5 Trick Pony Brand Guidelines v3

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Don’t suffocate the page. 3.2 Ordering Information Most books now printed in the Latin alphabet carry from 3 0 to 45 lines per page. The average length of line in most of those books is 60 to 66 characters. In English and the Romance languages, a word is typically assumed to average five letters plus a space. Ten or eleven such words fit on a line of 60 to 66 characters, and the page, if it is full, holds from 300 to 500 words. Ifyou want more than 500 words to the page, it is time to consider multiple columns. A two-column book page will comfortably carry 750 words. If it must, it can carry a thousand. However empty or full it may be, the page must breathe, and in a book - that is, in a long text fit for the reader to live in - the page must breathe in both directions. The longer the line, the more space necessary between lines. Two columns of short lines are therefore more compact than a single column of long lines. Set opening paragraphs flush left. 3.3 Ordering Information The function of a paragraph indent is to mark a pause, setting the paragraph apart from what precedes it. If a paragraph is preceded by a title or subhead, the indent is superfluous and can therefore be omitted, as it is here. The function of a paragraph indent is to mark a pause, setting the paragraph apart from what precedes it. If a paragraph is preceded by a title or subhead, the indent is superfluous and can therefore be omitted, as it is here. In continuous text, mark all paragraphs after the first with an indent of at least one en. 3.4 Ordering Information Typography like other arts, from cooking to choreography, involves a balance between the familiar and the unfamiliar, the dependably consistent and the unforeseen. Typographers generally take pleasure in the unpredictable length of the paragraph while accepting the simple and reassuring consistency of the paragraph indent. The prose paragraph and its verse counterpart, the stanza, are basic units of linguistic thought and literary style. The typographer must articulate them enough to make them clear, yet not so strongly that the form instead of the content steals the show. If the units of thought, or the boundaries between thoughts, look more important than the thoughts themselves, the typographer has failed.
Add extra lead before and after block quotations. 3.5 Ordering Information Block quotations (like the one on pp 17-18 of this book) can be distinguished from the main text in many ways. For instance: by a change of face (usually from roman to italic), by a change in size (as from 11 pt down to 10 pt or 9 pt), or by indention. Hart’s Rules for Compositors (39th ed, 1983) includes a good, brief guide to hyphenation and punctuation rules for sev- eral European languages. Its fat successor, Ritter’s Oxford Guide to Style (2002) is more thorough but much less handy. It is always worth- while, however, Don’t compose without a scale. 3.6 Ordering Information The simplest scale is a single note, and sticking with a single note draws more attention to other parameters, such as rhythm and inflection. The early Renaissance typographers set each book in a single font - that is, one face in one size - supplemented by hand- drawn or specially engraved large initial letters for the openings of chapters. Their pages show what sensuous evenness of texture and variety of rhythm can be attained with a single font of type: very much greater than on a typewriter, where letters have, more often than not, a single width and a single stroke-weight as well as a single size. In the sixteenth century, a series of common sizes developed among European typographers, and the series survived with lit- tle change and few additions for 400 years. In the early days, the sizes had names rather than numbers, but measured in points, the traditional series is this: This is the typographic equivalent of the diatonic scale. But modern equipment makes it possible to set, in addition to these sizes, all the sharps and flats and microtonal intervals between. Twenty-point, 22-point, 23-point, and 10Vi-point type are all avail- able for the asking. The designer can now choose a new scale or tone-row for every piece of work. These new resources are useful, but rarely all at once. Use the old familiar scale, or use new scales of your own devising, but limit yourself, at first, to a modest set of distinct and related intervals. Start with one size and work slowly from there. In time, the scales you choose, like the faces you choose, will become recognizable features of personal style.
Page 1 and 2: Brand Book New Guidelines for 2016
Page 3 and 4: Table of Contents LOGO IDENTITY & U
Page 5 and 6: Logo Usage Print and Web The Graphi
Page 7 and 8: Dark Grey Navy Blue PANTONE 446 C F
Page 9 and 10: Headings Headings must be in Helvet
Page 11 and 12: Typography exists to honor content.
Page 13 and 14: Make the visible relationship betwe
Page 15 and 16: Make use of horizontal motion. 2.1
Page 18 and 19: Kern consistently and modestly, or
Page 22 and 23: Don’t use a font you don’t need
Page 24 and 25: Edit tables with the same attention
Page 26 and 27: Choose faces whose individual spiri
Page 28: Typography as music: on language an
Page 40: If the text will be read on the scr

5 Trick Pony Brand Guidelines v3

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