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TRANSCRIPT
Bra
nd S
tyle
Gui
deD
raft
04
15
Ju
ne
20
12
1.1
IN
TR
OD
UC
TIO
N A
BO
UT
TH
ES
E G
UID
EL
INE
S
TH
IS D
OC
UM
EN
T is
a g
uide
to th
e br
and
com
mun
icat
ion
styl
e fo
r Gly
ndeb
ourn
e. It
is a
n ai
d fo
r eve
rybo
dy w
ho w
orks
wit
h th
e br
and.
W
heth
er y
ou a
re co
mm
issi
onin
g, d
esig
ning
or
deliv
erin
g br
and
mat
eria
ls, e
ithe
r as a
mem
ber
of s
taff
or a
n ex
tern
al a
genc
y, y
ou w
ill fi
nd
info
rmat
ion
abou
t wha
t the
bra
nd s
tand
s for
, an
d ho
w th
e cr
eati
ve e
lem
ents
fit t
oget
her
wit
hin
our c
omm
unic
atio
ns. T
here
are
als
o ex
ampl
es o
f var
ious
app
licat
ions
illu
stra
ting
how
to
bri
ng th
e br
and
to li
fe.
INT
RO
DU
CT
ION
Abo
ut th
ese
guid
elin
es
1.1
Abo
ut b
rand
s 1
.2Th
e G
lynd
ebou
rne
bran
d 1
.3Re
view
ing
crea
tive
wor
k 1
.8M
akin
g it
wor
k sm
ooth
ly
1.8
.1G
loss
ary
of k
ey b
rand
term
s 1
.8.2
BA
SIC
EL
EM
EN
TS
Logo
type
1
.9Lo
goty
pe w
ith
cres
t 1
.10
Logo
type
wit
h cr
est l
ock-
up
1.1
1Lo
goty
pe sp
ecia
l var
iati
ons
1.1
2Co
lour
1
.13
Typo
grap
hy
1.1
4Br
and
arch
itect
ure
1.1
5Im
age
styl
e 1
.16
Get
ting
it ri
ght
1.1
9
TO
NE
OF
VO
ICE
Wha
t is a
tone
of v
oice
? 2
.14
Thin
gs to
kee
p in
min
d 2
.35
Gol
den
rule
s 2
.6
Wri
ting
For
the
Web
2
.7
EX
AM
PL
ES
Brin
ging
it a
ll to
geth
er
3.1
A S
TR
ON
G B
RA
ND
is o
ne
of t
he
mos
t val
uab
le
asse
ts a
n o
rgan
isat
ion
ow
ns.
It te
lls
the
wor
ld
wh
o th
e or
gan
isat
ion
is.
The
best
bra
nds
are
bu
ilt o
n a
n id
ea t
hat
sh
apes
ev
eryt
hin
g th
at a
n o
rgan
isat
ion
doe
s. It
reac
hes
ac
ross
th
e or
gan
isat
ion
from
th
e sh
ared
bel
iefs
th
at d
rive
you
, to
the
cult
ure
, com
mu
nic
atio
ns
and
offe
r th
at y
ou b
ring
to t
he
wor
ld. I
t str
etch
es
an o
rgan
isat
ion
to re
alis
e it
s as
pira
tion
s an
d am
biti
ons.
Wh
eth
er p
rodu
cing
com
mu
nic
atio
ns
for t
he
Fest
ival
, att
ract
ing
a n
ew a
udie
nce
gro
up,
wel
com
ing
new
sta
ff, o
r a c
ampa
ign
to ra
ise
fun
ds, o
ur b
ran
d m
ust
be
clea
rly
un
ders
tood
an
d co
nsi
sten
tly
appl
ied.
Eve
ryon
e h
as a
par
t to
pla
y in
mak
ing
our b
ran
d co
me
aliv
e –
use
th
is
docu
men
t for
gu
idan
ce a
nd
insp
irat
ion
.
