Sibelius Artwork Guidelines Contents
Sibelius Artwork Guidelines Contents
Conditions of use ...... 3 Important information ...... 4 Product names and logos...... 5 Example copy...... 6 Endorsees ...... 7 Reviews...... 8 Awards...... 11 House Style ...... 12
Conditions of use
Who may use this material Authorized Sibelius distributors and dealers are permitted to reproduce text and graphics on this CD in order to market Sibelius products or PhotoScore, but only if these guidelines are adhered to, and all artwork is used unmodified and cleared by Sibelius Software before production of final proofs.
Acknowledge trademarks Please reproduce the following smallprint in all suitable material (you may omit trademarks which you don’t use in your body text): Sibelius, Sibelius 2, Sibelius Internet Edition, the Sibelius logos, double helix and notes design, Scorch, ‘The fastest, smartest, easiest way to write music’, SibeliusMusic.com, Flexi-time, Espressivo, Rubato, Rhythmic feel, Arrange, SoundStage, magnetic, multicopy, Opus, Inkpen2, House Style and ManuScript are all trademarks or registered trademarks of Sibelius Software Ltd or Sibelius USA Inc in the USA, UK and other countries. All other trademarks acknowledged. All specifications and information are believed correct at the time of going to print, but are subject to change without notice and may vary between versions. © Sibelius Software Ltd 2002. All rights reserved. E&OE You should also include your own copyright notices.
Liability If describing Sibelius’s detailed functionality, we recommend you only use text written by us (e.g. taken from these guidelines, the Sibelius brochure, or our website) lest you make a mistake and become liable.
Disclaimer All files and other material are used at your own risk, and Sibelius Software accepts no responsibility for any loss or damage that occurs as a result of using any material contained herein. While we believe you are entitled to use the third party quotes, logos and trademarks we have included here, we cannot guarantee this.
Important information
This material is provided as a resource for dealers, distributors and other originators for use when marketing and promoting the products of the Sibelius Group. Please note that all material remains the property of the Sibelius Group, and you should first read the supplied conditions and guidelines of use before using any of this material. You must clear all new advertisements and promotional material with us prior to production of final proofs. Please contact us (see below) for more details.
What’s on the artwork CD If you have the artwork on CD, its contents are split into a number of categories, as follows: • information about how to use this material: details of the Sibelius ‘house style’ and example copy (in this document) • the Sibelius 2 and PhotoScore logos in a variety of sizes and formats (in the artwork/company logos folder) • example advertisements in both PDF and Quark XPress format (in the sample adverts folder) • example screenshots demonstrating the various functions of Sibelius (in the artwork/screenshots folder) • examples of Sibelius’s printed output in EPS format (in the artwork/music examples folder) • photographs of famous Sibelius users (in the artwork/endorsees folder), along with their endorsements of the product (in this document) • quotes from reviews and details of awards (in this document).
Contact details If you have any queries about the artwork or usage, please contact: • For UK: Justin Baron, Head of Sales & Marketing ([email protected]), tel: 020 7561 7999, fax: 020 7561 7888 • For North America, Central America & South America: Bill Reilly, COO ([email protected]), tel: 925-280-0600 • For Europe & rest of world: Tim Judges, International Sales & Marketing Manager ([email protected]), tel: +44 20 7561 7999, fax: +44 20 7561 7888 Product names and logos
Product names • Sibelius 2: refer to it as ‘Sibelius® 2’, or you can abbreviate to just ‘Sibelius’ in contexts where the version number doesn’t matter. Don’t say ‘Sibelius 2.0’, ‘Sibelius2’, ‘Sibelius version 2’, ‘Sibelius v2’, ‘version 2 of Sibelius’ etc. Any future minor version releases should also be called ‘Sibelius 2’ unless you need to refer to a specific minor version number in technical documentation, in which case call it e.g. ‘Sibelius 2.1’ (which you can contrast with ‘Sibelius 2.0’ if necessary). • Scorch: refer to as ‘Scorch®’ or the full name ‘Sibelius Scorch®’. Don’t add a version number (e.g. don’t say ‘Scorch 2’). • Sibelius Teaching Tools: call it ‘Sibelius Teaching Tools™’ in full. After the first occurrence you can abbreviate it to ‘Teaching Tools’ if you like. • PhotoScore Professional: call it ‘PhotoScore Professional™’, not just ‘PhotoScore’ or ‘PhotoScore Pro’. Note the capital S (not ‘Photoscore’). You do not normally need to state a version number, but if you want to refer specifically to the latest version, call it ‘PhotoScore Professional 2’.
