DOCSLIB.ORG

Tints, Patterns, and Color Separations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tints, Patterns, and Color Separations XML Professional Publisher: Tints, Color, and Pattern Management for use with XPP 8.4 updated February 2012 Notice © SDL plc 1999, 2005, 2007-2008, 2012. All rights reserved. Printed in U.S.A. SDL plc has prepared this document for use by its personnel, licensees, and customers. The information contained herein is the property of SDL and shall not, in whole or in part, be reproduced, translated, or converted to any electronic or machine-readable form without prior written approval from SDL. Printed copies are also covered by this notice and subject to any applicable confidentiality agreements. The information contained in this document does not constitute a warranty of performance. Further, SDL reserves the right to revise this document and to make changes from time to time in the content thereof. SDL assumes no liability for losses incurred as a result of out-of-date or incorrect information contained in this document. Trademark Notice See the Trademark Notice PDF file on your SDL product documentation CD-ROM for trademark information. U.S. Government Restricted Rights Legend Use, duplication or disclosure by the government is subject to restrictions as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and Computer Software clause at DFARS 252.227-7013 or other similar regulations of other governmental agencies, which designate software and documentation as proprietary. Contractor or manufacturer is SDL plc, 101 Edgewater Drive, Wakefield, MA 01880-1296. This document was composed and paginated using SDL XML Professional Publisher. ii Tints, Color, and Pattern Management Contents About This Manual Audience ................................................ xiv Where Do I Start? ......................................... xv Conventions Used in This Manual ........................... xvi For More Information ...................................... xviii Chapter 1 Overview Understanding Tints, Patterns, and Colors .................... 1-2 Colors ................................................. 1-2 Tints and Patterns ....................................... 1-2 Using Tints, Patterns, and Colors with XyMacros .............. 1-3 XyMacros for Filled Rectangles ........................... 1-3 XyMacros for Filled Circles/Ellipses ....................... 1-4 XyMacros for Filled Tabular Elements ..................... 1-4 XyMacros for Tints and Color in Text ...................... 1-5 Displaying Tints, Patterns, and Colors ..................... 1-5 Outputting Tints, Patterns, and Colors ....................... 1-6 Tints, Color, and Pattern Management Contents iii Part I Managing Color Chapter 2 Overview of Color Management Questions to Ask About Color Requirements ................. 2-2 Understanding Color Control Specifications .................. 2-4 Color Control Spec Naming Conventions .................. 2-5 Color Definition Naming Conventions ..................... 2-6 The Default Color Control Specification .................... 2-6 Specifying a Color Spec .................................. 2-7 Chapter 3 Managing Color Control Specs Understanding the Color Control Window ................... 3-2 File Menu .............................................. 3-3 Edit Menu ............................................. 3-3 General Menu .......................................... 3-4 Help Menu ............................................. 3-5 Exiting Color Control .................................... 3-5 Managing Color Control Specs .............................. 3-7 Creating a Color Control Spec ............................ 3-7 Copying Color Control Specs ............................. 3-7 Renaming a Color Spec .................................. 3-7 Deleting a Color Spec .................................... 3-8 Chapter 4 Managing Color Definitions Understanding Color Definitions ............................ 4-2 Importing EPSF Spot Color Definitions ...................... 4-4 Importing EPSF Color Definitions at the Job Level .......... 4-4 Importing EPSF Color Definitions at the System Level ....... 4-5 Adding XPP Color Definitions .............................. 4-6 Modifying Color Definitions ................................ 4-7 Editing XPP Color Definitions ............................ 4-7 Editing EPSF Color Definitions ........................... 4-8 Understanding the Color Definitions Dialog Box .............. 4-10 Types of Color Definitions Dialog Boxes ................... 4-10 Uses of the Color Definitions Dialog Box ................... 4-11 iv Contents Tints, Color, and Pattern Management Color Definition Settings ................................. 4-12 Deleting a Color Definition ................................. 