Mai
nta
inin
g st
anda
rds
All
ou
r ext
ern
al c
omm
un
icat
ion
s sh
ould
be
prep
ared
by
prof
essi
onal
des
ign
ers
and
be
appr
oved
by
the
Com
mu
nic
atio
ns
team
. Th
e te
am is
alw
ays
avai
labl
e fo
r adv
ice
and
assi
stan
ce.
For
mor
e in
form
atio
n co
ntac
t th
e C
omm
unic
atio
ns t
eam
Gil
lian
Bri
erle
y, H
ead
of C
omm
unic
atio
ns+4
4 (0
)127
3 81
2 32
1, e
xt. 2
372
gill
ian
.bri
erle
y@gl
ynde
bou
rne.
com
Lau
ra Ju
kes,
Sen
ior M
arke
ting
Offi
cer
+44
(0)1
273
812
321,
ext
. 226
5la
ura
.juke
s@gl
ynde
bou
rne.
com
1.2
IN
TR
OD
UC
TIO
N A
BO
UT
BR
AN
DS
Ou
r fut
ure
is n
ot a
bout
bus
ines
s as
usu
al.
It’s
abo
ut th
inki
ng d
iffe
rent
ly a
nd m
ore p
reci
sely
abo
ut w
hat
we
do.
For
staff
For
arti
sts
For
part
ners
For
audi
ence
s
For
fund
ers
and
dono
rs
For
the
loca
l com
mun
ity
OU
R B
IG ID
EA
1.3
IN
TR
OD
UC
TIO
N T
HE
GL
YN
DE
BO
UR
NE
BR
AN
D
OU
R V
ISIO
N –
TH
E IM
PA
CT
WE
MA
KE
1.4
IN
TR
OD
UC
TIO
N T
HE
GL
YN
DE
BO
UR
NE
BR
AN
D
Tran
sfor
min
g op
era
Con
tinu
ing
the
Ch
rist
ie le
gacy
, we
wan
t mor
e pe
ople
to e
xper
ienc
e op
era
– th
e em
otio
ns,
the
spe
ctac
le, t
he p
ossi
bilit
ies.
Bec
ause
we
belie
ve t
hat
op
era
can
tra
nsf
orm
live
s, a
nd t
hat
we
can
tra
nsf
orm
ope
ra.
Sig
n s
po
tte
d in
a G
lyn
de
bo
urn
e r
eh
ea
rsa
l sp
ace
RIG
OR
OU
SW
e st
rive
for t
he
hig
hes
t sta
nda
rds
of e
xcel
len
ce
in e
very
thin
g w
e do
. We
dem
and
of e
ach
oth
er
not
just
th
e be
st, b
ut t
he
best
th
at c
an b
e do
ne.
A
nyw
her
e.
PIO
NE
ER
ING
We’
ve a
lway
s be
en a
hea
d of
th
e ga
me.
We
hav
e th
e co
nfi
den
ce a
nd
the
imag
inat
ion
to ta
ke r
isks
an
d co
nst
antl
y qu
esti
on w
hat
we
do. O
ur
sust
ain
abil
ity
depe
nds
on
ou
r pio
nee
ring
spi
rit.
CO
LL
AB
OR
AT
IVE
We
are
a u
niq
ue fa
mil
y co
mpa
ny a
nd
we
wor
k as
on
e te
am to
con
nec
t ou
r par
tner
s, o
ur a
rtis
ts a
nd
our a
udie
nce
s th
roug
h t
he
very
bes
t ope
ra
expe
rien
ces
in t
he
wor
ld.
NU
RT
UR
ING
We’
re a
list
enin
g, e
mpo
wer
ed o
rgan
isat
ion
, ge
ner
ous
wit
h o
ur t
ime
and
tale
nts.
We
shar
e ou
r pas
sion
for o
pera
, rea
lisi
ng o
ur f
ull
pot
enti
al
by n
urt
uri
ng o
ur a
rtis
ts, o
ur a
udie
nce
s an
d ea
ch o
ther
.
OU
R V
ALU
ES
def
ine
how
we
beh
ave
and
dri
ve
perf
orm
ance
. Val
ues
are
the
thin
gs t
hat
are
mos
t im
port
ant f
or d
eter
min
ing
the
way
we
wor
k –
wit
h e
ach
oth
er a
nd
wit
h o
ur p
artn
ers.
