have permission to use a Royal Coat of Arms on their products. To ensure that our branding is clear
on products that have our Royal Coat of Arms used as a design device, the following guidelines must be followed.
• If the Royal Coat of Arms is a prominent feature of the design, there must be plenty of clear space between the full brandmark and the Royal Coat of Arms (more than the amount of clear space required by the clear space rules).
• If the Royal Coat of Arms is used as a background for the full brandmark, the rules for background control must be complied with (pages 22 and 25 of the Branding Manual).
• The Royal Coat of Arms can be in any colour, but its colour must not make it more prominent than
the full brandmark.
These guidelines are in addition to those set out in the Branding Manual (on pages 24 and 32).
• The Royal Coat of Arms can be used as a design device on merchandise, but the wordmarks and complete brandmarks cannot.
• When the Royal Coat of Arms is used as a design device, it must not be used to create a repeating pattern.
• When the Royal Coat of Arms is used as a design device, the full brandmark must also be present.
NOTE
When the Royal Coat of Arms is used as a design device, either the whole Royal Coat of Arms can be used or just
a section/sections of it.
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s e c t i o n B | M ER C H A N D ISE D ESI G N G U I D E L INES
E X A M P L ES O F C ORRE C T A N D
IN C ORRE C T D ESI G NS
The merchandise design guidelines must always be followed. These examples contrast designs that would and
would not be approved.
15
Correct version:
all design guidelines
followed correctly
The brandmark is
inappropriately large
Correct version:
all design guidelines
followed correctly
The brandmark is not
used horizontally
R O Y AL O P ERA H O USE | m e r c h a n d i s e m a n u a l
Brand names in text/
wordmarks cannot be used
The Royal Coat of Arms is too
close to the brandmark
The Royal Coat of Arms
cannot be used as a
repeating pattern
There is insufficient contrast
between the brandmark and
the Royal Coat of Arms
s e c t i o n B | M ER C H A N D ISE D ESI G N G U I D E L INES
E X A M P L ES O F C ORRE C T A N D IN C ORRE C T D ESI G NS c o n t i n u e d
Correct version:
all design guidelines
followed correctly
The red used is incorrect
The third-party brand is too large
The third-party brand is
too close to the brandmark
NOTE
Some of the Royal Opera House merchandise in existence today does not comply with the guidelines in this
Manual; these items were created before our new approach to branding was developed. Because of this, existing
merchandise must not be assumed to provide an indication of what is acceptable.
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s e c t i o n B | M ER C H A N D ISE D ESI G N G U I D E L INES
U SE O F I M A G ES
Images of our productions, our Companies and the Royal Opera House building itself, and sketches for costume designs
could be used on our merchandise, e.g. on greetings cards and t-shirts.
However, as we own the copyright for a very limited selection of images, it is likely that new images would have to be
commissioned or a royalty fee paid to the photographer/artist for the use of existing images. All of the costs associated
with this would be the responsibility of the merchandise manufacturer.
NOTE
It is essential that the copyright ownership of existing images is checked before any such images are used in
merchandise designs. It must not be assumed that images already in use on other merchandise are freely available for
use on new merchandise.
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s e c t i o n B | M ER C H A N D ISE D ESI G N G U I D E L INES
L A B E L S , P A C K A G IN G A N D
P OIN T O F S A L E M A T ERI A L S
There are four possible branding options for labels, packaging and point of sale
materials. The option chosen determines which design guidelines must be followed.
1
1Royal Opera House branding only
2Royal Opera House branding is dominant, manufacturer branding also present
3Manufacturer branding is as prominent as / more prominent than the
Royal Opera House branding
4No Royal Opera House branding
Options 1 & 2: Royal Opera House branding only or dominant
name and description
of merchandise
(and image, if required)
The template shown on the right should be used for the design of labels, packaging and
point of sale materials, whenever their size and shape allow.
3
The information required has a designated place on this template.