4-16 Chapter 5 Managing Color Separations Controlling Color Separation Values ......................... 5-2 Setting Screen Angle and Frequency ....................... 5-3 Setting Halftone Dot .................................... 5-4 Understanding Undercolor Removal ......................... 5-5 Setting Undercolor Removal Values ....................... 5-5 Chapter 6 Managing Spot Color Mapping Understanding Spot Color Mapping ......................... 6-2 Accessing Spot Mapping Definitions and Plate Sets ......... 6-2 Creating and Modifying Plate Sets ........................ 6-4 Naming a Plate Set ...................................... 6-5 Disconnecting a Plate Set ................................ 6-6 Removing Spot Colors from Spot Mapping Definitions List ... 6-7 Part II Managing Tints and Patterns Chapter 7 Setting Up Tints and Patterns The Special Effects Patterns (SEP) Spec ....................... 7-2 The Default SEP Spec .................................... 7-2 SEP Spec Fields ......................................... 7-3 Creating Multiple SEP Specs ............................. 7-4 After Upgrading to a New XPP Release ...................... 7-6 Non-customized SEP Spec ............................... 7-6 Customized/Copied SEP Specs ........................... 7-7 XPP-delivered Patterns .................................... 7-9 Tints, Color, and Pattern Management Contents v Part III Using Tints, Patterns, and Color Chapter 8 Filled Rectangles Understanding Filled Rectangles ............................ 8-2 Rectangle Dimensions ................................... 8-2 Display of Filled Rectangles .............................. 8-3 Filled Rectangle XyMacros ................................. 8-4 Draw Filled Box ........................................ 8-4 fbox Draw Filled Box ........................... 8-4 Draw Filled Box with Text ................................ 8-10 fboxt Draw Filled Box with Text .................. 8-10 Start Filled Box with Text ................................ 8-14 sfboxt Start Filled Box with Text ................... 8-14 End Filled Box with Text ................................. 8-21 efboxt End Filled Box with Text .................... 8-21 Chapter 9 Filled Circles and Ellipses Understanding Filled Circles/Ellipses ....................... 9-2 Circle/Ellipse Dimensions ............................... 9-2 Circle/Ellipse Position ................................... 9-3 Display of Filled Circles/Ellipses ......................... 9-3 Filled Circle/Ellipse XyMacro .............................. 9-4 Draw Filled Oval ....................................... 9-4 oval Draw Filled Oval .......................... 9-4 Chapter 10 Filled Tabular Elements Understanding Filled Tabular Elements ...................... 10-2 Display of Filled Tabular Elements ........................ 10-2 Filled Tabular Element XyMacros ........................... 10-3 Fill Cell ................................................ 10-3 fcell Fill Cell ................................... 10-4 Fill with Pattern ........................................ 10-6 fpat Fill Pattern ................................ 10-7 Fill with Main Color ..................................... 10-8 fmcolor Fill with Main Color ........................ 10-9 vi Contents Tints, Color, and Pattern Management Fill with Alternate Color ................................. 10-9 facolor Fill with Alternate Color .................... 10-10 Fill Type ............................................... 10-10 ftype Fill Type .................................. 10-10 Fill Priority ............................................. 10-11 fprio Fill Priority ............................... 10-11 Fill Angle .............................................. 10-12 fangle Fill Angle ................................. 10-12 Fill Frequency .......................................... 10-12 ffreq Fill Frequency ............................. 10-13 Fill Width .............................................. 10-13 fwidth Fill Width ................................. 10-13 Fill Depth .............................................. 10-14 fdepth Fill Depth ................................. 10-14 Chapter 11 Filled Blocks and Text Understanding Filled Blocks ................................ 11-2 Page Layout Spec Fields for Colors and Patterns .............. 11-3 Item Format Spec Fields for Colors and Patterns .............. 11-6 Colors and Patterns in Pickup Element Blocks ................ 11-8 Colors and Patterns in Layout Blocks ........................ 11-11 Creating Text with Tints and Spot Color ...................... 11-13 Display of Text with Tints, Patterns, and Colors ............. 11-13 Outputting Text with Tints, Patterns, and Colors ............ 11-13 Reverse Video .......................................... 11-14 rv Reverse Video ............................. 11-14 erv End Reverse Video ........................
