The Art Room

The Art Room standard book

Table of Contents This is a dedication for the identity designs of [THE ART ROOM] company. As a comprehensive guide book for all the designers and the company, it involves and sums up most of the graphical aspects systematically.

By having this guide book, the goal of keeping a consistent company identity will be easily achieved. However, it is not a statement to restrict the changeability of the designs, but more of an explanation and inspiration of the current design products, which also should be able to guide their further developments.

Identity Introduction The Identity Program

Signature Signature Overview Signature and Logotype

Stationery Stationery Program Overview What It Matters Stationery Police and procedure

Glossary of terms Book design anatomy Front matter Back matter

Identity Introduction Whether the emphasis is on graphic design, landscape design or architecture, we are concerned primarily with the quality of visual identification. This is what the [THE ART ROOM] look represents.

The meaning of quality, as such, is difficult to define, for it is somehow intuited in the presence of the work in which it is embodied.

This has little to do with popular conceptions of beauty, taste, and style, and nothing to do with status, respectability, or extravagance. It is revealed, rather, in an atmosphere of propriety and restraint.

Quality deals with the judicious weighing of relationships, with balance, contrast, harmony, and juxtaposition, between formal and functional elements-their transformation and enrichment. It is concerned with ideas not techniques, with the enduring not the ephemeral, with precision not fussiness, with simplicity not vacuity, with subtlety not blatancy, with sensitivity not sentimentality.

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The Identity Program The image of an institution can be defined as the way in which it is perceived by its various audiences, or public. Image cannot be changed by an act of institutional will, but by a gradual change in public perceptions.

Institutional identity, on the other hand, can be created and managed. An identity program is a set of policies and procedures establishing a consistent, comprehensive format through which the institution presents itself to its audience. A graphic identity system helps eliminate confusion, unifies and strengthens the image of the institution and its parts, and projects a message of cohesiveness.

The image needs to be appreciable to the various groups comprising the audience of [THE ART ROOM]. These groups are elected officials, administrators, business and community leaders, legislators, taxpayers, and the public at large.

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Signature Signature Overview The ideal signature is the graphic distillation of an organization's beliefs, management, products, and services. Its principal purpose is to call attention, to direct, to identify. Like a signature or thumbprint, a signature is unique.

It represents the particular and helps define the group it symbolizes.

The [THE ART ROOM] signature and logotype is a unique visual device whose inherent characteristics make it an appropriate and useful solution to a complex visual identity problem.

Its adaptation will provide [The Art Room] with a clear, consistent, and professional image in rural and urban settings. Its simple, self-contained design makes it easy to use, and its applications are endless. Nothing is arbitrary: weights, sizes, spaces, and proportions contribute to the gracefulness of the design. Colour consistency is critical in its execution.

Like many signatures, the [The Art Room] symbol is abstract, and will achieve recognition that is directly related to the time, effort, and expenditure invested. Its design is suggestive, not descriptive. Its universal character makes it all the more applicable to a diversified community. This in no way reduces its effectiveness as a symbol for [THE ART ROOM]. Its character is alive and friendly. The distinctive profile makes recognition easy.

The signature's configuration is a persuasive

[index]. It is memorable and easily adaptable. It conveys the essence of quality, service, honor, authority, nature, and achievement-expressions duly suited for a community that deals with people and business.

The logotype, [THE ART ROOM], is a preset style of lettering based upon a contemporary typeface. Its proportions are attractive and logical, while its character evokes a serious yet approachable style. It is modern, yet timeless, legible, and graceful. It is a typestyle used by international business and cultural groups alike.

The setting and letter spacing of the county name is a fixed configuration. The proportion and spacing of the type to the mark is predetermined.

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Signature and Logotype The [The Art Room] Signature is designed to be used in combination with the logotype and under [some] circumstances can the signature appear separately from the logotype. It is through the combination of Signature and logotype that the visual identity realizes its full impact.

Colour is a strong supporting element in any visual identity system because it facilitates and enhances recognition. The incorrect use of colour can weaken the impact of the signature and logotype and reduce its legibility.

When colour is not possible, the [The Art Room] signature and logotype are designed to translate into one-colour applications.

Using the logotype in conjunction with any other graphic shape or as a substitute for a headline or text copy is unacceptable. As with the signature, the logotype cannot be redrawn, reset, or re-spaced in any way. Strong and effective identification relies on simple, clear visual statements that can be seen and understood at a glance. To ensure legibility and recognition, the signature and logotype must always have sufficient clear space around them.

At no time should the legibility of the signature and logotype be obscured by the proximity of competing visual elements such as background shapes, text, borders, colours, textures, or other symbols or trademarks.