1 ROYAL OPERA HOUSE, ROYAL BALLET OR ROYAL OPERA BRANDMARK
3IMAGE AND TEXT DESCRIBING THE MERCHANDISE
5MANUFACTURER BRAND IN LOGO FORMAT, IF REQUIRED
Pages 44 and 51 of the Branding Manual provide detailed specifications for brandmark and manufacturer brand positioning, respectively.
manufacturer
5
logo/brand
(if required)
The shape and position of the image and text block is flexible; it can occupy any space
not occupied by a brandmark and its clear space. All text in this block must be in
Gotham.
If it is not possible to follow this template because of the shape and size of the materials
concerned (for example: swing-tags and other small items, unusually-shaped point of
sale stands), the brandmark and any other information required should be positioned
where they look best, ensuring that all the relevant rules for our brandmark,
the manufacturer’s logo and any text are adhered to.
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If the only information required is the brandmark, the guidelines on pages 66
and 67 of the Branding Manual can be followed instead of this template.
Examples are provided on page 20.
PAGE 23 DESCRIBES WHICH BRANDS/BRANDMARKS SHOULD BE USED ON
PACKAGING AND POINT OF SALE MATERIALS FOR MERCHANDISE SETS.
s e c t i o n b | M ER C H A N D ISE D ESI G N G U I D E L INES
L A B E L S , P A C K A G IN G A N D
P OIN T O F S A L E M A T ERI A L S c o n t i n u e d
Option 3: Manufacturer brand has equal or more prominence
When a third-party brand has equal prominence with/more prominence than our brand, our design-style cannot be
used. Instead, the third-party’s design-style must be used, and our brand(s) included in their design in accordance
with the guidelines in Section B of our Branding Manual.
As described in the Branding Manual, a Royal Opera House brandmark can be used only if all of the following
criteria are met.
• No other brandmark is more prominent (i.e. our brandmark is as least as prominent as any
other brandmark/logo).
• It is separated from any other brandmark.
• It is not embedded in text, however short the phrase concerned.
In all other circumstances, the Royal Opera House brand name/names should be written in plain text as follows:
Royal Opera House or ROYAL OPERA HOUSE
The Royal Ballet or THE ROYAL BALLET
The Royal Opera or THE ROYAL OPERA
Brand names should be written in a typeface used elsewhere in the design, and not in a way that attempts to
replicate our wordmarks.
PAGE 23 DESCRIBES WHICH BRANDS/BRANDMARKS SHOULD BE USED ON PACKAGING AND POINT OF SALE
MATERIALS FOR MERCHANDISE SETS.
Option 4: No Royal Opera House branding
There are no specific guidelines for the design of packaging and point of sale materials that do not carry our
branding. However, the design must be appropriate to our brand, especially if our branding is visible through a clear
window in the packaging.
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L A B E L S , P A C K A G IN G A N D
P OIN T O F S A L E M A T ERI A L S c o n t i n u e d
EXAMPLES
These illustrations show the different branding options.
ladies
t - shirt
size 12
OPTION 1 EXAMPLE
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The Royal Ballet
Dancewear Collection
OPTION 2 EXAMPLE
OPTION 3 EXAMPLE:
MANUFACTURER BRAND
AND ROYAL OPERA HOUSE BRAND
HAVE EQUAL PROMINENCE
OPTION 3 EXAMPLE:
MANUFACTURER BRAND
IS DOMINANT
s e c t i o n b | M ER C H A N D ISE D ESI G N G U I D E L INES
A D VER T ISIN G F OR M ER C H A N D ISE
There are two options for advertisements promoting our merchandise.
1Advertising following the Royal Opera House communications template
2Advertising in the manufacturer’s house style
Option 1: Royal Opera House communications template
Merchandise manufacturers might be allowed to use our communications template for any
posters, press advertisements and leaflets they create to promote our merchandise. This will
only be possible if all of the merchandise being promoted has Royal Opera House branding
(whether Royal Opera House, The Royal Ballet or The Royal Opera). It must always be agreed
with us beforehand.
These communications must adhere to the specifications for the primary template set out in the
Branding Manual (pages 42–57), with the following exceptions/changes.
• Position 2 cannot be used.
• Position 5 can only be used for the manufacturer brand, preferably in logo/brandmark format.
• Position 6 cannot be used.
• Position 7 cannot be used.