Load more

Recommended publications
  • Investigating the Effect of Color Gamut Mapping Quantitatively and Visually
    Rochester Institute of Technology RIT Scholar Works Theses 5-2015 Investigating the Effect of Color Gamut Mapping Quantitatively and Visually Anupam Dhopade Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Dhopade, Anupam, "Investigating the Effect of Color Gamut Mapping Quantitatively and Visually" (2015). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Investigating the Effect of Color Gamut Mapping Quantitatively and Visually by Anupam Dhopade A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Print Media in the School of Media Sciences in the College of Imaging Arts and Sciences of the Rochester Institute of Technology May 2015 Primary Thesis Advisor: Professor Robert Chung Secondary Thesis Advisor: Professor Christine Heusner School of Media Sciences Rochester Institute of Technology Rochester, New York Certificate of Approval Investigating the Effect of Color Gamut Mapping Quantitatively and Visually This is to certify that the Master’s Thesis of Anupam Dhopade has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of May 2015 Thesis Committee: __________________________________________ Primary Thesis Advisor, Professor Robert Chung __________________________________________ Secondary Thesis Advisor, Professor Christine Heusner __________________________________________ Graduate Director, Professor Christine Heusner __________________________________________ Administrative Chair, School of Media Sciences, Professor Twyla Cummings ACKNOWLEDGEMENT I take this opportunity to express my sincere gratitude and thank all those who have supported me throughout the MS course here at RIT.
    [Show full text]
  • How to Map a Spot Color to Specialty Dry Ink on the Top Layer
    How to Map a Spot Color to Specialty Dry Ink GX Print Server for Iridesse Production Press Version 1.0 Overview This exercise will show the ability to output a spot color using specialty dry ink. This demonstration will use a function of the GX Print Server to map specified spot colors to specialty dry ink, positioning the ink on either the bottom/top layer of the paper. Objective By the end of this exercise users will be able to: • Find the location of the setting on the GX Print Server • Specify a spot color that will be mapped to specialty dry ink BEFORE AFTER Spot color “PANTONE 145 C” Map to Gold Map to Silver Map specified spot color Job including spot color to specialty dry ink 1 Configuration of the Job Properties Please note, this How To document is part of a set. If you cannot complete some of the following steps please refer to the other reference documents. i.e “Open the Job Properties” is further explained in the “How to import a job.pdf”. Go to: http://m1-onlinesupport.fujixerox.com/driver_downloads/OTS/OTS_gxprintserver_iridesse_EN.html 1. Open the Job Properties and select [Advanced Settings] > [Specialty Dry Ink]. Then, enable [Use Specialty Dry Ink] and click [OK]. 2. Select [Top Layer] from the side panel and enable [Map to Spot Color(s)]. Then, click [Edit]. 2 3. Click [Select] in the Edit Spot Color window. 4. Select [Pantone+ Solid Coated-V3] as [Select Categories], and select [PANTONE 145 C]. Then click [OK]. 5. Select [Add], the selected spot color is added into the list.
    [Show full text]
  • Accurately Reproducing Pantone Colors on Digital Presses
    Accurately Reproducing Pantone Colors on Digital Presses By Anne Howard Graphic Communication Department College of Liberal Arts California Polytechnic State University June 2012 Abstract Anne Howard Graphic Communication Department, June 2012 Advisor: Dr. Xiaoying Rong The purpose of this study was to find out how accurately digital presses reproduce Pantone spot colors. The Pantone Matching System is a printing industry standard for spot colors. Because digital printing is becoming more popular, this study was intended to help designers decide on whether they should print Pantone colors on digital presses and expect to see similar colors on paper as they do on a computer monitor. This study investigated how a Xerox DocuColor 2060, Ricoh Pro C900s, and a Konica Minolta bizhub Press C8000 with default settings could print 45 Pantone colors from the Uncoated Solid color book with only the use of cyan, magenta, yellow and black toner. After creating a profile with a GRACoL target sheet, the 45 colors were printed again, measured and compared to the original Pantone Swatch book. Results from this study showed that the profile helped correct the DocuColor color output, however, the Konica Minolta and Ricoh color outputs generally produced the same as they did without the profile. The Konica Minolta and Ricoh have much newer versions of the EFI Fiery RIPs than the DocuColor so they are more likely to interpret Pantone colors the same way as when a profile is used. If printers are using newer presses, they should expect to see consistent color output of Pantone colors with or without profiles when using default settings.
