STYLE SHEET
LOGO
1 Topline
2
Baseline
1. Continuity, resembling the hand done jamdani work 2. No counter space
This developed font is hugely inspired from the authentic hand done jaamdaani with does not involve cutwork mechanism, which is one of thee primary behind the dyimg of this craft. This font is fairly geometric with its own share of organic curves which gives it a trditional vibe even in its modern hypnotising look. This font absolutely does not have a counter space or Open counter space. This font is to be used in all the logos of the repective places and also the mojor headlines to give Jamdani a particular authentic identity (whic is getting lost) , indegenous to that place.
Colour Pallettes for Logos
Don’ts for Logos
Heading
FONTS
Body Copy
Sub - Headings
For Web :
Cooper Hewitt The Cooper Hewitt typeface is a contemporary sans serif, with characters composed of modifiedgeometric curves and arches. Initially commissioned by Pentagram to evolve his Polaris Condensed typeface, Chester Jenkins created a new digital form to support the newly transformed museum. A significant stylistic detail of Cooper Hewitt lies within the straight horizontal and vertical stroke endings. This modification becomes apparent most notably in ‘a’, ‘c’, ‘e’, or ‘s’. Jenkins added straight segments to all letters with round shapes, a feature that provides an elegant feel overall (apparently this made the drawing of the italics “a nightmare”). The tail in ‘Q’ was changed to a straight stroke crossing the bowl, which is much more adequate for a static sans serif. (pt 12)
Lato Lato is a sanserif typeface family designed in the Summer 2010 by Warsaw-based designer Łukasz Dziedzic (“Lato” means “Summer” in Polish). When working on Lato, Łukasz tried to carefully bal ance some potentially conflicting priorities. He wanted to create a typeface that would seem quite “transparent” when used in body text but would display some original traits when used in larger sizes. He used classical proportions (particularly visible in the uppercase) to give the letterforms familiar harmony and elegance. At the same time, he created a sleek sanserif look, which makes evi dent the fact that Lato was designed in 2010 (pt 12)
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
(pt 36 BOOK)
(pt 30 BOLD)
1234567890 ,.;’!@#$%^&*()
(pt 36 REGULAR)
(pt 30 BOLD)
(pt 40 LIGHT)
1234567890 ,.;’!@#$%^&*()
(pt 40 BLACK)
For Print :
Palatino Linotype Palatino® is the work of Hermann Zapf and became available in the late 1950s, Zapf optimized Palatino’s design for legibility, producing a typeface which remained legible even on the inferior paper of the post-World War II period. Palatino is an Old Face font which proves that classic forms can still be used to create new typefaces. (pt 12)
ABCDEFGHIJKLMNOPQRSTUVWXYZ (pt 36 REGULAR)
abcdefghijklmnopqrstuvwxyz (pt 30 BOLD)
1234567890 ,.;’!@#$%^&*()
(pt 40 ITALICS)
Grids and Layouts
Grids
Layout and Spacing
Van de Graff Grid : The Van De Graaf Canon is a historical reconstruction method that has been used in book design for decades. It works for any page, regardless of its dimensions. 1
By using a Van De Graaf Canon you get a perfectly sized text box with the same ratio as the page. Moreover, the boxes are also perfectly placed on the page creating a balanced composition. A well proportioned page will be indented to one side of the document, depending on what side it is for example, the right hand page is indented to the left.
2
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Xerioreh eneculpa dolupta temquost hic toration re, odis res et pa nimaio opturem possus eatio excesti suntibus esciatia quuntis ut
Index 1- Headline 2- Bodycopy 3- Images and charts or stastistical graphs 4- captions and numbering
3 venescipis volupta essinctae adis ut aut fugiae. Uptatia qui vendi dendio. Us, ut moditat qui omnim sitatem verrovidebis et utempore, comnima soluptassit ut et et hil ipsam harupta tibusa dolut facearia
4
Colour Pallette
Background Elements
The colours used are primarily inspired from the heritage textiles of the Jamdaani craft. Previously Jamdani was practiced in colours of self on self with white ans beige. Also a lot of red on white (which is considered to be an auspicious colour in Bengal) was used to create beautiful jamdaani sarees. So the colou pallette revolves around red, beige, white and black.
A weave with an extra weft addition technique is used as a promonant stylistic background element.
The colours with their CMYK values:
C : 15 M : 90 Y : 100 K : 10
C : 0 M : 7 Y : 24 K : 5
C:0 M:0 Y:0 K:0
C : 0 M : 0 Y : 0 K : 100