Published by AIGA This publication was supportea by the Graphic Design for Non-Profit Organizationster Laundy and Masel y AIG ‘This publication was cupported by the in National Endowsent for the Arte, Design Arts Progra Graphic Design for Non-Profit Organizationsweioan Institute of Graphic Arts Prepared by The Anerican Institute of Graphic Arte 41059 Third Avenue New York, Wat. 10021 Concept and design direction: Maseino Vigneili Design end text: Foter Laundy Production: Nark Wieboade ‘Typography: Typographic Images, Ine., Now York, Nays Papers Ghanpion Kromekote 18: Coyer/.010, Champion Chalice opaque Vellun/80 1b. Comewes This guide ie dividea into two parte. "baste Guidelines” discusses use. of graphic components available to the Geclgner, “two Prototypic Grgenizations™ 1ilustrates how these guidelines can be appiiea to a broad ange ‘of communiostions by two. very different non-profit organizations: 4 Portas Basic ams 3 Guidelines rcs a commas i =e a ee nea ag re 5 = a Taare Organizations prastomar a oe ze Te 2 ZTarIEASTORS AND ARRON % rami i =o = om = aa aT 7sTeraoDoCTTON ‘The publication of this volune was prompted by seminar on comiunication and design for non-profit institutions Which was organized by the AIGA in i976. “at that tine, it becane apparent great amount of effort and fad been applica to the dseign Prograns of a broad spectrum of institutions, but that an even greater anount of waste resulted from a lack of Secign coordination and consistency. T'ouggested that the AIGA. publisn 2 Hanus to help theese institutions Tnprove the efficiency and economy of ‘the process of communication. ‘The main purpose of this manual is not to generate sanenoas or fade, but to provide tools to develop individual. Brograne to fit individual situations. Teenie intended to support. the efforts of des: dealing with Banagenent to iflustrate the necessity of investing in a coordinated graphic Gesign program. J am grateful to the Design Arts Program of the National Endowment for the Arte for their support of this project fron its inception: to Caroline Hightower, Executive Director of the AIGA, for ‘her continuous efforts to, publish this guides and especially to Peter Laundy, ‘whose insightful collaboration has nade it pocesble for ‘this project to cone to fruition. Tam pleased that this volume adds to AIGA'S continued efforts to help improve the quality of design in our environsent. Massimo Vignelit Basic Guidelines Jn organization's inage is extrenely Anportart. It is the sum of the Anpressions nade on the public in variety of ways, An art gallery, for @yample, will bo judged on such Glenn te she guaifty of tts Gollection, the care with which shows fe hung ana catalogues are presented, the character of the exhibition spaces fs overall physical envircnment, and She densancr of the muooun etaf?, Of Gourse, the collection is all-important ‘na everything else is secondary, but these secondary concerns can either Feinforce or detract from the overall Aspression. ‘Printed coominioatione are supporting Hens thet are relatively cay to ‘upgrade. They are necessary ongoing costs that might ac casily be done well fs poorly, and are also relatively inportant as primary contacts with the public. Consistency and appropriateness are two yardeticks by which conminications should’ be judged. Consistency has many advantages, the primary one deing a strong visual Yaentity. By appearing "in uniform," ap organization's printed matter Visibly becomes part of a team that Stands out fron the crowd. apo consistent, thoy reinforce each Cther. Uhey ade up 20a whole, rather Ghan enaining iselated and lost ae Sppor tant sleg® to_communieate' an appropriate ‘ae well as an ctesnisation'e inpreseion of effieSenoy and care. Consisvoney also avoice unnecessary Custonizatlon; certain ateributes of ail conmunications are established, ‘hoy need not be rethought. for every Comtunicetion, end tine and Boney ere Saved. A designer, working within guidelines establishes to maintain Eonsistency, is free to focus on the most inportant. part of design: ‘making each communication right for ite task. This Search for what the communication arch for ‘the second yarastick ations snoula be ‘The combination of a search for both consistency and appropriateness results ina seaningful diversity of printed Sten. Without consistency, peaninglese changes camouflage those ‘hat are purposeful. dust as a writer Should net change tonse or person arbitrarily, so, too, the designer should not arbitrarily change such ‘Ghings as typeface, type sie, color, of spatial crganization. Such changes should only grow out of the needs of each communication, Consistency avoids arbitrary changes, allowing tho Eeaningrin cues to stand out in oloar The first part of this guide discuss: ‘the means available to sohiove Consistency. The second part gives examples of consistent graphic Standards as appropriately applied toa variety of itene for two Drovotypic organizations.FORMATS Shown below are format sizes suggested Always consult a py for use on printed communications. inter as early as | Welght le an important factor in the European paper sizes are entirely possible when deciding on a format to | design of a plece to te malled. Have a different fron the Anericen ones. With Thig wide range of possibitities can be sure ho has the presses and can | faper supplier or printer nake up a ‘the United States conversion to the ect every need. All can be printed juire the ‘paper to print it Blank *dumy* to the exact size and netric system, these eizes may become with winimun paper waste on the American