Publication & Direct Mail Standards Manual New York State Senate Majority Communications
New York State Senate Majority
Graphic Stylebook Mark E. Foster Creative Director
New York Senate Graphics (518) 426-6675
Graphics Stylebook The publication standards contained in this Graphic Stylebook are intended for the use of all staff who design and produce printed publications for New York State Senate Majority Communications. It is assumed the user knows and understands basic graphic design terminology and principles. Publication standards ensure that NYS Senate Majority print publications look professional and reflect current industry “best practices” regarding typography, layout, and color use in mailers, brochures, posters, booklets, and newsletters. These standards grew directly out of a thorough examination of previously produced Senate Majority Print Communications (2006–2007), and a desire to give the Senate “brand” a more modern, sleeker look to boost overall effectiveness. Universal application of these principles will go a long way in achieving the three main tenets of successful print design: legibility, readability and memorability. Our goal at Senate Graphics is to provide you with timely, beautifully designed pieces that advance the Senate message and bring state government closer to home for all constituents. If you have any questions or comments on this Stylebook, or any design topics, please feel free to contact me. Mark Foster Graphic Arts, 5 Southwoods Blvd., Albany, NY 12211 (518) 426-6675 phone foster@senate.state.ny.us
Visual Messages What is Graphic Design?
1. The activity of creating specific printed messages communicated solely through the use of visual medium. 2. A graphic designer’s most powerful tool is typography. 3. The art of typography has its own language. 4. This language allows the designer to communicate precisely with other experts involved in message creation.
Visual Communications What does a Graphic Designer do?
1. Creates messages communicated solely through the use of visual medium for print a. Type-based design; type looks as important as the message, reinforces the meaning of the message. b. Image-based design; images carry the message. 1. Drawings, Illustrations 2. Maps, Graphs, Charts 3. Photography c. Designers use a Problem-Solving Process. 1. Time-tested process 2. Leads to measurably successful results
Design Problem-Solving 1. The need to solve problems is as old as human civilization. 2. The two main reasons for problem-solving: 1. Something around us is not to our liking, thus we need to do something to improve this situation to make it conform to our beliefs. 2. Something potentially useful exists independent of our observations and perception, thus we need to discover this phenomenon and put it to use. Problem-Solving Steps: a. Recognition of a need means the functional requirements have been clearly defined and stated. b. Generate ideas on how to fulfill the need. c. Develop viable concepts based on generated ideas. d. Generate alternative solutions to the concepts. e. Select the best alternative. f. Implement the production of the final selection. g. Evaluate the effectiveness of the final solution.
Designer Technology Evaluation Implement Selection Ideation Definition Analysis Acceptance
Graphic Design Problem-Solving Process
Print Considerations Look carefully at an ‘ordinary’ printed page of running text. Think about what is involved in designing such a seemingly simple page. How could you redesign the page to improve it? 1. Change the typeface or type size? 2. Divide the text into two narrower columns? 3. Adjust the margins and spacing between paragraphs & lines? 4. Indent the paragraphs or begin them with decorative lettering? 5. Give a special kind of treatment to the page number? 6. Change the boldface terms, perhaps using italic or underlining? 7. What other changes might you consider, and how would they affect the way the reader reacts to the content? 8. Graphic designers must evaluate the message & audience for type-based design in order to make these critical decisions.
Graphic Design Objectives Objectives of Effective Graphic Design 1. Legibility a. Capable of being read or deciphered b. Capable of being discovered or understood 2. Readability a. Able to be read easily b. Interesting to read <a highly readable novel> 3. Memorability a. The quality or state of being easy to remember b. The quality or state of being worth remembering
Graphic Design Objectives
Legibility Readability Memorability
Goal for the Stylebook Our goal at Senate Graphics is to provide you with timely, beautifully designed pieces that advance the Senate message and bring state government closer to home for all constituents.
Typography
Mailer/Brochure Typography
Vocabulary of Typography Every profession has a language Graphic Design is the activity of creating specific printed messages communicated solely through the use of visual medium. In order to convey the message, the Designer’s most powerful tool is typogaphy, and the art of typography has its own language. This language allows the designer to communicate with other professions involved with the creation of messages in a highly exacting way. Essentially, practically everything a Graphic Designer creates includes type, leading toward an even more accurate description of the profession to be “Typographic Designer.” At the end of this section are words that describe specific aspects of the construction or “anatomy” of letterforms. Beyond this listing includes terms that describe specific aspects of letterspacing, wordspacing, line-spacing, paragraph construction, type heirarchy, and many, many more.