Use the ® or ™ symbol on the first occurrence of the product name, and omit it thereafter. You should also use the ™ symbol after the first occurrence of other Sibelius trademarks which are listed in our standard smallprint, e.g. Espressivo™, Flexi-time™.
Logos • Note that the ‘Sibelius 2’ logo is distinct from the Sibelius brand mark; both are shown here:
Brand mark Product logo The brand mark identifies the manufacturer (i.e. Sibelius Software Ltd), not a specific product (e.g. Sibelius 2). The brand mark should always be positioned in the corner of a page. If the brand mark is in one of the top corners rather than at the bottom, you may choose to use the version that includes the strapline ‘MUSIC INNOVATION’. Note that there are separate files provided on the CD for color and monochrome work, both with and without the strapline. • Don’t try to reconstruct any of the logos using text fonts! Always use the official EPS or TIFF file we’ve created instead. Do not modify any of the files. Example copy
You may use text from any material written by Sibelius (including example advertisements, the Sibelius brochure or website), or you may write your own (although we do not recommend this when describing features – see the conditions of use). Here we provide some example copy of varying length that may be of use.
Sibelius • Sibelius – the fastest, smartest, easiest way to write music. • Sibelius – the best-selling music notation software, used by top musicians, publishers and educational institutions worldwide. • Sibelius is the world’s best-selling music notation software for Mac and Windows. It helps you write, play, scan, edit and print scores, and even publish them on the Internet.
Scorch • Scorch is the amazing free software for viewing, playing, customizing, printing and saving scores from the Internet.
PhotoScore Professional • PhotoScore Professional – advanced music scanning for Sibelius • PhotoScore Professional scans printed music into Sibelius so you can edit it, transpose, play it back, extract parts and print - just as if you’d inputted it yourself. • PhotoScore Professional is the most advanced music scanning software ever developed. Reading music, slurs, articulations and even text, it’s the lightning-fast way to make arrangements, transpositions and editions.
PhotoScore MIDI • PhotoScore MIDI scans printed music to create MIDI files in moments • PhotoScore MIDI is the quick and easy way to turn sheet music into MIDI files. Produce accompaniments to practice to, create MIDI files for your sequencer, and listen to printed music.
Sibelius Teaching Tools • Sibelius Teaching Tools – a complete pack of educational resources to help you use computers in your music teaching • Sibelius Teaching Tools is a pack of educational resources to help students learn music with Sibelius, and to save you time preparing lessons. It’s suitable for all school levels and abilities, from basic notation to Bach chorales, and contains over 200 pages of ready-to-use exercises and worksheets, 20 copies of a step-by-step mini-manual of Sibelius features, and a CD-ROM of Sibelius files Endorsees
Michael Tilson Thomas “I have found Sibelius a powerful and effective tool” – Michael Tilson Thomas, conductor & composer Michael Tilson Thomas is principal conductor of the San Francisco Symphony Orchestra
Lalo Schifrin “Sibelius is exceptionally fast and easy to use” – Lalo Schifrin, composer & jazz musician Lalo Schifrin composed the famous Mission Impossible theme and scored Clint Eastwood’s Dirty Harry movies
John Rutter “Does just about everything except think up the notes for me” – John Rutter, choral composer John Rutter is the world’s leading composer of music for choirs
Michael Kamen “Sibelius would have used Sibelius” – Michael Kamen, film composer Michael Kamen has composed scores for blockbuster films including Lethal Weapon and Robin Hood: Prince of Thieves.
Andy Summers “Sibelius is the ultimate creative tool” – Andy Summers, guitarist & songwriter Former guitarist with The Police, Andy Summers is the composer of the Grammy-nominated album The Golden Wire
Hal Leonard Corporation “Sibelius is fast becoming the new industry standard” – Larry Morton, President Hal Leonard is the world’s leading music print publisher
Royal Academy of Music “As soon as we saw Sibelius, we realized that it’s in a totally different league from anything else” – Paul Patterson, Manson Chair of Composition The Royal Academy of Music, London, is one of the world’s most respected conservatories Reviews
The New York Times “The Juilliard School has switched from Finale to Sibelius in its music technology labs... with Sibelius, [professor Edward Bilous] said, ‘the keystrokes feel more natural, like it was designed by working composers and arrangers.’” “Mr McKinley, the composer who at first was so impressed by Finale, is among those who now embraces Sibelius. ‘I switched to Sibelius because it’s closer to pen and paper,’ he said. ‘It’s completely intuitive.’”