economically. Since paper doliveries | number of pages contemplated, to make Increasingly available. Standard 25" x 39" sheet, Most fit fare often slow, allow your printer as | Sipe it isn't too heavy. standard 9° <12" ant #li business much tine as possible to order. envelopes. The exceptions are indicated Below with an asterisk (*) 3-3 x $1/2 x B-1/2e 11 x B/2 a-t/e 51/2 x 11" B-4/2 x tt txts x17 81/2 x 22 ux 228 17 x22mS al] IU The grid is the sost important tool ‘that can be used by the layout designer. “ti Tt ig an invisibe structure Provides, a disciplined and sonaistent Look while increasing producti efficiency and maintaining the Flexibility needed to solve a wide range of layout problens. I Show below ie, the cape grid applied to A grid achieves « diseiplined lock with If on partioular comniesion, however, Considerable efficiencies are realized ry i fornaz, “rte basic unit & fa’ goons in sono. wa) ' predevermined grid. the 24 equare subdivided into tires fvertheless, the: designe? ws et Tho doclgnes is fot facing a blank porisontal noduies. The square and the tes, Zeei constrained by the grid page! sole decisions have already been 3:2 proportion rectangle thereby. Gecasional unusual Layout seotias wana Eade for him. Text can be set, for designer example, only in three poseitle widths ‘one, two, or threo Zi" wide columns. ies, Nenaere, and: eutzere, fave alneady ‘bLished, design ioe saved. but typesetting is Sinpiified: both oF wndch increase Greated are the formats, ret aspsctively, a getioat ‘te handle and’ the of 2h and 35am. cameras: se do his best. “The more fh tho better ho will susseed~ sttlolerey: C4 (eac] (ese sese 4 E>) E59 CAE SEs E>) ESF 5) |e cc CS) E> [SSGe55 C4) (E> (ESGSES355 CC} Gea }) (ESSGSE5E5 SSeS eSss 3-37 x Si/2xBi/2 ix 81/2 8-1/2 G1/2 x 11 8-1/2 x it dbx it a | | =F I) IC It I I) | It I ICI ] | — || I) | SSS ae C7 = IL IL IL a IL IL L ] SSeS) IL 1) | I IC IC | C —|t JL [ ] aE =I, C J) If 1 It ) | C iL i JE L J SSS ae ) |e ae} | | | | IE) =I 1) |C i I It Hy C iL I I IL L J == eS] Cae} II Ce) | Sa ae eae ae 7 = I J} IC i I IL |e i IL I If If J —' See | eee | eee| al IC 1) J I 1 y {Ce 1 IL I IL It ] Ee (SR) |) |] CESSES See ee ECC) (ESGSES => | SSE5$ 5S CSE455 ae] = IC 1} |C —i I yy | C IL i ih IL ] SS) = LI J} IE IL IL IL Ht LIE IL If IL J ae =I IL 1} IL IL I IL } | C i —| IC IL 1 I CL) | IL | 0 IL It IL IL i) (SSS) aes 4) (ESlE=r iC) | CSC SESe sae ae J = L 1) |C If IL I Wy |C I C I 11 J am — | |i | |e C—) | 1 ICE csc | CoC) | C= oc os 1-1 Ic Coes) |S es 1 —) (OSI SSE Sa) | SE SES ae 27 —_) |SScSsese — | | | | ocTeas Tho selection of @ typeface to be used The selection of one typeface, in swritere now coning on the narke: the typefaces thom are only a portion whenever typesetting te involves ts, addition to. Broviaing visual SLER"SonpsterSaad eghting capebiiition GyVmose tat could tenefbiy teu. Totes wool te achfowe vival Soneietoncy, "affords considerable prove economical for’ such They are the most commonly available, consistency, Sconony, igsigners need not spend tind Gppilcations, Also, cifserent wolgnte however, and represent every category deciding which typeface, to use and oPtypemriver type Bay oocene avaliable of typeface that nas been 421 the typefaces shown velow have Gypeset¥ing jobs can be gathered and Sh type balls, thininating one of ite” spnrypriate, fer vote, text and aiepiay Gotabl ones themselves’ as classics Set on one machine withost change of dHeadvantages: (Readings, tities, eter). “Shoulda ynyeare of use, they cone in font, fypetace other than here be roransand iealis in-at lease two Unlike te otner, more traditional chosen, iti highly recomended, that weights, re ‘and are fypetsces, shown bolow, Helvetion te a it be a face that hus stood the test of "Gina serur" typeface! it does not have tige, “A recently dram face may date thin finishing Lines, called serife, at quickly and should, therefore, ve the ends of letterstroves, Sans serif. avoided. bre “typeset” appearance. typefaces are appropriate for technical Sexte or for organizations that want & Sontenporary look. country in photo and hot neal type. Sone are also available in transfer 7 Bodoni Bodoni Bold doni Book Italic Bodoni Italic Bodoni Bold Italic Bodoni ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuywxyz 1234567890 Century Expanded ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyz 1234567890 Garamond No. 3 ABCDEFGHIJKLMNOPQRSTUVWXYZ Century Expanded Century Bold Century Expanded Italic Century Bold Italic Garamond No. 3 Garamond No. 3 Bold abcdefghijklmnopqrstuvwxyz Garamond No. 3 Italic Garamond No. 3 1234567890 Bold Italic Times Roman ABCDEFGHIJKLMNOPQRSTUVWX YZ Times Roman Times Roman Bold Times Roman Italic Times Roman Bold Italic abcdefghijklImnopgqrstuvwxyz 1234567890 Helvetica ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopqrstuvwxyz 1234567890 elvetica Light Helvetica Medium HelveticaBold etica Light Italic Helvetica Medium Italic Helvetica Bold Italic Typewriter ABCDEFGHI JKLMNOPQRSTUVWXYZ abedefghi jklmnopaqrstuvwxyz 1234567890 ypewriterLavour GUIDELINES ‘TYPE ALIGNMENT A grid organizes columns of type through ‘the alignnente of loft and right edge: Centered typography is, therefore, no soomuended, “For noSt applications, & jetting ie best because it Fagged Fight has the advantage of uniform woraspacing: Shorter Lines are not lengthened by. adsing space between words, Justified Settings can be used to achieve a more Signtly packed appearance, orto: Appropriace for newspapers, novalottere and magazines, although erratic word Spacing results. RECOWENDED ‘Typography is closely