Mailer Typography Use a classic font family with:
1. Variety of weights (regular, medium, bold, extra black) 2. Variety of italics (real italics, not slanted), condensed, extended faces with complete weight array 3. Small caps and alternate character fonts 4. Use full array styles if available a. Sans Serifâ&#x20AC;&#x201C;Helvetica & Helvetica Neue Family, Gill Sans, Arno Family, Myriad Pro, many others b. Serifâ&#x20AC;&#x201C;Garamond Family, Bodoni Family, Caslon Pro Family, Minion Family, Rockwell Family & many others c. Do not use more than one sans serif type style in a document (change weights, italics of same style) d. Do not use more than one serif type style in a document (change weights, italics of same style)
Serif Typestyles Serif fonts take their name from the use of serifs, small extensions that appear at corners and the ends of the strokes that make up each character. The above headline of “Serif Typestyles” uses a serif typestyle called Trajan set in small caps with the first letter set as an actual capital. Here are some quick tips regarding serif fonts: Serif fonts are most suited to large blocks of text. The serifs ease reading by helping a user’s eye to move horizontally from character to character. The result eases line tracking, and reduces a reader’s tendency to lose his/her place in a block of text. Serif fonts are less suited to applications where clarity is important, usually headlines or situations where text appears over a background. Serifs contribute to visual business and clutter. This is particularly important when an image or pattern appears behind text. Serifs will tend to visually mix with details in the background, making the font appear less distinct and more difficult to read.
Example: Minion
Minion Regular Minion Italic Serif: Any of the short lines stemming from and at an angle to the upper and lower ends of the strokes of a letter
Sans Serif Typestyles Sans-serif fonts tend to have clean, simple strokes, making them most readable in situations where clarity or emphasis is most important. The clean simple character shapes help sans-serif fonts stand out more clearly than serif fonts. This is particularly true when the clarity of the text is being reduced by use of styling (color, drop shadow, bold/italics, etc) or where it is being placed over a background image or pattern. Example
Gill Sans Regular Gill Sans Italic Sans Serif means without serifs (French)
Typographic Fundamentals Think clean 1. Headlines bold, large, do not use all caps 2. Kern all copy for easy reading and appropriateness 3. In bodycopy, bold face and italics are intended for empha足sis of selected words & phrases, use sparingly 4. Underlining for emphasis is discouraged because it decreases readability 5. Minimize hyphenation, fix widows 6. Limit text blocks over photographs or illustrations. They should only be used when a high contrast between type and background can be achieved 7. Do not stretch, condense or slant type manually. Use the actual italics, extended or condensed fonts in the same family of type fonts
Typographic Fundamentals Think clean (continued) 8. Avoid using too many effects on one word or phrase 9. Variations in type size helps differentiate types of copy (headline different size than bodycopy, for instance). Make sure the difference is at least 2 points. Anything less won’t have the desired effect. 10. Use an actual em dash (—) instead of two hyphens for an emphatic pause within a sentence. 11. Use an en dash (–, roughly half the length of an em dash) to separate elements in ranges (Jan. 3–Feb.1) 12. When using the hyphen, the en dash, or the em dash, you should put no space either before or after them.
Typographic Fundamentals Think function 1. Lead headline on indicia side for label side placement by post office. 2. Use left-aligned, right rag (fl/rr) bodycopy, heads and subheads (avoid justified text). Justified text is harder to read, it creates distracting white space patterns that the eye wants to follow. 3. Tailor paragraph right rags to control jaggedness or successively increasing or decreasing line lengths 4. Avoid setting type in paragraphs comprised of more than 7 to 10 words per line. 5. Use an appropriate point size for your audience. 6. Linespace paragraphs with comfortable leading for ideal readability.
Typographic Fundamentals Think consistency 1. Similar categories of copy should be treated the same graphically (type size, typeface, bold/not bold, etc). For instance, if one headline in a brochure is 12-point Helvetica bold, all headlines in the brochure should be 12-point Helvetica bold. 2. Use consistent indentation (or no indentation). 3. Use one space after a period to separate sentences. 4. Proofread all copy.