NOTE
The brandmark in position 1 must always be the Royal Opera House brandmark. The brand of
the merchandise can be included in position 3, in the title and information block, if required
(e.g. The Royal Opera and Royal Ballet Mug Collection); if included, it must be in text and not in
brandmark format.
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ROYAL OPERA HOUSE
T-SHIRT COLLECTION
AVAILABLE NOW FROM THE ROYAL OPERA HOUSE SHOP
s e c t i o n b | M ER C H A N D ISE D ESI G N G U I D E L INES
A D VER T ISIN G F OR M ER C H A N D ISE c o n t i n u e d
Option 2: Advertising in the manufacturer’s house style
If merchandise manufacturers wish to promote our merchandise (or a range of merchandise including ours)
using communications that follow their house-style, they must follow the guidelines in Section B of our Branding
Manual if including our brands/brandmarks on these communications.
As described in the Branding Manual, a Royal Opera House brandmark can be used only if all of the following criteria
are met.
• No other brandmark is more prominent (i.e. our brandmark is as least as prominent as any
other brandmark/logo).
• It is separated from any other brandmark.
• It is not embedded in text, however short the phrase concerned.
In all other circumstances, the Royal Opera House brand name/names should be written in plain text as follows:
Royal Opera House or ROYAL OPERA HOUSE
The Royal Ballet or THE ROYAL BALLET
The Royal Opera or THE ROYAL OPERA
Brand names should be written in a typeface used elsewhere in the design, and not in a way that attempts to replicate
our wordmarks.
NOTE
The design of manufacturer-led communications must make it clear that the communication is theirs and not ours.
Communications that are similar to our own communications, but do not follow our template exactly, will not
be approved.
PAGE 23 DESCRIBES WHICH BRANDS/BRANDMARKS SHOULD BE USED ON MANUFACTURER-LED
COMMUNICATIONS RELATING TO MERCHANDISE SETS.
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R A N G ES INVO LVIN G M ORE T H A N
ONE O F O U R B R A N D S
In most circumstances, the brand or brandmark used on packaging, labels, point of sale materials and
manufacturer-led advertising will be the same as that used on the merchandise itself. If, however, the merchandise
is part of a ‘matching set’ that involves more than one of the Royal Opera House brands, different rules apply.
Packaging and labels for merchandise sets
The Royal Opera House brand/brandmark can be used instead of the individual brands/brandmarks on labels and
packaging materials for ‘matching sets’ (for example: Royal Opera and Royal Ballet mugs; Royal Opera, Royal Ballet
and Royal Opera House t-shirts); this should help to unify the range and may save costs. (Note: the individual brands/
brandmarks can be used if preferred.)
Point of sale and manufacturer-led advertising for merchandise sets
1Sets involving only the Royal Opera and the Royal Ballet brands
If a merchandise set includes items with the Royal Opera and Royal Ballet brands/brandmarks but not the Royal Opera House brand/brandmark, point of sale materials and manufacturer-led advertising can carry either the Royal Opera House brand/brandmark on its own or both the Royal Opera and Royal Ballet brands/
brandmarks; if the Company brands are used, the Royal Opera House brand/brandmark cannot also be used.
2Sets involving the Royal Opera House brand and at least one of the Royal Opera and Royal Ballet brands
If a merchandise set includes items with the Royal Opera House brand and at least one of the Royal Opera and Royal Ballet brands, point of sale materials and manufacturer-led advertising relating to this set must use the Royal Opera House brand only.
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P RO M O T IN G A SSO C I A T IONS W I T H
T H E RO YA L O P ER A H O U SE
To ensure that our merchandise is not seen as an opportunistic attempt to exploit our brands, we would like due
emphasis to be given to any associations between the merchandise manufacturer and the Royal Opera House on
packaging and promotional materials. For example:
• XYZ supplies make-up to The Royal Ballet
• This PRODUCT NAME has been created with the help of the staff and artists of The Royal Opera
• The photographs on these cards are from the Royal Opera House archive
This may help to remind potential purchasers, albeit very discreetly, of the support that the Royal Opera House
receives from purchases of the merchandise.
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T R A D E M A R K RE G IS T R A T ION
Royal Opera House, The Royal Ballet and The Royal Opera are registered trademarks in the UK.
They are registered in a wide range of categories, including those listed below.