allied tothe fine arts, always reflected the taste or feeling of their time f the early Italian types has perhaps never and the like is true of the Renaissance which they were based — and of many other of art in that same wonderful time. Note, 00, the French manuscripts and types. Inspite of the increasing interest einthehisio. and the attention paid in many quarters to famous typogranhers, a knowledge of stand the rank and file of printers is stil greatly lac average printer of to-day, types type, printing it is all about alike; and he concems hims NOP RECOMMENDED ‘Typography is closely allied tothe fine arts, an reflected the taste or feeling of their the early Italian types has perhaps never, the like is true of the Renaissance were based — and of many artin that same wonderful time. Note, too, French manuscripts and types of a and the types of the increasing interest in [PROPER RAG gish 2 consistent Linespacing for comunications as one elenent. of an sBlished style and to facilizate and typesetting efficiency. sting with ne leading or 1’ point Heading 12 recommended. One If type is set ragged right, care shou ‘be taken to ohleve an evenness woore ho shape sre formed along the ragged @age. Hyphenation should be avoided 5 Shat'a greater disparity anong Line Tengths is created, thereny improving ‘evennese and sooming randomness of the rag. Ber, Ansther ts that skipped lines fin te used to clearly organize unite Sf type, such as paragraphs. I? Uinespacing is excessive, skipped Lines Hall not ofand out as oloarly Faphy is closely allied to the fine arts, ays rellected the taste or feeling of their cle earyitaian types has perhaps never “ad the like is true of the Renaissance ‘itch ney were based — and of many other lartinthat same wonderful time. Note, too, the French manuscripts. ‘Typography closely allied tothe fine ats, always reflected the taste or feeling of of the early talian types has perhaps never ‘and the like is true of the Renaissance which they were based — and of many other of arin that same wonderful time. the French manuscripts and types ofa slighty the manuscripts and the types of the In spite of the increasing interest in the history and the attention paid in many quarters to famous typographers, a knowledge of the rank and file of printers is still greatly average printer o! to-day. ‘site ofthe increasing interestin the history 4nd the attention paid in many quarters to famous typographers, a knowiedge of the rank and file of printers is still greatly _e1ge printer of to-day, type is type. printing its al about alke. ‘Typography is closely allied tothe fine arts, raphy is closely allied to the finearts, always rellected the taste or feeling of the of the early Italian types has perhaps land the like is true of the Renais which they were based — and of of art in that sane wonderful time. the French manuscripts and types ofa slightly the manuscripts and the types of the Italian Inspite of the.increasing interestin the and the attention paid in many famous typographers, a knowledge the rank and file of printers is stil great average printer of to-day, type is type, printing itis all about alike; and he concerns. tite early Htalian types has perhaps never shch they were based — and of many other the Ftench manuscripts and types ofa slightly ispiect he increasing interest inthe famous ypographers, a knowledge of ‘arerage printer of to-day, types type. Inspite ofthe increasing interest in the history amcus typographers, a knowledge of stand average printer of to-day, steal advantage to tight linespacing ‘that nore type will fig into a given ‘PARAGRAPHING Because of the inportance of an aligned appearance along column edges, Paragraphs canbe indloated by @ Skipped Line without indentation. If a text consists’ of many shert paragraphs 80 that skipped lines take up too much Fook, paragraphs can be indicated by an Indentation without ‘skipping a line: ‘The disadvantage is that the consistent indentation point takes away from the perceived crispness of the left edge of @ column of type. There is no need to Doth skip a Line and indent. ‘Typography is closely alied tothe fine arts, always reflected the taste or feeling oftheir of the early itaian types has perhaps never and the like is true of the Renaissance Which they were based — and of many other of artinthat same wondertul time. Note, too, the French manuscripts Inspite ofthe increasing interest in the history and the attention paid in many quarters to famous typographers, a knowledge of stand the rank and file of printers. ‘Typography is closely allied to the fine arts, always reflected the taste or feeling oftheir of the early italian types has perhaps never and the like is true of the Renaissance Which they were based. Inspite of the increasing interest in the and the attention paid in many quarters to.