Using Effects on Typography Use effects that increase or heighten the message 1. In an effort to heighten the legibility, readability and memorability of a piece of communications, one must strive to create the most legible, most readable, and most memorable effects. 2. When using an outline around the letterforms, do not use an outline so dense or thick that it creates unsightly knots of overlapping or conjoined outlines. Outlines are but one way to heighten a message, and are definitely not the optimum technique to do so. 3. Glow effects (both light and dark) applied to type can enhance the contrast between the background and the message. Drop shadows also create more contrast if used judiciously.
Using Effects on Typography Use effects that increase or heighten the message 4. Avoid using drop shadows that are so prominent (dark or deep) they can dominate or overpower the message or object from which they originate. Do not use just black for shadows, in favor of using blue instead. (See Natural Shadows) 5. Avoid using too many effects on typography...for the majority of instances, less is more. 6. Effects must support the overall objectives of increased legibility, readability and memorability.
Vocabulary of Typography Words that Typographic Designers use about typography: Baseline An imaginary line upon which the base of each capital letter rests. Capline An imaginary line that runs along the tops of capital letters. Meanline An imaginary line that establishes the height of the body of lowercase letters. X-height The distance from the baseline to the meanline. Typically, this is the height of lowercase letters and is most easily measured on the lowercase x. All characters align optically on the baseline. The bodyheights of lowercase characters align optically at the x-height, and the tops of capitals align optically along the capline. To achieve precise alignments, the typeface designer makes optical adjustments. (What does this mean? This means that characters with a curve like an o actually rest a little below the baseline and a little above the meanline to visually match letterforms with a defined edge).
Apex The peak of the triangle of an uppercase A. Arm A projecting horizontal stroke that is unattached on one or both ends, as in the letters T and E. Ascender A stroke on a lowercase letter that rises above the meanline. Bowl A curved stroke enclosing the counterform of a letter. An exception is the bottom form of the lowercase roman g, which is called a loop. Counter The negative space that is fully or partially enclosed inside a letterform. Crossbar The horizontal stroke connecting two sides of a letterform (as in e, A, and H) or bisecting the main stroke (as in f and t). Descender A stroke on a lowercase letterform falling below the baseline exemplified by the lower case g, j, y, p, q.
Vocabulary of Typography More words about typography: Ear A small stroke that projects from the upper right side of the bowl of the lowercase roman g.
Link The stroke that connects the bowl and the loop of a lowercase roman g.
Eye The enclosed part of the lowercase e.
Shoulder A curved stroke of the letter S.
Fillet The contoured edge that connects the serif and stem in bracketed serifs. (Bracketed serifs are connected to the main stroke by this curved edge; unbracketed serifs connect to the main stroke with an abrupt angle without this contoured transition).
Stem A major vertical or diagonal stroke in a letterform. Stroke Any of the linear elements within a letterform; originally, any mark or dash made by the movement of a pen or brush in writing.
Hairline The thinnest strokes within a typeface that has strokes of varying weights.
Terminal The end of any stroke that does not terminate with a serif.
Leg The lower diagonal stroke on the letter k.
Tittle The small dot on an i or j is a tittle.
Organization and Balance
Layout Techniques
Layout Fundamentals Reader-friendly layouts 1 . Read copy thoroughly; should be able to be read in approx. one minute or less. 2 . Include only layout elements that support the message. 3 . Mailer is to be read, not framed. 4 . Use minimal images and type fonts.
Structure for text, margins, balance 1 . Create a grid structure for typography
a. Optically balanced layout avoids the perception that the type is slipping off the page. b. Allow more space for the margin at bottom than at top. c. Leave at least 1 pica between columns and a bit more (2-3 picas) on the side margins of the mailer.
Grid Examples two (full) Column Grid
three (full) Column Grid
four (full) Column Grid variant from two column grid
six (full) Column Grid variant from three column grid
Grid Examples seven Column Grid
two Column Grid variant from 7
three Column Grid variant from 7
Layout Techniques Layout Options 1.
Ogilvy layoutâ&#x20AC;&#x201D;controlled perceptions from top to bottom a. Powerful visual image, bleeds on top and both sides b. Caption for visual no smaller than 12 pt. c. Headline needs (just below large image at top)
Basic Visual, Caption, Headline, Copy, Signature Ad
Add a coupon to the ad
This ad layout puts the headline above the visual
This ad layout the visual and headline share the top position
Layout Techniques Layout Options (continued) 2. Heirarchal Layout a. Big head and subheads, lead and supply message with out having to read body copy. b. Body copy (reader can drill down if so desired). c. Signature (website) sign-off at bottom.
