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Ag Brand Manual
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A guideline for creative talent.“Too much flexibility results incomplete chaos, too muchstructure results in lifelesscommunications. Balance is thegoal.”
All permissions are denied unlessexpressly granted.
Guideline PurposePromote the Ag visual identity inthe most convenient, consistentand efficient way and make sureno mistakes are made.
©2011 DECAGONPRINTED IN USA
v1.0
Ag Visual Identity
Design ContinuityThese guidelines are notintended to provide everydetail regarding graphicsapplications, productionprocesses and standards, but toprovide general direction formaintaining consistency withthe Ag identity.
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Typography and colors arepalettes. They have a limitednumber of choices in a givenrange. They have shades orweight.
Type on a page appears as a grayblock to the eye. Weight is adegree of boldness or shade.Weight helps the viewer determinewhat is most important. It createsinterest and attractive design.
Varying type weights give theillusion of depth to a page. Darkertype moves forwards and lightertype receeds. This helps emphasizewhat elements should be viewedand in what order. These directthe eye of the observer or reader.This is presentation strategy.
If everything is emphasied equally,it creates visual noise.“Emphasizing everything equalsemphasizing nothing.”—marketing adage.
Heirarchy & Emphasis
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Logo ApplicationThe Decagon logo is described asa stack logo. Word parts of thelogotype are not all on the sameline.
The logo sides are sloped (italic).Because of this, the mechanicalcenter and visual center are arenot the same. It is more at themidpoint of the slope. Thus,justifying right or left will requirethe logo to overlap the invisiblegrid a bit ot it will look awkward.
Clear space and minimum sizeIf reduced too far, the logo willbecome unreadable and illegible.Unreadable means unpleasantor repelling.
Approved versions: where originalfiles are kept.Talk with Derek Harris fororiginal image files. Do not usecorrupted art or low-resolutionart (like a screengrab or web GIFimage.)
No scanning logo artwork!
Logo PlacementThe logo should appear only onceon each printed spread (not eachpage.) The appropriate location isin the lower right-hand corner ofthe spread. This is where it isexpected to appear by theaudience. The same is true forprint ads and single pagepublications. Any other placementcan cause confusion. It should beaccompanied by“www.aqualab.com” inlowercase.
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The Decagon Devices name hasbeen in use since 1982 (?). It is alegally-protected registeredtradename and trademark. A ®registration symbol should appearin each document. It shouldappear once and only once perdesigned piece. To use it more isan obstacle for the eye and isconsidered unnecessary andunprofessional.
In addition to the registrationmark, two other legal elementsshould appear in designed pieces.
LegalPRINTED IN THE USA8 point Franklin Gothic book,ALL CAPs, no punctuation.This is required for internationalimport/export laws.
©2011 DECAGON8 point Franklin Gothic book,ALL CAPs, no punctuation.Copyright laws changed in the1990’s. No filing is necessary. Butthis mark must appear to protectany intellectual property.Ownership is determined in courtif there is a dispute.
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Official Logotype
DECAGONDEVICESD
The official corporate logo isconstructed of a decagon symbolreversed out of a slanted square.
The Decagon logotype is set in astack with Helvetica CondensedBlack Oblique with very loosekerning.
Colors are Pantone 201 Red forthe symbol and Pantone CoolGray 10 for the type.
If these look like WSU Cougarcolors it’s because that is exactlywhat they are.
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Official b/w Logotype
DECAGONDEVICESD
When constructing the logotypefor black and white print work,use solid 100% black for thesymbol and 70% grayscale screenof black for the type.
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Logotype color variations
DECAGONDEVICESD
Natural palette colorcombinations are allowed formatching themes. This allowslatitude for contrast andreadability. Do not vary the logocolors within one document. Beconsistent in use from page topage. Reverses are allowed.
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Logo Good Placement
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Logo Bad Placement
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Logo Misuse
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Logo Good PowerPoint
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Logo Good PowerPoint
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Business System
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Classic FontsThe official typefaces, Sabon andFraklin Gothic, both extremelylegible. This is one reason whythey work well together as a fontpair. Both fonts are considereduseful classics.
Franklin Gothic never had a lightversion design. To fill this gap,News Gothic was created as acompanion type family. It is theoffical san serif light version.
Natural ColorsDesigns in natural style often useraw outdoor colors. Earthypigments like olive, burgandy, andtans are popular. An outdoor
Natural Themelandscape provide a rich palette.This style can have a somewhatunpolished or rustic look. This isauthentic, unaffected, serene andwithout artifice. It is organic,untreated, health-giving, full ofgreens and environmentally-correct neutral tones.
Confetti is very small festive flecksof complementary color. Confetticolor adds highlight totraditional design. These elementsdirect the eye. Frequently, they arecolorized geometric dingbats likesquares, triangles, circles, etc.