“ famous typographers, a knowledge of stand the rank and file of printers ‘Typography is closely allied to the fine arts, always reflected the taste or feeling oftheir of the early Italian types has perhaps never and the like is true of the Renaissance which they were based — and of many other of art in that same wonderful ime. Note, too, the French manuscripts, Inspite of the increasing interest in the land the attention paid in many quarters to famous typographers, a knowledge of stand the rank and file of printers is still greatly average printer of to-day, type s type, print it is all about alike, ‘QUOPATTONS| ‘A common way to treat quotations ie to Set them in italics. This ie a clear Signal that needs no reinforcements indentation Le unnecessary, wasto: Space, and works against the simpler Leck S¢°a consistently maintained Solum edge. When using quotation Barks; it 19 a nice refmmenont to “hang! the opening quote out into the gutter so that the first letter of the quotation aligns with the coluan edge. ‘Typography is closely allied to the fine arts, always reflected the taste or feeling of their of the early Italian types has perhaps never and the like is true of the Renaissance which they were based — and of many other Of art in that same wonderful time. Note, too, the French manuscripts and types of a slight the manuscripts and the types: Typography is closely alied to the fine art have always reflected the taste or feeling of to the fine arts, and types or ‘Typography is closely allied tothe fine arts, always reflected the taste or feeling of heir of the early Italian types has perhaps never, and the like is true of the Renaissance which they were based In spite ofthe increasing interest in the history and the attention paid in many quarters to famous typographers. ‘Typography is closely allied to the fine arts, always reflected the taste or feeling oftheir of the early italian types has perhaps never land the like is true of the Renaissance which they were based Typography is closely allied to the fine have always reflected the taste or feeling allied to the fine artsHIGHLIGHTING AND NUMBERING Points highlighted with a typographer's bullet" {a dt) or enumerated can alee derhandied so the crispness of she Collum edge is maintained. Sullete can be “outdontea™ and numbers or Letters ther ovtdented oF placed in above the entry. ‘Typography is closely allied tothe fine arts, always reflected the taste or feeling of their of the early taian types. ‘*Renaissance and the like is true of the which they were based — and of many other of artin that same wondertl time. Note, too, the French manuscripts ‘In spite of the increasing interest in the history land the attention paid in many quarters to famous typographers. ‘2The rank and file of printers is still groatiy average printer of to-day, type is type, printing itis all about alike. i ‘Typography is closely allied tothe fine ars, always reflected the taste or feeling of their of the early Italian types. 2 inspite of the increasing interest inthe history and the attention paid in many quarters to famous typographers. * Typography s closely alied to the fine ats, always fellected the taste or feeling of their of the early talan types. Renaissance and the like is true of the which they were based — and of many other of art in that same wonderful time. 1 Inspite of the increasing interest inthe and the attention paid in many quarters famous typographers, a knowledge. 2 To the rank and file of printers is stil average printer of to-day, type is type, print it is all about alike. ‘SUBHEADINGS. Ag with quotations, ‘the use of one clear signal, ratner than two or more, isrecommended. So, for example, make a subheading bold (one signal), not ola, Ltneapaves, and a’ dkfferent size ‘thrée signals). Tf one signal doce the Job, there's no need to use more ana the risk of adeing clutter 42 Bininizea. Typography ‘Typography is closely allied to the fine arts, always reflected the taste or feeling of their Of the early Italian types has perhaps never and the like is true of the Renaissance. Italian Renaissance French manuscripts and types of a slightly the manuscripts and the types of the Italian In spite of the increasing interest in the history and the attention paid in many quarters famous typographers, a knowledge of the rank and file of printers is still greatly average printer of to-day. type is type, print it is all about alike. Typography Typography s closely allied othe ine arts, always rellected the taste or leeing oftheir ofthe eary Haan types nas pomnaps never and the ike is tue of the Renaissance which they were based — and of many other Ofartinthat same wondertal time, Renaissance Inspite of the increasing interest inthe history and the attention paid in many quarters 10 famous typographers, a knowiedge of the rank and file of printers is stil greatly average printer of to-day, type is type, print itis all about alike. TERTERSPAGING OF DISPLAY TYPE Letterepacing will appear excessive if ‘text type of normal letterspacing is As type enlarged to display sizes, {nereases in Normal Letterspacing Excessive Letterspacing SPACING OP DISPLAY TYPE DISTINCTLY CONTRASTING TYPE WETOHTS st Linespacing Se recommended so stlpped Linea can be used. to make ly visible groupings. If line= ing is excessive, skipped linee To be safe ono should init to two the umber of type weights used. In fact, In sany situations, more than two are airricuit for the eye to distinguish. This is copectally true sor Ligne type printed ona dark background, and both Eypesetters and printers can’ further gonfuse the issue by heavying or Ligntening a given type weight. through exposure or the amount of ink run on pre Make sure the ‘two weights Chosen are dranatically diferent fron each other, DISTINCTLY CONTRASTING TYPE SIZES Tho use of a maximum of three distinetly aieferent typefaces on a communication fp goed ride of nme: “Besides nating fe typesetterts Job easier, it aeplaye decislye ana cieafly araw priorities, Feflecting weil on the organisation ‘end Baking the task Of reading easier: Large Medium Large Medium Medium SmallLoooryres SwIBOLS BGs ano crests ‘coLoR RULES An organization's naze is ite most A tess expensive and safer solution le Symbols are different from logotypes in] Gials and crests are generally Color can help to build a visual Horizontal