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Tracking: 75; 120; 75

Minimal size: W: 27 mm; L: 25 mm

Proportion: 1 : 1.08

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Stationery Stationery Program Overview Stationery is the most prevalent means of communication for most organizations and should be planned and executed to the last detail to suit the purpose it serves. An organization's print material should stand out by virtue of common elements such as symbols, colours, typography, and composition. Whatever the element or combination of elements used, they should remain unchanged on all business cards, letterheads, labels, and envelopes the organization uses.

This section of the manual presents the approved stationery program for [The Art Room]. This program ensures a consistent style, appearance, and quality for the [The Art Room] stationery, which in turn presents a unified institutional identity. The system is comprehensive; it is designed to cover all departments, elected officials, and affiliated groups. However, the application of the system may vary slightly based on legalities, logistics, marketing objectives, and other mitigating circumstances. Variable applications are illustrated within this manual.

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70 mm

Why it matters [The Art Room] has a unique problem: it is a growing and prosperous community governed by numerous departments that are distinctly diverse. The departments have remarkably different demographics, histories, programs, and locations, while the business and its administration have similar goals that must be communicated to state and federal legislative groups and the public at large.

The various offices and departments have a public service goal that should be enhanced or complemented wherever appropriate in the design standards applications. [The Art Room] sends out thousands of letters a year, and its staff hands out hundreds of thousands of business cards. Stationery is [The Art Room]'s silent advocate and may generate more graphic impressions of [The Art Room] than any other single item. If the type is too large or too small, awkwardly placed, mistakenly omitted, incorrectly emphasized, too close together or too far apart, it can work against the trademarked image of [The Art Room].

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102 mm

99 mm

34 - 40 mm 12 - 15 mm 18 mm Aovel Sans light Size: 12 pt

205 mm

104 mm

Stationery Policy and Procedure Dirt 2 Death Size: 18 pt

34 mm Helvetica Neue bold / light Size: 7 pt

6 mm 8 mm 40 mm

Aovel Sans light Size: 8 pt

W: 80 mm

L: 105 mm

The Administrator's Office has been designated by the [The Art Room] Board to interpret the stationery policy and ensure that it is followed.

This office will review, monitor, and help produce stationery materials to ensure adherence to the approved standards, to interpret the guidelines, and provide individual assistance.

The Administrator's Office is responsible for the interpretation and control of all [Your Business Name] print communications within the graphic standards and the design of visual materials that involve the [The Art Room] name and signature for [The Art Room] and the [The Art Room] Board.

The Purchasing Department is responsible for the procurement of all stationery for [The Art Room]. The design and production of all stationery is governed by this manual. All departments are directly responsible for the careful and consistent adherence of the approved standards when designing and producing stationery. Consultation and assistance in the preparation of any materials requiring these services are available upon request. To avoid missing deadlines or increasing costs unnecessarily, please contact the Purchasing Department early in the planning process. The production and/or procurement of stationery materials is accomplished by or through the departments and the [The Art Room] Purchasing Department.

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Glossary of terms Character: A letter, number, or special mark/ symbol.

Copy: Any furnished material to be used in the production of printing.

Contrast: To set off; to show dissimilarities in terms of light and dark.

Design: To conceive and plan out in the mind for a particular purpose, project, or scheme. Design is also defined as the particular arrangement of elements or details within a given space.

Flush left: Type aligned with the left margin of a column of text.

Font: The complete assortment of type of one size and face.

Format: The general arrangement, size, and form of print material.

Identity: Sameness of essential character.

Leading: The amount of space, measured in points, between lines of type.

Legal name: A formal, registered name.

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Letter spacing: The amount of space between individual letters, punctuation marks, and other typographic characters. Also known as “kerning.”

Logotype: A unique, designed typographic treatment of a name.

Mechanicals: Camera-ready art, assembled with all design elements in position and specifications for printing.

Nomenclature: A naming system that describes the hierarchy and relation-ships that exist within an organization.

Offset lithography: A printing process that applies ink to paper by the indirect contact of photographically etched plates.

Pantone: The Pantone Matching System is a method of colour coding that is recognized by designers and printers throughout the world. If a Pantone number is selected when specifying a colour, the printer can match that colour exactly.

Phototypesetting: Typographic material produced photographically. Also known as “photocomposition.”

Pica: Both a system and a unit of typographic measurement. One pica is equivalent to approximately 1/6 of an inch.

Symbol: A character or sign designed to represent or suggest something that cannot in itself be pictured.

Pictogram: The commonly recognized symbols which represent, people, places, activities, and things on signage.

Typeface: The full assortment of printing fonts.

Point: The smallest unit of measurement in both the pica and didot systems. One pica equals twelve points (1/72”). Points are used to specify type size, amount of space between lines of type, and the thickness of rules.

Ragged right: Type allowed to flow from line to line naturally on the right margin-unjustified.

Signature: A mark or symbol that represents a company or organization.

Silkscreen: Use of a screen to cover the areas that do not print. The screen is made of silk or nylon. Printing is done by forcing ink through the screen using a rubber squeegee.