    [Show full text]
  • Fast and Stable Color Balancing for Images and Augmented Reality
    Fast and Stable Color Balancing for Images and Augmented Reality Thomas Oskam 1,2 Alexander Hornung 1 Robert W. Sumner 1 Markus Gross 1,2 1 Disney Research Zurich 2 ETH Zurich Abstract This paper addresses the problem of globally balanc- ing colors between images. The input to our algorithm is a sparse set of desired color correspondences between a source and a target image. The global color space trans- formation problem is then solved by computing a smooth Source Image Target Image Color Balanced vector field in CIE Lab color space that maps the gamut of the source to that of the target. We employ normalized ra- dial basis functions for which we compute optimized shape parameters based on the input images, allowing for more faithful and flexible color matching compared to existing RBF-, regression- or histogram-based techniques. Further- more, we show how the basic per-image matching can be Rendered Objects efficiently and robustly extended to the temporal domain us- Tracked Colors balancing Augmented Image ing RANSAC-based correspondence classification. Besides Figure 1. Two applications of our color balancing algorithm. Top: interactive color balancing for images, these properties ren- an underexposed image is balanced using only three user selected der our method extremely useful for automatic, consistent correspondences to a target image. Bottom: our extension for embedding of synthetic graphics in video, as required by temporally stable color balancing enables seamless compositing applications such as augmented reality. in augmented reality applications by using known colors in the scene as constraints. 1. Introduction even for different scenes. With today’s tools this process re- quires considerable, cost-intensive manual efforts.
    [Show full text]
  • Hiding Color Watermarks in Halftone Images Using Maximum-Similarity
    Signal Processing: Image Communication 48 (2016) 1–11 Contents lists available at ScienceDirect Signal Processing: Image Communication journal homepage: www.elsevier.com/locate/image Hiding color watermarks in halftone images using maximum- similarity binary patterns Pedro Garcia Freitas a,n, Mylène C.Q. Farias b, Aletéia P.F. Araújo a a Department of Computer Science, University of Brasília (UnB), Brasília, Brazil b Department of Electrical Engineering, University of Brasília (UnB), Brasília, Brazil article info abstract Article history: This paper presents a halftoning-based watermarking method that enables the embedding of a color Received 3 June 2016 image into binary black-and-white images. To maintain the quality of halftone images, the method maps Received in revised form watermarks to halftone channels using homogeneous dot patterns. These patterns use a different binary 25 August 2016 texture arrangement to embed the watermark. To prevent a degradation of the host image, a max- Accepted 25 August 2016 imization problem is solved to reduce the associated noise. The objective function of this maximization Available online 26 August 2016 problem is the binary similarity measure between the original binary halftone and a set of randomly Keywords: generated patterns. This optimization problem needs to be solved for each dot pattern, resulting in Color embedding processing overhead and a long running time. To overcome this restriction, parallel computing techni- Halftone ques are used to decrease the processing time. More specifically, the method is tested using a CUDA- Color restoration based parallel implementation, running on GPUs. The proposed technique produces results with high Watermarking Enhancement visual quality and acceptable processing time.
    [Show full text]
  • Prepress Terms
    Prepress Terms Blueline Continuous-tone art and line art A diazo (UV-exposed and self-processed) Continuous-tone art is art, such as photo- photo print made to proof pagination, image graphs, that consists of shades of gray and position, and type. Bluelines have been made color gradations. It’s distinguished from line mostly obsolete by the digital revolution. art, such as a line drawing, which has no tonal variation. If you look closely at continuous- tone art, you can see that shades of gray or color blend smoothly without breaking into Camera-ready dots or other patterns. When the art is print- ed, the corresponding regions are reproduced Said of text or artwork ready to be photo- as arrays of different-sized dots printed in the graphed by a process camera. colors used on the press. DPI Dot gain An abbreviation for dots per inch. Refers Many variables—from ink to paper surface to the resolution at which a device, such and press used—affect the size of halftone as a monitor or printer, can display text dots. A certain amount of dot gain, or increase and graphics. in halftone dot size, occurs naturally when wet ink spreads as it’s absorbed by the paper. If too much dot gain occurs, images and colors print darker than specified. Dot gain is one of the characteristics taken into account when color-management sys- tems are applied. (See page 110 for more information on dot gain.) Line art Continuous-tone art Dot gain Halftone dots in Halftone dots a color proof after printing Halftone screens Ink is an all-or-nothing medium in the sense really looking at small printed black dots on that any spot on the paper is either inked a field of white paper.