Lines (called rules) can Seporeant and most ubiquitous ‘to choose an existing typeface, such as that they do not spell, out ent than symbole in that they are identicy. A color, for example, can be also help to build a visual identity. Agentification element, necessary on those shown on pages 12-19. organization's name, They Wt tore cevatica. They nave an specified for y iimen Used in a consistent way, rules practically all comsunications. One aha generally more compact Mirren historical quality and are, increasing the consletency of the become part of @ distinctive and Gan take advantage of the opportunity The classic nature of the typefaces Togetypes. If"well known, fore, vory appropriate for many logotypes appearance. An organization organized-locking visual style that Yo inorease the name'e identity bY enturee that a logotype will have good Comuinicators because of the Dold | Athy Se acti acoceiitea Glee ek, alae Sappatis to a wecy funtlonale always presenting it in the sane Gonnotations appropriste to a cultural {mpact possible with compactness. " Z botanical gleden with green) should Type ant images grouped into horizontal typeface. Such a consistently treated Sneeitution, ané their svatlability an Pte used effectively in many bands of information separated by rules nane is called logotype. text and display sizes allows greater’ Symbols, however, because they are Ginustione, eopecially on pieces euch fea elmple and effective foraat Soneievency with supporting iyboerapy abstract are much harder than logotypec| geiploma’ and awards, where a sense Another possibility ie the uee of color ‘segy. When toed with large amounts ‘Te most connon formla for the Gan is poselble with « custoxdesigned for the public to learn. ‘They are alsiMMehcererony ic appropriate. Think code & set of communications. of text, heavy rules can adds ereation of a Logetype is to. logotype hore difficult te design than logotypes) les before deciding 20 modernize @ Contrasting tolaness that helps ‘Suston-draw the component letters, Endy therefore, often more exponsive, | geil or crest through eliminating Sileviate the bland texture of = page hoping te creates unique and you decide you need a custon-drewn If an organization uses both logotype || Wisil or sharpening edges, as its of anrelieved type~ compelling word-ferm. This. logetype, hire’a reputable design firm and eymbol, lees exposure for e: ter ey be diminished in the custonization can be expensive anc wnlch wii report to the person who has results. Should you decide to use one, Sopartuent dangerous ~ expensive because oz Final Guthority to accept or reject. however, heed the advice given in Stindaraised, with golor providing the Tequire a lot of dosign and ex Instruct the firm to explain why the relation to logotype design: hire receseary departwantal distinctiveness. Tine, and dangerous because the aymbol. {e of practical value and to professionals, make thes justify their Consistency is maintained without the temptation to simplify can lead to show you how iz would be applied to Feconmendatione and shoe exanples of oes of coneible and heapful Dannered, difficult-to-read logotypes. various communications. the implenentation of the logotype. differentiation.Two Prototypic ity Organizations |Historical‘Giny HISTORICAL SooTETY Wo seal or symbol had established Steels over the years as standing for the Historical Sootety and i wae decided that a new symbol was not Advissble. Tt would take money to be Assigned and a period of tine befere it became recognized without the accompanying "City Historical Society. Tnetead, « typeface (Century Bold) and a consistent arrangenent (stacked, flush left) on a oguare field were chosen £0 compose the logotype. the ‘Square field was suggested by the Rignly visible on-site plaques used by ‘the Historical Society $0 designate Inportant buildings and other iandnarte ‘The typeface, Contury Bold, an Americaz face designed in 189, haa 'the appropriate national and historical Gimnetations. A rich, dark red was Ghosen as tho Historical Society color. thm, relatively bright. and sppopriately reminiscent of urick, St Mill be used as the logotype color’ to increase association with the Society. Me combination of typeface, color, ticked arrangenent, and surrounding a makes a distinctive logotype Wethout ineurring the expense of Oievon-arawn Letterforne. Differentiation within dleplay type le often necessary to appropriately. emphasize one piece of information over another. It can be achieved in a Funber of ways. The uae of type of the Sane seize, but with a different color er tint, Ras been chosen to be used by She iWieterieal Society whenever, possible. The aesthetically pleasing Quality of having two colors can be achieved inexpensively with one-color printing by use of tint screens. ‘The Beautifuily conceived letters, with Their inherent historical quality, can decone Important graphic elements’ on all Sockety communications. Display type is consistently stacked in narrow colums ina style consistent th the stacked Logotype. To Accommodate Limited budgets, typewriter ype ~ often reduced by 25%" is the supporting text type. SENTRAL UNIVERSITY Stave Central University has a eeal that daves from its origin which can be Used whenever desired. Especially appropriate on official documents, such ‘@iplonas, awards and legal contracts, can algo’ be sted on conminications wnere a sense of history is appropriate, orn UES Society ETM cue ris The combination of the historical ee with a logotype set in the modern sans Serir face, Helvetica Black, accurately Zeflects the dual nature oft