Paper color is best if it is brightwhite, creme, or offwhite.
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D o m i n a n t / S u b o r d i n a t e s / A c c e n t
Color Usage
587 warm gray 6 5747
Improper Color UsageBackground colors andoverprinted type must have agrayscale differential of 30%. Totest for this readbility andlegibility, convert a documentpage from PDF to a CMYK TIFF.Then convert to grayscale. Use aneyedropper tool to sample thegrays and make sure there isalways 30% difference. Correctthe document colors as necessary.
9143 5625 5797
5753 464 520
5655 cool gray 9 5787
414 4665 9183
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1964Sabon serif font family
abcdefghijklmnopqrstuvwxyz1234567890ABCDEFGHIJKLMNOPQRSTUVWXYZ
regularABCDEFGHIJKLMNOPQRSTUVWXYZ
italicABCDEFGHIJKLMNOPQRSTUVWXYZ
boldABCDEFGHIJKLMNOPQRSTUVWXYZ
bold italicABCDEFGHIJKLMNOPQRSTUVWXYZ
bold OsFABCDEFGHIJKLMNOPQRSTUVWXYZ
bold italic OsFABCDEFGHIJKLMNOPQRSTUVWXYZ
small capsAaBbCcDdEeFfGgHhIiJjKkLl
Sabon works as a font pair toFranklin Gothic and News Gothic
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In the early sixties, the Germanmasterprinters’ associationrequested that a new typeface
be designed and produced inidentical form on both Linotypeand Monotype machines so thattext and technical compositionwould match. Walter Cunz at theStempel responded bycommissioning Jan Tschichold todesign the most faithful version ofClaude Garamond’s serene andclassical roman yet to be cut. Theboldface and particularly the italicare limited by the twinrequirements of Linotype andMonotype hot metal machines.The Bitstream’s Cursive is a returnto the form of one of Garamond’slate italics, recently identified.Punches and matrices for theromans survive at the Plantin-Moretus Museum.
The name refers to Jacques Sabon,who introduced Garamond’sromans to Frankfurt, although thetypefaces that Sabon himself cuttowards the end of the sixteenthcentury have a faintly awkwardstyle of their own.
In 1964, Jan Tschichold, Sabon’screator, based his design on aversion of Garamond designed byJakob Sabon and Conrad Berner.Sabon was the first typeface of thefoundry D. Stempel AG whosecharacters were the same forlinotype, monotype and handsetting. Classic, elegant, andextremely legible, Sabon is one ofthe most beautiful Antiqua fonts.
Sabon- bd, reg, itl
Sabon font history
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1902Franklin Gothic font family
abcdefghijklmnopqrstuvwxyz123456ABCDEFGHIJKLMNOPQRSTUVWXYZ
condensedABCDEFGHIJKLMNOPQRSTUVWXYZ
condensed italicABCDEFGHIJKLMNOPQRSTUVWXYZ
condensed boldABCDEFGHIJKLMNOPQRSTUVWXYZ
condensed bold italicABCDEFGHIJKLMNOPQRSTUVWXYZ
heavyABCDEFGHIJKLMNOPQRSTUVW
blackABCDEFGHIJKLMNOPQRSTUVWXYZ
black italicABCDEFGHIJKLMNOPQRSTUVWXYZ
heavy italicABCDEFGHIJKLMNOPQRSTUVW
mediumABCDEFGHIJKLMNOPQRSTUVWXY
demiABCDEFGHIJKLMNOPQRSTUVWX
medium italicABCDEFGHIJKLMNOPQRSTUVWXY
demi italicABCDEFGHIJKLMNOPQRSTUVWXYZ
smallcaps boldAaBbCcDdEe
smallcaps
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extra compressed bookABCDEFGHIJKLMNOPQRSTUVWXYZ
extra compressed demiABCDEFGHIJKLMNOPQRSTUVWXYZ
book compressedABCDEFGHIJKLMNOPQRSTUVWXYZ
book compressed italicABCDEFGHIJKLMNOPQRSTUVWXYZ
demi compressedABCDEFGHIJKLMNOPQRSTUVWXYZ
demi compressed italicABCDEFGHIJKLMNOPQRSTUVWXYZ
Franklin Gothic more
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Franklin Gothic font history
Franklin Gothic, one of themost popular sans seriftypes ever produced, was
designed by Morris Fuller Bentonin 1902 for American TypeFounders. In 1979, under licensewith ATF, Vic Caruso began workon more weights of the design forITC. This version adheres closelyto the subtle thick and thinpattern of the original design; theslightly enlarged x-height andcondensed proportions of the newversion result in greater economyof space. This typeface is astandard choice for use innewspapers and advertising. In1991, David Berlow completedthe family for ITC by creatingcompressed and condensedweights. ITC Franklin GothicCompressed is designed especially
to solve impossibly tightcopyfitting problems, whilemaintaining high legibilitystandards. ITC FranklinCondensed provides mediumweights of narrow proportions. Itis frequently seen in newspapers,advertisements, posters, andanyplace with space restrictions.Franklin Gothic served as theAmerican Grotesk prototype. Therobust character of the font givestext a modern feel. FranklinGothic remains one of the mostwidely used sans serif typefaceseven today.