Keyboard The world’s best-selling music technology magazine. “Rarely does notation software provide the depth and breadth of Sibelius... I actually had fun composing with this program, and I can’t remember the last time I enjoyed myself while learning to use a notation product” “As far as ease of use is concerned, it’s almost in a class by itself”
Electronic Musician “How does a program come to have such a mature interface and feature set in its first incarnation?”
The Wall Street Journal (From a profile of conductor/composer Michael Tilson Thomas) “A computer station dedicated to a Sibelius composition program is set up in the adjacent room... Being online provides an efficient way for Mr. Tilson Thomas to work with his copyist... When working on a new orchestral piece, Mr. Tilson Thomas says he often stays up until 2 a.m.; then before going to bed, he sends the work via e-mail to the copyist in London, where it’s already morning. By the time he awakens in San Francisco, the copyist will have e-mailed back the edited compositions.”
(Article on Paul McCartney's orchestral work Standing Stone) “[Paul McCartney] abandoned attempts to learn musical notation. ‘I can write a song like Yesterday, but I can’t recognize it as notes on a page’... Technology later supplied the bridge he needed to translate his musical ideas into instrumentation. He employed an electronic keyboard linked to... Sibelius, that converted his played notes and basic orchestration into a coded printout”
Computer Music The UK's best-selling music technology magazine. In a head-to-head comparison with Finale, Sibelius scored an unbeatable 10/10. (Finale scored 7/10.) “It simply doesn't get any better than this. Sibelius is everything you need” “Undoubtedly the finest scoring software money can buy... you’d be mad to buy anything else” “If you have the cash, it seems hard to recommend spending it on anything other than the magnificent Sibelius... We really have little hesitation in giving Sibelius our highest possible recommendation”
Macworld “The most advanced and comprehensive system available” Macworld has twice awarded Sibelius the top rating of 5 stars and over 9 out of 10 points.
Wired “If Quark XPress had a musical cousin who took a lot of steroids, the result might be something like Sibelius”
The Times (London) “Most composers find they are writing twice as much music as in their pre-Sibelius days” “The only pity is that Sibelius wasn't around to benefit the great composers... Mozart would surely have completed his Requiem before pegging out, Puccini likewise with Turandot, and Schubert’s Eighth would not now be called the Unfinished.” “This extraordinary computer program has changed the music profession forever... It may soon redefine the very nature of composition” “[Sibelius] can notate, print and play a musical score at a pace even more rapid than Mozart at his most fecund... Imagine what wonders Bach could have worked with such technology; or Richard Strauss, or Britten. Or the composer of Finlandia himself”
Times Educational Supplement (London) (about Sibelius Teaching Tools) “A comprehensive range of musical exercises... there are worksheets on rhythm, notation and composition, as well as advice on turning a MIDI file into a score and putting music onto the Internet”
The Seattle Times “After using Sibelius for a couple of weeks, I can't imagine wanting to write another musical score in longhand” “The speed, intelligence, ease and clarity of Sibelius make this program eminently worth the attention of any music professional, student, teacher or keyboard dabbler”
Jazzwise Jazzwise magazine compared Sibelius and Finale in transcribing a solo jazz guitar arrangement. The aim: to find the best jazz scoring software available. “Finale proved to be much slower than Sibelius, especially when it came to producing the guitar tab... Also, I could not find any quick way to create the correct guitar fretboard diagrams in Finale” “The final ‘proof of the pudding’ came when I printed out what I had managed to achieve in my three evenings spent with each scorewriter. The score prepared with Sibelius won ‘hands-down’... Say no more!”
Sound On Sound Europe’s best-selling music technology magazine. “A real musician’s power tool... amazingly easy to use”
BBC Music Magazine “The world's most sophisticated music notation software” “Provides the fastest note entry I have experienced from any program... the music looked like a finished score almost as soon as it was entered”
The Sunday Times “Other systems take months to learn... Sibelius can be used at once by a novice”
Financial Times “Dramatically reduces the time it takes to compose a piece of music and produce a score”
The Independent “Sibelius feels as if it has musical instincts”
The Guardian “It’s hard to believe you can compose scores with such ease”
New Scientist “Students at the Royal Academy of Music in London can now come to orchestral composition classes with floppy discs instead of manuscript paper, then hear their homework brought to life by an electronic orchestra. Any changes suggested during the class can be entered straight away...” “For the first time ever, students can hear a full orchestra playing what they have written... It’s fantastic”
School Band and Orchestra “Writing music has never been quicker than with Sibelius... takes just a few minutes to learn and a few days to master”
Classical Music “Sibelius really does live up to its high reputation”
Music Teacher magazine “I have tried out in some detail both Finale and Sibelius and I must admit that I prefer the latter. While they are both marvellous programs, I found Finale rather more involved and awkward to use... I maintain the view that Sibelius continues to set the pace in professional music scorewriting systems”
PC Home “The trouble with most scorewriters is that they have a reputation for being complicated. Personally, I found Finale... difficult to get to grips with, albeit ultimately very powerful. On the other hand Sibelius is something else altogether. It has been designed with elegance, simplicity and ease of use very much in mind” “Almost transparent in use... my students and I will be able to concentrate, not on button-pushing, mouse-clicking and all that other tedious rubbish that too often tends to surround computer music-making, but rather on writing some damn good music”
Educational Computing & Technology “Being complex and elegant in functionality, yet be easy enough for an absolute novice to use is the whole philosophy behind Sibelius” “If you truly believe that children, teachers or composers should write music easily, be creative and use their time more effectively when doing so then Sibelius is the essential element” “Sibelius in a word: outstanding!”