    [Show full text]
  • Ricoh Th Color Station File Preparation Guide Pro C7100X / C7110X / C7100SX / C7110SX
    File Preparation Guide Creating and Printing the 5th Color Ricoh th Color Station Pro C7100X / C7110X / C7100SX / C7110SX Welcome to the Ricoh th Color Station File Preparation Guide Pro C7100X / C7110X / C7100SX / C7110SX Get ready to change the game with unique and captivating 5th Color Station techniques that will impress your customers, expand your range of creative capabilities, and open doors to new revenue streams. This informative and visual guide will walk you through the different steps for setting up and saving files to get the maximum impact with 5th Color elements. Guidelines, tips, and best practices for printing are also included to ensure your output matches the intended design. The file preparation steps in this guide assume a working knowledge of Adobe Creative Suite®, including Adobe Illustrator®, InDesign® and Photoshop®. Printing instructions assume operator experience with Fiery® Command WorkStation. Screen shots have been taken from both MAC and PC platforms and may differ slightly from what you see on your screen. Please note: The creative examples included on these printed pages do not include or reflect actual output when printed with 5th Color elements on specialty substrates. These examples are included for instructional reference only. To see the impact and effect of the White and Clear Toner, please refer to the printed samples included in your Ricoh 5th Color Station Kit. Table of Contents Creating the 5th Color Layer 1. Creating the 5th Color Layer – Clear, in Adobe Illustrator® Adding a vector Clear Spot over CMYK artwork on non-specific Media ................................................................9 2. Creating the 5th Color Layer – White, in Adobe InDesign® Adding a vector White Spot layer for use on Dark Colored Media .......................................................................13 3.
    [Show full text]
  • 14. Color Mapping
    14. Color Mapping Jacobs University Visualization and Computer Graphics Lab Recall: RGB color model Jacobs University Visualization and Computer Graphics Lab Data Analytics 691 CMY color model • The CMY color model is related to the RGB color model. •Itsbasecolorsare –cyan(C) –magenta(M) –yellow(Y) • They are arranged in a 3D Cartesian coordinate system. • The scheme is subtractive. Jacobs University Visualization and Computer Graphics Lab Data Analytics 692 Subtractive color scheme • CMY color model is subtractive, i.e., adding colors makes the resulting color darker. • Application: color printers. • As it only works perfectly in theory, typically a black cartridge is added in practice (CMYK color model). Jacobs University Visualization and Computer Graphics Lab Data Analytics 693 CMY color cube • All colors c that can be generated are represented by the unit cube in the 3D Cartesian coordinate system. magenta blue red black grey white cyan yellow green Jacobs University Visualization and Computer Graphics Lab Data Analytics 694 CMY color cube Jacobs University Visualization and Computer Graphics Lab Data Analytics 695 CMY color model Jacobs University Visualization and Computer Graphics Lab Data Analytics 696 CMYK color model Jacobs University Visualization and Computer Graphics Lab Data Analytics 697 Conversion • RGB -> CMY: • CMY -> RGB: Jacobs University Visualization and Computer Graphics Lab Data Analytics 698 Conversion • CMY -> CMYK: • CMYK -> CMY: Jacobs University Visualization and Computer Graphics Lab Data Analytics 699 HSV color model • While RGB and CMY color models have their application in hardware implementations, the HSV color model is based on properties of human perception. • Its application is for human interfaces. Jacobs University Visualization and Computer Graphics Lab Data Analytics 700 HSV color model The HSV color model also consists of 3 channels: • H: When perceiving a color, we perceive the dominant wavelength.
    [Show full text]
  • GS9 Color Management
    Ghostscript 9.21 Color Management Michael J. Vrhel, Ph.D. Artifex Software 7 Mt. Lassen Drive, A-134 San Rafael, CA 94903, USA www.artifex.com Abstract This document provides information about the color architecture in Ghostscript 9.21. The document is suitable for users who wish to obtain accurate color with their output device as well as for developers who wish to customize Ghostscript to achieve a higher level of control and/or interface with a different color management module. Revision 1.6 Artifex Software Inc. www.artifex.com 1 1 Introduction With release 9.0, the color architecture of Ghostscript was updated to primarily use the ICC[1] format for its color management needs. Prior to this release, Ghostscript's color architecture was based heavily upon PostScript[2] Color Management (PCM). This is due to the fact that Ghostscript was designed prior to the ICC format and likely even before there was much thought about digital color management. At that point in time, color management was very much an art with someone adjusting controls to achieve the proper output color. Today, almost all print color management is performed using ICC profiles as opposed to PCM. This fact along with the desire to create a faster, more flexible design was the motivation for the color architectural changes in release 9.0. Since 9.0, several new features and capabilities have been added. As of the 9.21 release, features of the color architecture include: • Easy to interface different CMMs (Color Management Modules) with Ghostscript. • ALL color spaces are defined in terms of ICC profiles.
