5 Trick Pony Brand Guidelines v3

More documents

Recommendations

Info

Edit tables with the same attention given to text, and set them as text to be read. 4.1 Types & Faces Tables are notoriously time-consuming to typeset, but the problems posed are often editorial as much as typographic. I f the table is not planned in a readable form to begin with, the typographer can render it readable only by rewriting or redesigning it from scratch. Tables, like text, go awry when approached on a purely technical basis. Good typographic answers are not elicited by asking questions such as “How can I cram this number of characters into that amount of space?” If the table is approached as merely one more form of text, which must be made both good to read and good to look at, several principles will be clear: • All text should be horizontal, or in rare cases oblique. Setting column heads vertically as a space-saving measure is quite fea- sible if the text is in Japanese or Chinese, but not if it is written in the Latin alphabet. • Letterforms too small or too condensed for comfortable reading are not part of the solution. • There should be a minimum amount of furniture (rules, boxes, dots and other guiderails for traveling through typographic space) and a maximum amount of information. • Rules, tint blocks or other guides and dividers, where they are necessary at all, should run in the predominant reading direction: vertically in the case of lists, indices and some numerical tables, and horizontally otherwise. • A rule located at the edge of a table, separating the first or final column from the adjacent empty space, ordinarily serves no function. • A table, like any other text in multiple columns, must contain within itself an adequate amount of white space. “Una y otra vez, los lectores se han condicionado mutuamente.” - GERARD UNGER
Consider the medium for which the typeface was originally designed. 4.2 Types & Faces Typographic purists like to see every typeface used with the technology for which it was designed. Taken literally, this means that virtually all faces designed before 1950 must be set in metal and printed letterpress, and the majority must be set by hand. Most typographers apply this principle in a more relaxed and complex way, and settle for preserving something rather than everything of a type’s original character. On the technical side, several things can be done to increase the chance that a letterpress typeface will survive translation to digital composition and offset printing. When using digital adaptations of letterpress faces, choose fonts that are faithful to the spirit as well as the letter of the old designs. 4.3 Types & Faces Letterpress printing places the letterform into the paper, while offset printing lays it on the surface. Many subtle differences result from these two approaches to printing. The letterpress adds a little bulk and definition to the letter, especially in the thin strokes, and increases the prominence of the ends of thin serifs. Metal typefaces are designed to take advantage of these features of letterpress printing. thin strokes tend to get thinner and the ends of delicate serifs are eaten away. In a face like Bembo, for instance, offset printing tends to make features like the feet of i and I, and the heads and feet of H and I, slightly convex, while letterpress printing tends to make them slightly concave. Faces designed for photographic manipulation and offset printing are therefore weighted and finished differently from letterpress designs. And adapting a letterpress face for digital composition is a far from simple task. Digital fonts poorly translated from metal originals are sometimes too dark or light or blunt throughout, or uneven in stroke weight, or faithless in their proportions. They sometimes lack text figures or other essential components of the original design. But digital translations can also be too faithful to the original. They sometimes neglect the subtle adjustments that the shift from three-dimensional letterpress to twodimensional offset printing requires.
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 22 and 23: Don’t use a font you don’t need
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

Create successful ePaper yourself

Delete template?

Save as template?