Layout Techniques Layout Options (continued)
3. Z-Layout a. Important info across top from left to right. b. Eye moves from top left corner to top right corner, diagonally across and down to lower left corner and then across bottom from left to right.
Color Considerations
Color & Light
Color & Effects Color Theory involves looking into different color relationships.
1. There is a relationship between local color, (the color of an object), the tonal colors, (the color changed by light and shadow), and reflected color, (the color of the environment). 2. Color Harmony is best described as Colors That Look Good Together. This is based primarily on the knowledge of color ranges (See Color Wheel). 3. We use the visible light spectrum of colors as shown on a color wheel, composed of a. Primary, (Yellow, Blue, and Red), b. Secondary, (Green, Orange, and Violet), and c. Tertiary colors, (Yellow-Green, Blue-Violet & Red-Orange)
Color Wheel
Color & Effects Complimentary colors are always directly opposite one another on the color wheel, and when placed together they have a harmonic discord that makes them have the brightest contrast when placed together. A color will also cast its complementary color onto a neighboring color or shade. The color blue is present in all shadows. Itâ&#x20AC;&#x2122;s an atmospheric condition that affects the way we look at everything. The further away something is, the bluer in color it becomes due to the atmosphere between you and the object. As light fades it is quite noticeable how colors of surrounding objects shift toward a dark blue.
Color Considerations Color & Effects
Finally, shadows will contain a darker hue of the local color, (the color of the object), so I apply a wash of darker paint or appropriate Ink. For the Inquisitor a wash of Violet Ink brought back the tone and laid the groundwork for the successive highlights. As you can see, with the highlighting added as well as a complementary freehand border, they bring out the detail of the cloak as well as harmonize with the rest of the colors.
Reality Rules Primary Colors also carry a Color Bias towards one end or the other on the Color Wheel. This is displayed on the
Color hexagon. carry a bias towards Greencolor or Violet,onto Red willa be biased towards Wheel 1. Aexample colorin the will castBlue itswillcomplementary Violet or Orange, and Yellow will carry a bias towards Orange or Green. You will notice on the Inquisitor how I used Green as a neighboring discord to the palette; color a color that oraccentuates shade.the colors in the Simple Harmonic range. This adds a color that is biased with Blue as well as a contrast to the Violet. 2. Placing the assigned photo on the local color, any drop This bias is utilized not only in color choice, but color mixing as well. On the cloak I used Blues with a bias toward shadow falling local should composed Violet to highlight. This brings richnesson to thethe palette as wellcolor as depth in range, andbe the color is vibrant to the of eye. If I used Blue colors that were biased towards Green it would have muddied the hue since Violet contains Red and a darker version of the local color, also mixing in some Blue. (Remember that two complementary colors, like Red and Green, will create Black.) of the complementary color of the local color, along with White can be used as a highlight though it tends to change the color tint drastically. I recommend White for the final highlights only. the final ingredient of some blue. This process will produce Tint: Color plus White. a natural looking shadow.
Natural Shadow Example
Color Palettes from Photos Color Palette from Photo on previous page Showing a Natural Shadow color mix C: 40 M: 5 Y: 0 K: 0
C: 0 M: 26 Y: 55 K: 11
C: 92 M: 27 Y: 100 K: 17
C: 33 M: 82 Y: 87 K: 37
C: 100 M: 53 Y: 30 K: 8
What is CMYK? (4-color process)
C: 26 M: 69 Y: 60 K: 9
C: 88 M: 36 Y: 55 K: 14
C: 29 M: 5 Y: 63 K: 0
CMYK refers to the printing inks used in four-color process printing. Cyan, Magenta,Yellow and Black are the only four colors used to produce full-color photographs and designs. These colors can be combined and printed to emulate a wide number of other colors. If you look carefully at a printed color photograph in any magazine or book, youâ&#x20AC;&#x2122;ll see that itâ&#x20AC;&#x2122;s made up of rows of tiny dots of each of the four colors called a halftone screen. The dots work together, at different angles, to fool your eye into seeing a full spectrum of colors.