University: @ reservoir of history and culture, 22 Well ae a contemporary oxperinentat research center. Horizontal Lines (rules) are useful tlenenta that can be used to divide a format, provide emphasis, and create a Fumi style. The Helvetica Slack Este Central University" always spjoare within a band, adding to the Sletinestveness of the logotype and felating to the format below, Tr is ivided, often by thin horizontal lines, into horizontal picture and information inde. ie Historical Siete ‘A university ie a complex organization with many divisions, many of which need Separate identification. Where Gesirable, a department or division han oan be Linked with the university Togetype, ac shown below. The logotype thereby retains its autonomy through Ite unique postion within the band, yet can te easily combined with nore Bpecifie division identification. Contrasting Colors of Stacked Display Type Helvetica Regular and Helvetica Black are the cupporting display and text ‘typefaces. Formats are divided into horizontal information bandsSaATIONERY Pusiness cards, lettorheads, envelopes, “City Historical Society” is dropped All type (including the typewritten The top of the typed letter body can be and orher geationery items should look’ out ef a Ted square with all other type | misage) conforms to the grid. The alignea with tne ist of officers and Se mich auite ag possible to increase appearing in grey 9-point Gentry syimetrical appearance and wide left directors in the left margin, agsuring heir conbined impect. Layouts should Zxpanded to ditserentiace it from and | agin are consistent with the style that the letter body begins on the be devised so that thoy will work on ake it cudordinate to the black type- | giterated by the use of the grid ani second panel of the folded letterhead, many different items with written massage. Reduced typewriter ve goue practical advantages. ‘The leaving the top panel for addresses ad ‘changes, ao demonstrated ype could also have been used. typist's job is sinpliried with the ‘the Historical Society logotype. Gllsination of indentations: ‘tho wide [imicin is henay for jotting not Belinited tite Lengen fo8 typing Injores leglbfiteys Long Lines of ingie-epacea. typewriter type are difficult to rea. at and 7 Tayosta of State Central University's The infirmary monorandum, for example, Sectionery items are similar to those ie printed in one color, a bright "red Of Clty Historical Society, but color cross" red. Color coding should be used is Used differently.” ‘on the Susiness, | only’ on internal, communications to card, letternead and envelope, the bold facliltate handling. External | top band is printed in grey with the communications would use blue whenever seal (on the levterhead) and all 9-point possible to build recognition of the | Helvetica type in the school color, School colar. Be careful about choosing blue, The understated use of blue gives light colors, ospecially light blue, aa b dignified, reserved appearance and many copy machines cannot reproduce’ thes Clearly differentiates these pieces | from bright, color-coded internal. stationery items. a i Ht ai i tf iF 5 i a ii i}FoR Shown below, forma for both City. Wistorical Scciety and State Central University have been divided into = titling sone and a date entry sone. Algo, consistent line weights have been established’ 2-pointewide rules to add enphasis or mark divisions ana $-point- wide rules to mark secondary divisions Bnd guide writing or typing. Forms are usually printed in one color, Black should be avoided, i? possible, decause It is the color most often used for data entry; entered Inforsation Will Grand out and be easier go read if the PASONNEL DIRECTORIES form is printed in a different color. Grey is & good choice because it rece: ‘The parehase order has been printed in Historical Society red. The logotype appears in the upper left corner, Soneievene with stationery, and the ane of the fern is set in’ 18-point Century Bold, Lines end on the grids wey do not *bleed" off the pager ALT Historical Society forms should be designed as similarly as possible “Ap outline of a box dropped out of an Historical Society rea background shows an alternate way of displaying this Jogetype, Inteficr spreace are of reduced typewriter type with Century Bold characters so alphabetical section headings. Contrasting stacked black- and-vnite 36-point Century Bold display {ype ‘conforms to the establianed graphic standards. State Central University application forms have been color-coded to simplify handling for the adziscions departuent. The undergraduate adrissions form is “inted in State Central blue and the Bedical history in “red cross" red, Doth of which are filled out by the prospective student, All such forns fave not only been designed to lock Consistent, but they have also been weitten in’a consistent manner te be as Slear as possible, Poorly organized forms can be frustrating to #112 out and leave the applicant with = @ininished inpression of an organization. ‘The grid has deen modified to facilites data entry. Two-pica deep slots Gesignea for double-spacea computer or typewriter data entry avoid constant ‘typewriter realignment and provide apple space for handwritten entrie University Directory The Stave Central University Directory ig'a large volume witn faculty, administration and campus organizations ina number of listings. For easy reference, the contents are Listed on ‘the cover, which 16 printed with = uright-yellow background in order to be spotted easily on a crowded desk or Bookshelf, The book 18's carefully designed tool