5 Trick Pony Brand Guidelines v3

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Don’t use a font you don’t need. 3.7 Ordering Information The marriage of type and text requires courtesy to the in-laws, but it does not mean that all of them ought to move in, nor even that all must come to visit. Boldface roman type did not exist until the nineteenth cen- tury. Bold italic is even more recent. Generations of good typographers were quite content ‘without such variations. Font manu- facturers nevertheless now often sell these extra weights as part of a basic package, thereby encouraging typographers - beginners especially - to use bold roman and italic whether they need them or not. Bold and semibold faces do have their value. They can be used, for instance, to flag items in a list, to set titles and subheads u&lc in small sizes, to mark the opening of the text on a complex page, or to thicken the texture of lines that will be printed in pale ink or as dropouts (negative images) in a colored field. Sparingly used, they can effectively emphasize numbers or words, such as the headwords, keywords and definition numbers in a dictionary. They can also be used (as they often are) to shout at readers, putting them on edge and driving them away; or to destroy the historical integrity of a typeface designed before boldface roman was born; or to create unintentional anachronisms, something like adding a steam engine or a fax machine to the stage set for King Lear. Don’t clutter the foreground. 3.8 Ordering Information When boldface is used to emphasize words, it is usually best to leave the punctuation in the background, which is to say, in the basic text font. It is the words, not the punctuation, that merit emphasis in a sequence such as the following: But if the same names are emphasized by setting them in italic rather than bold, there is no advantage in leaving the punctuation in roman. With italic text, italic punctuation normally gives better letterfit and thus looks less obtrusive: “Typography, we’ve fostered the modern idea of individuality, but it destroyed the medieval sense of community and integration” - NEIL POSTMAN
Make the title page a symbol of the dignity and presence of the text. 3.9 If the text has immense reserve and dignity, the title page should have these properties as well - and if the text is devoid of dignity, the title page should in honesty be the same. Ordering Information
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 20 and 21: Don’t suffocate the page. 3.2 Ord
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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