Art & Design Color Palettes Color Palette from a Jackson Pollock Painting C: 58 M: 70 Y: 73 K: 77
C: 2 M: 12 Y: 53 K: 0
C: 7 M: 92 Y: 100 K: 1
C: 40 M: 5 Y: 6 K: 0
C: 65 M: 42 Y: 80 K: 28
C: 0 M: 68 Y: 37 K: 0
C: 65 M: 42 Y: 27 K: 9
C: 25 M: 2 Y: 45 K: 0
Jackson Pollock: Composition 1948
Historic Color Palettes Native American Color Palette (based on bird & rock colors) C: 35 M: 99 Y: 79 K: 56
C: 15 M: 49 Y: 23 K: 0
C: 69 M: 42 Y: 0 K: 0
C: 66 M: 0 Y: 97 K: 0
C: 76 M: 99 Y: 22 K: 9
C: 4 M: 100 Y: 100 K: 1
C: 6 M: 0 Y: 96 K: 0
C: 0 M: 71 Y: 100 K: 0
(from left to right) Rhodochrosite, Bluebird, Pink Quartz, Green Parakeet, Amethyst, Cardinal, Goldfinch, Tanager
Color Palette from the Renaissance Painters C: 27 M: 31 Y: 52 K: 1
C: 56 M: 48 Y: 62 K: 23
C: 20 M: 68 Y: 87 K: 6
C: 23 M: 84 Y: 83 K: 13
C: 31 M: 84 Y: 76 K: 30
C: 51 M: 63 Y: 60 K: 35
C: 73 M: 69 Y: 59 K: 66
C: 66 M: 45 Y: 61 K: 25
C: 65 M: 55 Y: 72 K: 50
C: 27 M: 41 Y: 78 K: 4
Color Palette from Victorian Wallpaper C: 74 M: 59 Y: 60 K: 47
C: 39 M: 81 Y: 66 K: 41
C: 53 M: 39 Y: 72 K: 16
C: 31 M: 71 Y: 47 K: 8
C: 14 M: 28 Y: 44 K: 0
C: 33 M: 57 Y: 86 K: 19
C: 23 M: 25 Y: 82 K: 1
C: 35 M: 87 Y: 100 K: 53
Fashion Color Palettes 2007 C. Color palettes chosen from industry
1. Pantone (http://www.pantone.com) 2. HFM Color Systems (http://homefurnishingsmonitor.com/media/ccs.pdf) 3. Colourlovers (http://www.colourlovers.com/) 4. colorcombos (http://www.colorcombos.com/)
Pantone Fashion Color Report Fall 2007 C: 50 M: 62 Y: 87 K: 52 Carafe
C: 13 M: 63 Y: 70 K: 1 Burnt Ochre
C: 22 M: 100 Y: 72 K: 12
C: 90 M: 55 Y: 45 K: 24
C: 62 M: 22 Y: 58 K: 2
C: 51 M: 40 Y: 13 K: 0
Chili Stargazer Shale Dusk Pepper
C: 46 M: 34 Y: 71 K: 9 Green Moss
C: 17 M: 22 Y: 100 K: 0 Lemon Curry
C: 18 M: 53 Y: 14 K: 0
C: 49 M: 99 Y: 13 K: 1
Cashmere Rose
Purple Wine
Pantone Urban Style Color Palette 2008 C: 26 M: 30 Y: 54 K: 1
C: 56 M: 51 Y: 66 K: 29
C: 76 M: 60 Y: 7 K: 0
C: 58 M: 88 Y: 41 K: 31
C: 24 M: 87 Y: 36 K: 2
C: 47 M: 66 Y: 67 K: 43
C: 21 M: 80 Y: 80 K: 10
C: 15 M: 25 Y: 76 K: 0
New York State Colors Colors from the Flag of New York State (small palette) C: 43 M: 91 Y: 0 K: 0
C: 100 M: 73 Y: 0 K: 2
C: 56 M: 51 Y: 0 K: 0
C: 76 M: 0 Y: 91 K: 0
C: 56 M: 0 Y: 99 K: 0
C: 0 M: 26 Y: 100 K: 0
C: 0 M: 48 Y: 95 K: 0
C: 13 M: 100 Y: 100 K: 4
NYS Blue NYS Yellow
Colors from New York State Autumn C: 22 M: 99 Y: 100 K: 14
C: 35 M: 98 Y: 93 K: 56
C: 0 M: 100 Y: 100 K: 0
C: 4 M: 9 Y: 98 K: 0
C: 0 M: 46 Y: 100 K: 0
C: 45 M: 95 Y: 46 K: 32
C: 16 M: 83 Y: 100 K: 5
C: 32 M: 59 Y: 100 K: 8
C: 66 M: 56 Y: 0 K: 0
C: 5 M: 75 Y: 82 K: 1
Color Palette from a New York State Sunset C: 56 M: 75 Y: 70 K: 81
C: 74 M: 100 Y: 0 K: 0
C: 58 M: 100 Y: 20 K: 5
C: 5 M: 95 Y: 100 K: 1
C: 0 M: 71 Y: 100 K: 0
C: 5 M: 0 Y: 80 K: 0
Color & Effects Glossary
Local color: the color of an object. Tonal colors: the color changed by light and shadow. Reflected color: the color of the environment. Primary colors: Yellow, Blue, and Red. Secondary colors: Green, Orange, and Violet. Tertiary colors: Yellow-Green, Blue-Violet, and Red-Orange. Complimentary Colors: Colors opposite each other on the Color Wheel. Tint: Color plus White.
