Sasol Ci Manual - Other - Page 67
6 MODULAR GRIDS 6.3.1 STANDARD GRID MARGIN
SASOL CI MANUAL
6.3.1 Standard grid margin
Brochure examples
A4 Brochure cover
A4 Brochure inside spread
Brochure title
INVESTING
IN STRENGTH
Together we
drive progress
towards a
more confident
future.
A4 Brochure inside spread
Section title
Brochure title
Section title
Brochure title
Section title
Short headings are more
effective than long ones
Short headings are more
effective than long ones
Introduction paragraphs should engage the reader’s
interest so that he or she will want to read more. In order
to accomplish this, the introduction paragraph may be
set in a larger point size or a different weight to the body
copy in order to draw the reader’s attention.
Introduction paragraphs should engage the reader’s
interest so that he or she will want to read more. In order
to accomplish this, the introduction paragraph may be
set in a larger point size or a different weight to the body
copy in order to draw the reader’s attention.
Different typeface weights
create interest.
White space is also known as
breathing room.
Keep these points in mind when
creating brochureware:
Different typeface weights, styles and point
sizes mix well together and add liveliness
and texture to a layout. Using different
typeface weights, for example, light with
regular or light with bold, creates interest.
Using different typeface styles, for example,
plain with italics creates emphasis. Italics,
also called oblique, are effective when used
in moderation. Using different point sizes
maintains the hierarchy of information as
long as they are consistently applied.
Negative space is just as important to artistic
composition as content. It is the space not
occupied with text, images or other visual
elements – between letterforms, between
lines of copy, between graphical elements.
• Make the information easy to find
Rather than paragraph after paragraph of
copy that gets intimidating, break your
information into bite sized chunks, with
clear headings.
It is also known as white space, empty space
or breathing room, but it doesn’t have to be
white or even solid in colour. It could even
consist of gradients, patterns or background
objects.
• Consider the information journey
A brochure, like any communication, needs
a beginning, middle and an end. Guide the
reader through a logical thought process.
Suitable leading, kerning and tracking must
be applied to the copy and care must be
taken with typography to produce visibly
comfortable text in the layout. The message
should always be legible and easy to read.
• Short and to the point
A brochure is not the place to put in every
piece of information just because you have
more room. People are here for a specific
purpose, give them the information that
they need as quickly as possible.
White space emphasises the most
important information.
The use of negative space, as a balance to
positive space, increases the appeal of a
composition through subtle means. Used
properly, it emphasises the most important
information, enhances readability, separates
design elements, groups similar ones and
has a dramatic impact on the mood and tone
of the final piece. Too little negative space
makes a layout look cluttered and excessive
use makes a design look boring.
When sub-sections within a section
are required, sub-subheadings
further separate information under a
subheading. Sub-subheadings can be
a larger point size, a different weight
or a primary or secondary colour to
distinguish them from the body copy.
The two types of negative space.
Body copy is the text in a story or
article, it consists of sentences and
There are two types of negative space; active
and passive. Active negative space leads a
reader from one element to another. Passive
negative space creates breathing room and
balance in a layout.
2
3
Brochure title
Section title
paragraphs. Often, the amount of body
copy will determine the point size of the
typeface, however, it should always be
legible and easy to read.
Different typeface weights, styles and
point sizes mix well together and add
liveliness and texture to a layout. Using
different typeface weights, for example,
light with regular or light with bold,
creates interest.
Sub-subheadings further separate
information.
• Introduction paragraphs should
engage the reader’s interest.
• Subheadings can be a larger point size.
• Sub-subheadings further separate
information.
• Body copy is the text in a story or
article, it consists of sentences and
paragraphs.
• Using different typeface styles creates
emphasis.
• Using different point sizes maintains
the hierarchy of information as long as
they are consistently applied.
4
5
Please refer to the brand elements section for logo principles; tone of voice; colour specifications; typeface implementation; photography, illustration, infographic and iconography style. No approximation of or changes from these specifications are acceptable.
01
67