that will be used constantly, as well as being consistent graphically wish other University Sonmunications:EE lecivatle, the Calendar can be Telesigned to be inserted into the Neveletter and mailed with it. CALENDARS AND FEWSLETTERS Phe Wistonigel sooiety Calendar of and ite ‘text type i sopewriter type and all cispiay type 48 Century Bo1d. ‘State Central University produ monthly Calendar of Bvents tha Gholoeea in'ite Nevaletier, aa well as Ghove artiolse and serve ap Sitting 1p, fhe Nevaletton, horizontal bands of ban Cleariy different type sizes. to day but not fren week to wook. CCC [ TT DO OTTINVITATIONS AND ANNOUNCEMENTS The City Wistorical Society announcement folds at the top rather then the side. Not only does the horizontal photo fit potter in the horizontal format, but the fold at the top reinforces the impression that this {ion anoouncement, Ree a amet brochure. Tt fits perfectly into the Standard Historical Society business envelope. Vote that the combination of the PROGRANS Stacked display type ana the image on the front ef the announcement Gomunicate "historical Seciety" even before one opens it and sees the logo Inside. The cover photograph of the Art Deco Building Tour program 19 printed *full-bieed,” “(If "bleede off" all four edges of the page.) This is the host prominent way te display a Photograph or illustration. "Not only is it reproduced as large as possible, but it also has no. surrounding border that competes for the eye's attention, especlaity one in a stron contrasting color, Printimg with @ "bleed" requires that the plece be trimmed Gown to size after printing, since printing presses cannot print up to the edge of & shect of paper. Wote that the designer has chosen not to show's whole buliding, but rather to glote inom a detail. "Po inerease, the inpact of a photograjh, try to "crop, int (reduce the fea to be reproduced), Showing enly wiet 1s necessary. Tnvitetions often contain a number of ‘an invitation, @ form fo'be filled out and returned, and an ‘envelope and enclosed return envelope AiD"iGeme should be coordinated to create a distinctive package. Use ink and paper color, as well as iayout, for this’ purpose. Tn the oxanple below, the invitation cover and inside, as'well as the form {obo Foturned, are ali coordinated by Siniiar use of the grid. A picture found inva book of 19th-century printers Barks serves as llustration. A public Ttbrary is an. inexpensive source Of wonderful images created by skilled Srtiate and orattonen ever many Centuries. Programs for a series of events can be imprinted at the beginning of the Season with snformation that remsine Constant. The cover of the orchestra progran fotes is printed at the Deginning of the Season and program notes are printed, copied or Rincographed on the opposite eide of he sheet before each concert. Tho expense of printing the cover is Inturrea only once per season, at a relatively Low cost, ince printing i more evoronical in larger quantities, A Photoerphie eePosTERs Flezibie poster formats can be devised Also ehown is a less vertical, two-color to handles variety of needs. Shown proach that sould be used in a poster below are th ‘eloal, one-colar at always has Ulustrative posters. for torical Society. the" logotype and nage, frame One poster us ‘otoeramh, the other could be pre-printed in large quantities only’ type. Silhoustted photcgraghs or Type and inage spociric. to an Photograpis of objects shot on a white Gould be imprinted in black on Background are effective. ‘They present jesired numberof posters. Two objects in a straightforward mann color posters are thereby printed at a Glininating potentielly distracting’ Cost not significantly greater than Sackerounae. one-color posters: Black is used as a background on the | Type can be uged illustratively, a8 Craft pester, providing « more dranatic shown in the Bach poster, waere the effect” than cotainable with wntte, put Gogorative qualitiae of ine German pleck with the eame advantage of eliminating ‘typeface are displayed ina large Background distractions. It is more aiffteult to print than tho poster above it, however, Decause greater and Recruitment postere, chown on the right, more even ink coverage is required, follow a strict organization into wnich both illustrations and phovograpns can be plugged. The sun inages were found in & book: ——— American = ginger [ar a] SS ate anes ey . —— | eeoen te pe for oar a ] i _———| | == SeSsesr5 =o caeeaeay ——— | —— = Se i [eee SS 5 SSeS SS ——— I Cesc) Core ar SSS ere a | | — ee | SS Perse sss a os | Perr sree Sy — | ReGsesese355 Coe) SSeS S55) ‘Summer ui ——— oo) hone ee —— tune 18 August 8 res eel Parsee —— a | Cape —— || | || i)Colonial Silver The Work of Early American Silversmiths State Central University State Central University is committed to the education of students, not in isolation, but ina situation that permits them to take themselves seriously: above all, as persons. Mary Patterson. Dean of the Undergraduate College‘BROCHURES Strong identity through the use of sin ute. Here, the Sonsistent placement and size of type and logotype over full-page images achieve a strong identity. “panel brochures ere econcxical and ful. their overall size, 4" x 11", Is'the ‘most standard printing size in ‘the counsry. The three brochure covers below demonstrate that diversity oan be Achieved without the lose of identity. ype with photograph, type with me University seal, and’ type used alone provide strong, indlvighal, broenure identities, wiile consistent use of the band, cf the format, end of rype style and aio provides ample identity for ie