Class number and brief description of class
Royal Opera House
02 Paints, colorants
03 Perfumes, cosmetics, toiletries
The Royal Opera
4
4
04Candles
4
4
4
06 Key-rings, statuettes and figurines made of metal
4
4
4
09CDs, DVDs, CD-Roms, films, e-publications
4
4
4
14 Jewellery, watches, clocks
4
4
4
15Musical instruments
4
4
4
16Stationery, books, magazines, playing cards
4
4
4
18Leather goods, umbrellas
4
4
4
20Mirrors, picture frames, ornaments in wood,
4
4
4
4
4
4
21Combs, brushes, glassware, porcelain, earthenware
4
4
4
24 Textile and textile goods
4
4
4
25Articles of clothing, footwear, headgear and belts
4
4
4
shell, amber, etc
26Lace and embroidery, artificial flowers
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The Royal Ballet
4
28Games, sporting articles, Christmas tree decorations
4
4
4
29 Various food products
4
4
4
30 Various food and drink products
4
4
4
32 Various drinks
4
4
4
33Alcoholic beverages
4
4
4
Note: the class descriptions in the above table provide an indication
of the goods and services in that class, not a comprehensive list. A
full list can be viewed at http://www.ipo.gov.uk/types/tm/t-applying/
t-class.htm.
• Royal Opera House: EU, China, Japan, USA;
classes 03, 09, 16, 18, 21, 25, 30
• The Royal Ballet: Europe, Russia, China, Japan, USA;
classes 03, 09, 14, 16, 18, 20, 21, 25, 28, 30
We are in the process of extending the Royal Opera House and The
Royal Ballet registrations to additional countries in a number of
classes, as follows:
We would be pleased to extend this registration to additional
categories at our expense, should it be required for other,
appropriate types of merchandise.
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T R A D E M A R K A N D C O P Y RI G H T NO T I C ES
Whenever possible, we would like details of copyright and trademark ownership to appear on our merchandise.
This should be done whenever these notices can be added without detracting from the appearance of the product
(for example: on the base of a mug; on the back of a greetings card).
These notices should also be included on packaging, point of sale and advertising materials when this can be done
without detracting from their appearance (for example: on the reverse or inside of swing-tags; on the underside of
boxes; in position 4 on advertising adhering to the Royal Opera House communications template).
These notices should be in the following format:
© <YEAR> <OWNER>
<Royal Opera House/The Royal Ballet/The Royal Opera> trademark used under licence
from Royal Opera House, London
If space does not permit, the second sentence can be shortened to:
<Royal Opera House/The Royal Ballet/The Royal Opera> trademark used under licence
For example:
© 2007 Fred Bloggs
The Royal Opera trademark used under licence from Royal Opera House, London
Royal Opera House trademark used under licence
NOTE
The merchandise manufacturer must ensure that any copyright requirements relating to images owned by a thirdparty are complied with. Should the third-party’s requirements conflict with the guidelines above, these must be
discussed with our Licensing Manager before entering into an agreement for the use of the images.
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A P P ROVA L P RO C E D U RE
The following approval procedure must be adhered to for all merchandise, packaging and associated materials.
Approval for each stage should be obtained before work commences on the following stage. Merchandise must not
go on sale and promotional materials must not be issued until stage 4 approval has been received.
NOTE
Failure to obtain the requisite approvals in advance of production may mean that
merchandise has to be destroyed.
STAGE 1
STAGE 2
STAGE 3
STAGE 4
Submit design
concepts for approval,
including samples of
the materials that would
be used for merchandise
and packaging
Submit finished
artwork for
approval
Submit pre-production
sample and/or print
sample for approval
Submit 3 finished
products, including
packaging, or 3 copies
of promotional
materials for approval
If this procedure is unsuited to the design and manufacturing process for particular items (for example, if you are
building a one-off, special display stand), an appropriate approval procedure should be agreed in writing before the
design process commences.
All submissions made as part of this procedure must be addressed to the Licensing Manager:
Gwyneth Campling
Licensing Manager
Royal Opera House
Covent Garden
London WC2E 9DD
Tel: +44 (0)20 7212 9395
Email: gwyneth.campling@roh.org.uk
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