Putting It Together
System Examples
Mailer Samples Color Palette Chosen from Assigned Photograph
Redesign Sample Palette: Grid: Layout: Type:
Gleaned from required photograph 7 column (3 column variant) Z configuration (top) Heirarchal (bottom) Minion Family
Senator Frank Padavan, 89-39 Gettysburg Street, Bellerose, NY 11426
Senator Padavan
Invites You to His
Postage Paid
Fall Senior Health &
Info Expo
Senator Frank Padavan Fall Senior Health & Info Expo When: Thursday, October 25, 2007 10:00 amâ&#x20AC;&#x201C;2:00 pm
Where: North Flushing Senior Center at College Point 22â&#x20AC;&#x201C;38 College Point Boulevard, College Point, NY Join Senator Frank Padavan at his Fall Senior Health & Info Expo at the North Flushing Senior Center, 22â&#x20AC;&#x201C;38 College Point Boulevard in College Point. Free service tables and information will be provided including:
Participants include: New York Hospital Queens, Parker Jewish Institute for Healthcare & Rehabilitation, NYC Department for the Aging, Visiting Nurse Service of New York, Franklin Center for Rehabilitation and Nursing, Queens Hospital Center, Testing for Blood Pressure, Glucose, Cholesterol, NYC Department of Health & Mental Hygiene, Glaucoma and Dental Screenings New York City Fire Department, New York City Information on Long-Term Care, Home-Care, Police Department and others.
Hospice, EPIC, MediCare Part D
A Pharmicist for Medication Review, a Chiropractor, Elder Law Experts and many others
Join Senator Padavan and enjoy refreshments, a raffle drawing and services for your health and well-being.
(FUUZTCVSH 4USFFU t #FMMFSPTF /: t UI "WFOVF t 8IJUFTUPOF /: t
www.frankpadavan.com
Senator Morahan Mailer (front) Typography Effects: Glow & Drop shadow Headline:
Subheadline:
Redesign Sample Palette: Grid: Layout: Type:
Elegant Sophisticated Color 7 column (2 column variant) Z configuration (top) Heirarchal (bottom) Gill Sans Family
edesign Sample R Palette: Renaissance Painters Grid: 2 column Layout: Z configuration (top) Heirarchal (bottom) Type: Helvetica Family
Senator Morahan:
Senator Thomas P. Morahan Delivers record school aid for the Clarkstown Central School District, giving it all the resources needed to educate our kids and lower our taxes.
Senator Morahan delivered over $23 million in total state aid for the Clarkstown Central School District. This is over a $1.4 million increase for Clarkstown from the previous year.
Making Schools Accountable Raising academic standards Better utilization of resources Ensuring school tax dollars are well spent
Contact Senator Morahan (845) 425-1818 158 Airport Executive Park, Nanuet, NY 10954
www.senatormorahan.com
Senator Morahan Mailer Color Palette: Renaissance Painters Type Styles: Helvetica Neue, Helvetica CY, Helvetica BM Typography Effects: Drop shadows, Glows See InDesign file for specific Effects values Layout Style: Z layout
Subheadline:
edesign Sample R Palette: Jackson Pollock Palette Grid: 7 column (2 column variant) Layout: Heirarchal Type: Rockwell Family