University. The table of contents ts printed on the over of the Parking Regulatio, ving epace and insreasing access to ‘the information insige.TRTERNAL PUBLICATIONS Type end image areas are seperated to avoid the aifsioulties that often arise wien attenpting to print type over Ynage. ‘The square Image area relates tothe sjuare Lopetypes he aren surrounding the inage is printed in Historical Society rod, with type and image in black and waite. The date 1s prominently @leplayed below the nane of he publication and follows the display Sype convention establisned for the Historical Society. Inside layouts make primary use of the Second two columns on each page. Titles, Tootnotes, and any other material to be isclaved fron the main Yext or enphasized by surrounding white space ie pur in the first column. Featured articles begin with large Century Bold tities. Secondary articles begin with a clearly emailer Century Bold headline. Thess are the only two sizes used. The cover layout of Alumni Wonthly also jeparates text and image. At the top ie the University identification band, followed by a masthead band, inage band and featured article band. The cover fan be printed in one, two or four colors, depending on the inage material and thé importance of the issue. The variability makes each month's cover More distinctive, so that the date need hot be eo propinently displayed as on fhe Historical Society's publication. Tnside spreads are also organized into horizontal bande of information. Alumni Monthly =is25"- ‘Alumni Monthly Architectural Splendor on the East SideBOOKS AND CATALOGUES Be with other communications, book Speeqde sould. be Tals out. ge oianly ae en AvOS * $5 Feleted’ap pogsibie, ‘as show here ih the Colonial Silver’ catalogue 7 grziog of cataioeueg rergcentes ty the cover of the ~oratter catalonue, he “Undergraduate Life" waite not faentical to the exhibition Enlananer Sevecs have oa eececeed use’ posters Sepebis ca-itnetant sompsaee of deneity. the conbination of the square black image area, creating ography, identical format aivieion, an elegant oversized 11" x ii" format. _yPoers End identioaa eypogragnic treataont feries of extaloguee, ap weil ae SSentieying then as soning from State Sentral’ nis furthers, the ‘inpresaion zation and effieiency on Smportane audience: potential students and thelr families. iil (LU || LI iL (LOTT TD TOT WUT LLL! bea De. Reeeueetec ict parry preter WT Hit (UU LUTTE TTReece Ltt] eee Cast-Iron oe Architectural Ornament‘BUILDING IDENTIFICATION SIGNS TENDOOR SIGNS Dlaques and the square, logotype used on Printed conmnication Negative otosiate lipped into clear plexiglass holders ie, press type applied to Paper of any Golor can be substituted. Individual freestanding letters can aiso'be fabricated for outdcor oiens. When madoa perceivable. thickne how beloy,, thoy, tecone tree Gimensional’ objec! Letters applied o ‘often enhances a sign's character and Sense of permanence, C11 Historical ee Society ‘Ae on the exhibition elgne for the Mietoricat’Sootety, "eirectiy appli cut vingl, silkscreened of pre! ay i ypeeise’ ror such’ ol Building Preservation Dept. MU iter eyeHTSTTTONS (OuRDoOR StGNS Rembrandt Peale (1778-1860) Captions are also set in Century Bold. Applied directly to the wall, de-cut vinyl adhesive, silkscreened' or press~ typed letters brovide the clesresie simplest looking solution. Directly plied borderless captions have no ‘objectness" as they would if they appeared on plaques, reducing the clutter of perceived pisces on the wall dy one-half; and subconsciously. Slggesting to the viewer that he look at the object first, captions second. Won objects are displayed behind glass, Letters can be applied to the glass ease. With eyes focused on the object, ‘Established international trarric symbol signs recognized throughout the world can be used. Avold spolled-out Tonger sessages, such as “Parking,” a6 they take a auch larger sign to be Feproduced at the sane scale as the International traffic sign counterpart (inthis case, a "P" on a disc). Look at U.S. Department of Transportation ‘ocunent "Symbol Signs - 2" (bor=08-60510) for further information about officialiy recognized symbol Portrait of Jane White Galaher Cirea 1825 Oil on Canvas 20 x 24 inches SP@D The viewer is not distracted by the Gaptlon. Focused on tho caption (which {s'on a different focal plane), he 'can a. the caption no matter what tee Establish a standard typesize for captions, especiaiiy if using die-cut ‘One. set of, r a. single size of press type can be’ purchased. that Sen'be used for all exhibitions. ‘elgns, of contact the AIGA (American Institute of Graphic Arts) for Eeprodustion proofs. Horizontal information bands are useful when used on campus signposts. A map, Doordinatea with such Signposts, would be a help to visitors. HISTORICAL SOCIETY PLAQUES FLOOR DIRECTORIES These plaques are the most important and visible Society comuntcations. They were the basis for the design of ‘She Logetyper Century Bold on'a square Fieid.” Plaques, ‘then, should be square and contain Century Bold type. In Radi tion, they shoud be nade of a durable and elegant material such’ bronze that, over many years, will add Gistinetion to both the landmark it {gentifies and the Historical Society it’ represents. Photostate slipped into clear Plexiglass holders can be used for such Changeable indoor signe, Again, horitontal bands separate categories of information. kite Rea qo raayonces ‘uti Biology Labs Tora Deans Otice Chemisty Lab ID PrysesLoctuerian Classrooms 1 Benananes ert PlanetariumPrinted by Senders Printing, New York NY