Franklin Gothic- cond, condital, cond bold, cond bold ital,heavy, black, black ital, heavyitalic, med, dm, md itl, Dm itl,Capsbold, smallcaps
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1908abcdefghijklmnopqrstuvwxyz1234567890ABCDEFGHIJKLMNOPQRSTUVWXYZ
LightABCDEFGHIJKLMNOPQRSTUVWXYZ
Light ItalicABCDEFGHIJKLMNOPQRSTUVWXYZ
regularABCDEFGHIJKLMNOPQRSTUVWXYZ
ItalicABCDEFGHIJKLMNOPQRSTUVWXYZ
DemiABCDEFGHIJKLMNOPQRSTUVWXYZ
Demi ItalicABCDEFGHIJKLMNOPQRSTUVWXYZ
BoldABCDEFGHIJKLMNOPQRSTUVWXYZ
Bold ItalicABCDEFGHIJKLMNOPQRSTUVWXYZ
CondensedABCDEFGHIJKLMNOPQRSTUVWXYZ
Condemsed ItalicABCDEFGHIJKLMNOPQRSTUVWXYZ
Bold CondensedABCDEFGHIJKLMNOPQRSTUVWXYZ
Bold Condensed ItalicABCDEFGHIJKLMNOPQRSTUVWXYZ
Extra CondensedABCDEFGHIJKLMNOPQRSTUVWXYZ
Bold Extra CondensedABCDEFGHIJKLMNOPQRSTUVWXYZ
News Gothic is considered to be thelight version of Franklin Gothic.
News Gothic font family
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In 1908, Morris Fuller Bentondesigned News Gothic forAmerican Type Founders. The
original design, with twocondensed faces, is essentially alight version of Franklin Gothic.In the late 1940s, after a decline inpopularity because of the successof the sans serifs from Europe(i.e., Gill Sans, Futura, Kabel),American gothic typefaces made acomeback. It was during this timethat more versions of NewsGothic were designed, includingNews Gothic Bold, which
Intertype released in 1955. LikeFranklin Gothic, these typefacesare classics for newspaperheadlines, advertising, andpackaging.
Despite, or perhaps because of, thefont’s unconventional relationshipsin proportion and form, NewsGothic has long been a populartypeface for almost any use.
News Gothic- DmIt, LtIt, It,BdIt, CnIt, BdCnIt, BdCn,BdXCn, Lt, Cn, Dm, XCn, reg
News Gothic font history
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Print TypographyCaptions ImagesThese are reader stoppers. Eachimage needs a caption to create anentry point onto the page. Threeor four lines maximum— the lastline two-thirds length. ItalicSabon typeface is acceptable.Caption text uses loose kerningfor legibility. Not written over thephoto or in reverse type. Nosmaller than 9 point.
Body TextIn print, body text is alwaysSabon. Franklin Gothic is used forall other applications. Wordemphasis is shown with SabonItalic—not with bolding or quotemarks.
SubheadsSubheads break up columns ofgray text. Use Franklin Gothicbold or medium. Subheads are acompelling entry point in a story.Subhead follows white space, boldtypeface, and is highly legible.
Avoid using all caps, favoringsentence case. No white space<cr> following the subhead (evenon web.) No drop cap aftersubhead. There should be at leasttwo staggered subheads per page.Don’t orphan the subhead: twolines copy before and three linesafter relevant to the text followingthe subhead.
Sentence CapsSentence Caps are not used forsubheads or headlines unless thesubhead is an actual sentence.Title Cap style is the preference.
Pull quoteThe pull quote is usually texttaken from the article. UseFranklin Gothic medium or boldwith airy leading, and it shouldspan a gutter. For pull quotes, thequotation marks should be single,with a caption containing anattribution (source) whenpossible.
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Bulleted ListsReaders are conditioned to lookfor summary information, so a listis often an automatic draw forreaders. Minimum three items ona bulleted or numbered list.Maximum 7 items in a list. Largeand bold bullet or number. Boldthe first word or short phrase ofeach list item, particularly whenthe list items carry over severallines. Place white space before andafter a bulleted list, but notbetween list items (this spacing isa loose or optional requirement.)
SidebarsPeople read sidebars more thanmain articles. Use Franklin Gothicmedium or bold, set loosekerning. Use captions forgraphics, lists, subheads, etc. insidebars. Sidebars may containinformation from the main articlein summary form.
