Typography Workshop Style Guide by Adam King

Typography Workshop TYPOGRAPHY WORKSHOP IDENTITY STYLE GUIDE

CONTENTS Introduction

The MRKT

La Distributrice

6-7

Daffodil Cottage Cafe

Jacu

On The Grind

10 - 11

Five Point Cafe

12 - 13

Cafe Oh La La

14 - 15

The Winey Cow

Caribou

Business Cards

18 - 21

Logo Design

22 - 29

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THE LOGO Shown below is the logo and there are several rules to stick to when applying it to a document. These rules are explained on the next few pages.

LOGO SIZING AND ISOLATION The minimum height of the logo is 15mm. The minimum size of the logo on the web is 30 pixels deep. There is no maximum size for the logo.

As shown below the area surrounding the logo must be a third of the height of the logo.

Shown below is the isolation area of the logo. The logo should always be surrounded by a minumum area of space; no elements other than the background colour can enter this area. This rule also applies when using with other logos. The only time where this rule doesnâ&#x20AC;&#x2122;t apply is when it comes to spot varnish which is explained on page...

logo height = 10

For example:

area of isolation = 3 This is not exact as this would be 3.333 recurring.

0.3x

height=x

THE LOGO MISUSE Shown below are a few outlines that must applied at all times.

POSTER

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Do not distort the logo.

Do not put the logo at any angle.

Do not place type over the logo.

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Do not put any colour over the logo.

Do not outline the logo.

Do not use more than one colour for the logo.

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Do not put any shape behind, in front or behind the logo.

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Do not create a drop shaddow for the logo.

LOGO POSITION The logo must always be placed in the top left corner of any document with the minimum gap being that of the isolation area shown on page 6. Below are a number of examples of where the logo should be placed on different shaped documents. There are however, some exceptions which are shown on page 10.

COLOUR Shown here are the 9 colours that are allowed to be used. The main colours are the three on the right. However, the other 6 may be used if needed.

The logo itself can be any one of these colours and at any percentage; The most appropriate colour to make the logo stand out is expected to be used.

These colours represent different parts of typography. The cyan colours represent the typical guideline colours that are seen on computer programs. The black and greys are all taken from letterpress. No other colours are allowed. Percentage tints of any of these colours can be used.

Pantone - 2448 C30 M5 Y15 K5 R168 G202 B203 Web A8CACB

Pantone - 2504 C50 Y25 R88 G197 B199 Web 58C5C7

Pantone - 2486 C50 Y15 K15 R103 G180 B190 Web 67B4BE

Pantone - 3279 C3 K30 R180 G187 B192 Web B4BBC0

Pantone - 3277 C10 K40 R149 G163 B171 Web 95A3AB

Pantone - 3276 C10 K50 R131 G144 B151 Web 839097

Pantone - 420 C6 M4 Y7 L11 R213 G213 B210 Web D5D5D2

Pantone - 419 C C74 M64 Y60 K78 R33 G34 B33 Web 212221

Pantone - 179 - 16 U K100 R28 G28 B27 Web 1C1C1B

SPOT VARNISH Spot varnish is a technique that can be used to enhance the look of the logo by adding another dimension to it. The varnish can only be applied where missing x-height of the font in the logo is. This is shown below. On the following page are some other examples of how this could be used; different colours can be used to create different looks.

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LOGO POSITION AND COLOUR ON PHOTOS The logo must always be in the top left hand corner when placed in photographs or any other document (explained on page 5). However, if like the bottom image the logo would get lost in the detail of the photograph, the logo may be placed in a different corner with the isolation area rule still applied. The colour must be picked carefully too, as it is important for the logo to stand out and not get lost in the photograph. The two below examples are acceptable.

FONT The Typography Workshop uses the font Futura for all documents. Shown below are the different weights that are used and on the following pages it is explained where each would be used.

Futura Light Futura Light Oblique Futura Book Futura Oblique Futura Bold Futura Bold Oblique Futura Extra Bold Futura Extra Bold Oblique

FUTURA LIGHT/LIGHT OBLIQUE Futura Light and Light Oblique should be used only on small documents. The Light Oblique should be used to give emphasis to a word or a phraise. This looks best at size 6pt.

abcdefghijklmnopqrstuvwxyzßæœ•ABCD EFGHIJKLMNOPQRSTUVWXYZÆŒ&012 3456789*#@+<=>’”÷±%‰⁄μ£$€ƒ¥¢,.:;... “”‘’«»‹›·‚„!?¿¡(/)[\]{|}®©™ÄÅÂÁÃÀÇÉÊËÈÍÎÏÌÑ ØÓÔÒÖÕÜÚÛÙŸáàâäãåçéèêëíìîïñøóòôöõ úùûüÿ†‡§ªº¬•¶ı°`~^ˆ •-–—_

FUTURA BOOK/BOOK OBLIQUE Futura Book and Book Oblique should be used for body copy in any document. The Book Oblique should be used to give emphasis to a word or a phraise. These are most effective in size 7, 9, 10, 11, 12pt.