    [Show full text]
  • A Color Temperature-Based High-Speed Decolorization: an Empirical Approach for Tone Mapping Applications
    1 A color temperature-based high-speed decolorization: an empirical approach for tone mapping applications Prasoon Ambalathankandy ID˙ , Yafei Ou ID˙ , and Masayuki Ikebe ID˙ Abstract—Grayscale images are fundamental to many image into global and local methods. Global methods can define processing applications like data compression, feature extraction, only one conversion function for all pixels, and most of printing and tone mapping. However, some image information these methods use all pixels in the image to determine the is lost when converting from color to grayscale. In this paper, we propose a light-weight and high-speed image decolorization function. On the other hand, local ones process the target method based on human perception of color temperatures. from neighboring pixels in the same way as a spatial filter, Chromatic aberration results from differential refraction of light the function is different for each pixel. However, both types depending on its wavelength. It causes some rays corresponding of methods face the issue of calculation cost, which comes to cooler colors (like blue, green) to converge before the warmer from optimization iterations or spatial filter processing. colors (like red, orange). This phenomena creates a perception of warm colors “advancing” toward the eye, while the cool colors We have developed a fast decolorization method that reflects to be “receding” away. In this proposed color to gray conversion the perception of warm and cool colors which is well known model, we implement a weighted blending function to combine in psychophysics studies [1]. Colors are arranged according to red (perceived warm) and blue (perceived cool) channel.
    [Show full text]
  • Colormap : a Data-Driven Approach and Tool for Mapping Multivariate
    IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 24, NO. X, XXXXX 2018 1 ND 1 ColorMap : A Data-Driven Approach and Tool 2 for Mapping Multivariate Data to Color 3 Shenghui Cheng, Wei Xu, Member, IEEE, and Klaus Mueller, Senior Member, IEEE 4 Abstract—A wide variety of color schemes have been devised for mapping scalar data to color. We address the challenge of 5 color-mapping multivariate data. While a number of methods can map low-dimensional data to color, for example, using bilinear 6 or barycentric interpolation for two or three variables, these methods do not scale to higher data dimensions. Likewise, schemes that 7 take a more artistic approach through color mixing and the like also face limits when it comes to the number of variables they can 8 encode. Our approach does not have these limitations. It is data driven in that it determines a proper and consistent color map from first 9 embedding the data samples into a circular interactive multivariate color mapping display (ICD) and then fusing this display with a 10 convex (CIE HCL) color space. The variables (data attributes) are arranged in terms of their similarity and mapped to the ICD’s 11 boundary to control the embedding. Using this layout, the color of a multivariate data sample is then obtained via modified generalized 12 barycentric coordinate interpolation of the map. The system we devised has facilities for contrast and feature enhancement, supports 13 both regular and irregular grids, can deal with multi-field as well as multispectral data, and can produce heat maps, choropleth maps, 14 and diagrams such as scatterplots.
    [Show full text]
  • Greenspring Montessori Style Guide
    Greenspring Graphic Standards Manual Montessori School & Style Guide Rev. 8/09/2016 410.321.8555 | [email protected] | 10807 Tony Drive, Lutherville, MD 21093 From Director of Marketing A Guide for Brand Consistency & Communications Contents Our Mission Igniting purpose 3 and voice in a fully engaged Greenspring Montessori School Logo learning community. 4 Appropriate Typefaces 5 Colors 7 Related Graphic: Summer at Greenspring Montessori 8 Related Graphic: Greenspring Capital Campaign 9 Related Graphic: Greenspring Annual Fund 10 Related Graphic: Healthy Living Festival 11 Email Signatures 12 MailChimp Guidelines 15 Social Media Guidelines 17 Phrasing Standards 20 Letterhead Template 2 Our Logo Standard Version “Bauble” Symbol Logo Variations & Letterhead When specific circumstances call for a version of the logo that is shaped or colored differently from the above, please ask the Director of Communications to reformat it for you. This includes versions in which “Montessori School” has to be bigger, black & white versions, white text versions (for dark backgrounds), and landscape versions (where all text is on one line). A printable page of the school’s letterhead is included on the final page of this document. A Microsoft Word version of this letterhead is also available upon request. Please use Palatino Linotype, 11 pt, in official school documents on this letterhead - or at least stay within one point of that size for body text. As we develop other standard versions & uses, they will be added to this document. 3 Appropriate
    [Show full text]