Stationery: Materials designed for writing, such as letterheads, labels, and envelopes. For the purposes of this manual, business cards, fax sheets, and memorandum pads are included as basic forms of correspondence.

Typography: The art of designing and printing with type. Typography is also defined as the style, arrangement and/or appearance of printed type.

Book Design Anatomy Front matter Front matter, or preliminaries, is the first section of a book, and is usually the smallest section in terms of the number of pages. The pages are numbered in lower-case Roman numerals. Each page is counted; but no folio or page number is expressed, or printed, on either display pages, or blank pages. Front matter generally only appears in the first volume in a series, although some elements (such as a table of contents or index) may appear in each volume. The following will help distinguish between some of the different types of front matter.

Acknowledgement: Often part of the Preface, rather than a separate section in its own right, it acknowledges those who contributed to the creation of the book.

identifies the work. At the bottom of the edition notice one often finds a line of numbers, some of which may appear to be missing, called the printers key. These indicate the book’s print run.

Books and parts: (Single-volume works account for most of the non-academic consumer market in books) A single volume may embody either a part or a book; in some works, parts include multiple books, and in some others books include multiple parts.

Foreword: Often, a foreword will tell of some interaction between the writer of the foreword and the story or the writer of the story. A foreword to later editions of a work often explains in what respects that edition differs from previous ones.

Chapters and sections: A chapter or section may be contained within a part and/or a book; when both chapters and sections are used in the same work, the sections are more often contained within chapters than the reverse.

Frontispiece: A frontispiece is an elaborate decorative illustration that appears facing the title page of the book. Use of the word to indicate the title page is now obsolete (Oxford English Dictionary). In modern usage, the frontispiece is the verso opposite the recto title page.

Dedication: A dedication page is a page in a book that precedes the text, in which the author names the person or people for whom he/she has written the book.

Half title or Bastard title: The half title, or bastard title, is a page carrying nothing but the title of a book, as opposed to the title page, which also lists subtitle, author, publisher and similar data.

Edition notice: The edition notice (or copyright page) is the page in a book containing information about the current edition, usually on the back of the title page. It often contains a copyright notice, legal notices, publication information, printing history, cataloguing information from a national library, and an ISBN that uniquely

Introduction: A beginning section which states the purpose and goals of the following writing.

Preface: A preface generally covers the story of how the book came into being, or how the idea for the book was developed; this is often followed by thanks and acknowledgements to

people who were helpful to the author during the time of writing.

Prologue: A preface to the story, setting up the story, giving background information and other miscellaneous information.

Table of contents: Table of contents, usually headed simply “Contents,� is a list of the parts of a book or document organized in the order in which the parts appear. The contents usually includes the titles or descriptions of the first-level headers, such as chapter titles in longer works, and often includes second-level or section titles (A-heads) within the chapters as well, and occasionally even third-level titles (subsections or B-heads). The depth of detail in tables of contents depends on the length of the work, with longer works having less.

Title page: The title page of a book, thesis or other written work is the page at or near the front which displays its title, and author, as well as other information. This is no longer synonymous with frontispiece in modern usage.

Volumes: A volume is a set of leaves that are bound together. Thus each work is either a volume, or is divided into volumes.

Back matter The back matter, if used, normally consists of one or more of the following components.

Afterword: An afterword (literature) is frequently a piece of writing describing a time well after the time frame of the main story.

Appendix/Addendum: An appendix or addendum is a supplemental addition to a given main work. It may correct errors, explain inconsistencies or otherwise detail or update the information found in the main work.

Bibliography: The bibliography cites others used in the body. Most common in non-fiction books or research papers.

Colophon: The colophon is a brief description usually located at the end of a book, describing production notes relevant to the edition and may include a printer's mark or logotype.

Conclusion: A conclusion.

Epilogue: An epilogue is a piece of writing at the end of a work of literature or drama, usually used to bring closure to the work.

Extro/Outro: An extro or outro is the conclusion to a piece of work and is considered the opposite of the intro. These terms are more commonly used in music.

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Glossary: The glossary consists of a set of definitions of words of importance to the work.

They are normally alphabetized. The entries may consist of places and characters, which is common for longer works of fiction.

Index: An index is used to find terms used in the text. Most common in non-fiction books.

Postscript: A postscript.

ISSN 3479–283655 Š [The Art Room], Wade Wu, June 2013.

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from publishers. We have attempted to contact all copyright holders. We apologise for any omissions and, if contacted, will amend in future issues.

Edition of 500 Printer: Geon Print, Auckland, New Zealand.

Paper stock: Munken Print Cream 80gsm (text), Super Fine Artboard 270gsm (cover).

Typefaces: Helvetica Neue.

Published by [The Art Room] PO Box 64211, New Market, Auckland 1164, New Zealand For further copies, or comments please email info@theartroom.co.nz Edited and designed by [Wade Wu].

Design advisor [Jonty] Sub-editing and proofreading by [Jonty].

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