FUTURA BOLD/BOLD OBLIQUE Futura Light and Light Oblique should be used only on small documents. The Light Oblique should be used to give emphasis to a word or a phraise. This looks best at size 6pt.

FUTURA EXTRA BOLD/EXTRA BOLD OBLIQUE Futura Book and Book Oblique should be used for body copy in any document. The Book Oblique should be used to give emphasis to a word or a phraise. These are most effective in size 7, 9, 10, 11, 12pt.

abcdefghijklmnopqrstuvwxyzßæœ•ABCD EFGHIJKLMNOPQRSTUVWXYZÆŒ&012 3456789*#@+<=>’”÷±%‰⁄μ£ $€ƒ¥¢,.:;...“”‘’«»‹›·‚„!?¿¡(/)[\] {|}®©™ÄÅÂÁÃÀÇÉÊËÈÍÎÏÌÑ ØÓÔÒÖÕÜÚÛÙŸáàâäãåçéèêëíìîïñøóòôöõ úùûüÿ†‡§ªº¬•¶ı°`~^ˆ •-–—_

THE GRID This is the grid that should be applied throughout documents created for the Typography Workshop. The measurements below are for an a3 poster. These proportions should be used on any format used; for a4, a5 and also within a book. Obviously within a book there may be different sized margins to the proportions given below. The measurements shown below are mm.

12.7

41.1

12.7

41.1

12.7

39.4

39.4 5

39.4

12.7

THE BODYCOPY The bodycopy should be in a one, two or three column grid. Any more would be too wide and any less would be too thin. The one column bodycopy cannot be any longer than three grid blocks high. Illustrated below is the flexiability of the grid given. This is only a few examples of the many different layouts you could create.

IMAGE PLACEMENT Shown below are examples of how images can be placed on a document. There are no restrictions with image placement other than they need to fit to the grid, so one square is the minimum size. This is obviously a very versitile grid.

IMAGE WITH TYPE Below are a few different layouts with the header or title, images and bodycopy shown. The dark area represents the title, the medium grey represents the images and the light grey represents the bodycopy. There are many different ways of using the grid and these are just a few examples.

HEADINGS Every heading should be in Caps. Every heading should have only one line underneath it as shown. All headings should be in the ‘Bold’ weight. The top two diagrams below are showing how to layout your headings. This line should be the size of the gap between the bottom of the top Caps and the top of the bottom Caps. If it is only a one line heading the gap can be determined by putting a temporary descender next to the title. This can then be removed afterwards.

The underline starts at the very left of the type face and finishes on the right hand side of the very right letter; in the case of a ‘Y’ ‘P’ or an ‘F’ the line should finish on the end of the bottom half as shown. In the case of a right aligned heading the same occurs but to the left hand side. Below this diagram is three examples of how this can be done. Different colours may be used for each part. On the opposite page is an example of this could be used on a poster.

TYPOGRAPHY WORKSHOP IDENTITY STYLE GUIDE

TYPOGRAPHY WORKSHOP

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TYPOGRAPHY WORKSHOP 1.30pm 23rd April Image Room Sion Hill

HEADING MISUSE Shown below, at the top, is a diagram showing how to layout your headings.

heading the same occurs but to the left hand side.

Every heading should have only one line underneath it as shown. This line should be half the x height of the type face and there should be half the x height between the bottom of the descender and the top of the line.

Below this diagram is three examples of how this can be done. Different colours may be used for each part.

The underline starts at the very left of the type face and finishes on the right hand side of the very right letter; in the case of a descending letter the line finishes on the right of the descender. In the case of a right aligned

On the opposite page is an example of this could be used on a poster.

All headings should be in the â&#x20AC;&#x2DC;Boldâ&#x20AC;&#x2122; weight.

Do not use more than one line per title.

Do not decrease or extend the gap between the line and the type face. Stick to the guidelines.

Do not change the thickness of the line. Stick to the guidelines.

Do not break the line or have a dotted line.

Do not slant the line.

Do not use mutilple lines.

Do not put a line above the type face.