Crescendo & Jazz Music “Spellbindingly fast” “Without knowing all the ins and outs it is possible to sit right down and produce a score at once” Awards
Logos for many of the magazines which awarded Sibelius these accolades can be found in the artwork/award logos folder.
Keyboard Key Buy award The Key Buy award is given to products that place at the top of their class, break new ground, or offer truly outstanding value.
Electronic Musician Editors’ Choice Award “With its appealing combination of beauty and brains, this was a clear Editors’ Choice”
Macworld 5 star rating “The most advanced and comprehensive system available”
Computer Music Ultimate Buy (10/10 rating) The rarely-offered Ultimate Buy award is only given to products that are deemed the best on the market, with the advice, “buy it even if you don’t need it”. House Style
This is the Sibelius company house style. Sibelius dealers and distributors may want to follow some of these guidelines in their advertisements or their own literature if they want to present information in keeping with the Sibelius literature.
Paper sizes • Flyers and leaflets: around 135gsm white coated • Price lists: 90gsm or 100gsm white coated (if printed) • Stationery: 100gsm white bond • Order forms: photocopy onto 90gsm or 100gsm white bond • Short-run booklets (e.g. installation instructions): photocopy onto 90gsm or 100gsm white bond • Postcards: use single-sided board if the back of the postcard needs to be ink-stamped or filled in by the customer
Body text • Formata Light Condensed. Occasionally, important body text can be in Formata Light or Formata Regular • Normally around 10pt • Fully justified, no first line indent • Gap after paragraphs of around 3pt • Occasionally use Meridien Roman for body text in ads and for introductions in brochures
Advert headlines • Large Meridien Roman • Mixed case • Company blue (see below)
Main headings • Formata Bold, rather larger than body text • Preferably company blue (see below), otherwise black • Upper case • Left-aligned • If used, write tagline below it in smaller black Meridien Italic
Sub-headings • Formata Bold, same point-size as body text • Preferably company blue (see below), otherwise black • Mixed case • Left-aligned • 0pt or 1pt gap after a paragraph, possibly a few points extra gap before paragraph
Case • Never use title case (e.g. ‘The Cat Sat On The Mat’) anywhere • Do not capitalize any words in body text - use italics for emphasis
Bold, italics, underlining • Titles of films etc. in italics (not quotes) • Routine emphasis in italics (not bold or underlined)
• Occasionally, Formata Medium Condensed (or Formata Condensed) may be used in body text to highlight key words
Punctuation • Single space after full stops • Smart quotes • For a dash, use space en-dash space (not a plain hyphen). You can obtain an en-dash in Quark by typing Option- hyphen, or in Word by typing two hyphens
Bullets • Bullet itself in black or company blue (see below) • No full stop at end of bullet points, but put a full stop at the end of the final bullet point if the bullet points are in the middle of a longer chunk of body text
Color • 5 colors (company blue, plus 4-color process) for important documents such as brochures • 4-color process may be sufficient for mailers, postcards, possibly flyers, etc. • 2 colors (black + company blue) for stationery etc. • 1 color (black) for order forms, price lists etc. Avoid using halftones if photocopying
Company colors • Blue: Pantone 2746 on coated paper (assume all paper is coated unless otherwise stated), Pantone 2738 on uncoated paper, 100% cyan 70% magenta (for 4-color process on coated paper) • Blue can be used for headings and subheadings, bullets, occasionally as a background to white text • Black (100%): body text, possibly main headings/subheadings, can be used as a background to white text • Gray (50%): for ‘the fastest, smartest, easiest way to write music’ (Meridien Italic)
Any house style queries, please contact Ben Finn on +44 20 7561 7999 (+44 20 7561 7999 from outside the UK), email: [email protected]