Headlines and titlesFranklin Gothic typeface forheadlines for legibility. If younotice the headline and can get thegist of the article without strainingyour eyes, the headline passes thetest. That’s how big the headlineshould be.
BannersA banner is the line of text thatappears just below the headlineand is sometimes called a deck.An eyebrow is above theheadline. The headline stops thereader and the deck conveysfurther specifics—often highlightsabout the story that might get thereader interested enough to readthe article. It also provides yetanother entry point onto the pageby offering a logical flow ortransition from the headline andcontrasting typographically.
DropcapsMultiple dropcaps may appear on
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a spread. Here are the guidelinesfor usage:1. Sabon is preferred.2. Dropcaps cannot be the sameletter on a spread. It createsconfusion. Rewrite for clarity.3. There is a hierarchy ofemphasis: 4 line dropcap, 3 line.and last 2 line. Equal linedropcaps creates a confusion as towhere to begin reading.4. It is recommended no morethan three dropcaps exist on aspread.
Line spacing / leadingLeading should be approximately130% of font size except forpullquotes and sidebars whichrequire more leading.
Character spacing / kerningTitles and headlines set inFranklin Gothic above 18-pointshould be kerned tight. Below thatshould be normal. The larger thepoint size the tighter the kerningshould be. For example, 72 pointwould be very tight or handkerned for touching letters.
Body TextBody text is never justified onboth borders. This causes riversin the text which distract the eye.Just because you can doesn’t meanyou should. Stay with ragged rightfor body text. It is easier to read.Left justified is allowed forcaptions and heads whenappropriate.
Use of ALLCAPS, Title Caps, andSmall CapsALLCAPS are optional in banners,headlines, and titles and aregenerally set in 18-point type orlarger. Banners should use NewsGothic ALLCAPS, and be kernedvery loose. Headlines should betight or very tight.
Title CapsSabon Small Caps are always usedin the first few words following adrop cap and are set in the samecolor as the dropcap. They may bebolded. Do not use fake dropcapsexcept in a jam. Sabon comes witha real dropcap character set. It isalways preferred.
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Tradeshow Booths1. Adhere to a one-benefit-per-panel rule.
2. Readability: The six-by-six rulestates no more than six elementsper line and no more than six linesper panel. The average person’sreading rate is about 250 wordsper minute. Therefore, signs thatwill only be seen for a few secondsshould include no more than sixitems.
3. Lists: No numbering of bulletedlines. No asterisks. Those areassociated with footnotes or “fineprint”.
4. Avoid placing copy overimages. Position copy in aseparate border or block near theimage panel.
5. The field or cone of vision forsignage covers a 60° angle.Consistency in the height of signsin a system reduces the viewer’sneed to search for information.
6. Legibility: keep the fonts simpleand use basic colors for lettering(black and white are best).
7. Legibility: Make type 1 inchhigh for every 3 feet back. To readcopy 12 feet away, the lettersshould be about 4 inches tall.
8. The average height of a viewer’seye level, measured from theground when standing, is about 5feet, 6 inches. When sitting, it isabout 4 feet, 6 inches.
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Color Strategy1. Background colors (paper) areeither bright white, creme, oroffwhite. Offwhite is used on theweb to reduce screen contrast.Bright white is recommended inprint and booth applications.
2. Colors are always in the naturaltheme.
3. Gray and black are not “cool”colors but allowed with good
judgement as subordinate andaccent colors.
4. Confetti colors are used forcolorizing small portions of textand dingbats. They are best if theyare the compliment of a color.They must be used sparingly. Usethese to guide the eye (visualsignage cues.)
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Photography is a PrincipleCommunication DeviceIt generates interest and curiosity.It has energy. It sometimesinfluences the color scheme. It'sbest not to place words on top ofphotos (some exceptions- covers).A large amount of space needs tobe allocated to images. Also a bigchunk of ad budget. Photographyis available from many sources:custom, stock CD-ROM, online,clip art (photo), flatbed scannedimages, and digital camera.
Avoiding Photo MonotonyBesides photography inrectangular boxes, it adds interestto the page to include a cutoutphoto or two with a possible dropshadow effect. Also known asObject Photography. Thistechnique breaks the Grid. Wordwrap can be used around an edge.It's a break from monotony and
Image Elementsgives more life and personality toa page.
Illustration is Not aSubstitute for PhotosIllustrations are not usuallyacceptable substitutes for hightechproduct photographs. Viewers willmake the assumption a productdrawing is a concept and notfinished —a psuedo-product orvaporware. Photos have morecredibility.
When to Use IllustrationIllustrations are preferred invisualizing abstractions orconcepts like physical properitesor setup diagrams. This wayillustration is a shortcut tounderstanding. Illustrationreduces the complexity found inphotos to just those elementsneeding emphasis.