1.5
IN
TR
OD
UC
TIO
N T
HE
GL
YN
DE
BO
UR
NE
BR
AN
D
OU
R P
ER
SO
NA
LIT
Y is
how
oth
ers
see
us.
O
ur w
elco
me
and
the
resp
ect w
e sh
ow o
ur
aud
ien
ces
hel
ps e
arn
th
eir t
rust
. Ou
r ori
gin
alit
y an
d ex
pert
ise
mak
e u
s on
e-of
-a-k
ind.
Tog
eth
er
we
can
hel
p ea
ch a
udie
nce
mem
ber,
coll
eagu
e or
par
tner
to h
ave
a pe
rson
al a
nd
mem
orab
le
expe
rien
ce w
ith
us.
EX
PE
RT
Ou
r ski
ll, e
xper
ien
ce a
nd
prof
essi
onal
att
itud
e br
ings
an
aut
hor
ity
to e
very
thin
g w
e do
.
RE
LA
XE
DW
e’re
not
sti
ff, o
verl
y fo
rmal
or h
eavy
han
ded
in o
ur c
omm
un
icat
ion
s. W
e w
ant o
ur a
udie
nce
s to
take
ple
asu
re in
th
e G
lyn
debo
urn
e ex
peri
ence
an
d fe
el c
omfo
rtab
le in
ou
r com
pany
.
CO
SM
OP
OL
ITA
NW
e’re
sop
his
tica
ted
in h
ow w
e co
mm
un
icat
e,
alw
ays
seei
ng t
hin
gs fr
om a
wor
ldly
an
d in
tern
a-ti
onal
per
spec
tive
.
To re
flec
t ou
r pe
rson
alit
y ou
r co
mm
unic
atio
ns s
triv
e to
be
OR
IGIN
AL
We
brin
g an
ori
gin
al to
uch
to e
very
thin
g w
e do
, al
way
s st
rivi
ng to
be
imag
inat
ive,
cre
ativ
e an
d re
sou
rcef
ul.
We
don’
t fol
low
oth
ers.
We
lead
th
e w
ay w
ith
new
idea
s an
d in
div
idu
alit
y.
UN
DE
RS
TAT
ED
We’
re n
ot f
lash
or o
verb
low
n. W
e co
mm
un
icat
e in
a
sim
ple,
un
pret
enti
ous
and
dir
ect w
ay. W
e do
n’t
nee
d to
use
hyp
e an
d cl
ich
é. W
e’re
con
fide
nt in
th
e qu
alit
y an
d st
reng
th o
f ou
r wor
k.
HO
W IT
FIT
S T
OG
ET
HE
RO
ur b
ran
d pl
atfo
rm s
how
s th
e el
emen
ts o
f ou
r br
and,
mak
ing
a cl
ear p
ictu
re o
f how
we
wor
k to
geth
er a
nd
wh
at w
e ai
m fo
r.
1.6
IN
TR
OD
UC
TIO
N T
HE
BR
AN
D P
LA
TF
OR
M
IDE
A
out o
f the
ord
inar
y
PE
RS
ON
AL
ITY
expe
rt
und
erst
ated
re
laxe
d co
smop
olit
an
orig
inal
VIS
ION
tran
sfor
min
g op
era
OF
FE
R
exce
ptio
nal
ope
rafo
r eve
ryon
e
VA
LU
ES
nurt
uri
ngri
goro
us
pion
eeri
ng
coll
abor
ativ
e
ST
RA
TE
GIC
OB
JE
CT
IVE
S
1] C
reat
e w
orld
-cla
ss t
ran
sfor
mat
ive
op
erat
ic e
xper
ienc
es
2] R
emai
n fi
nan
cial
ly in
depe
nden
t
3] E
ngag
e br
oad
aud
ienc
es
4] C
reat
e a
stim
ula
ting
and
in
spir
atio
nal
env
iron
men
t for
all
PO
SIT
ION
ING
inde
pend
ent a
nd
inve
ntiv
e op
era
th
e br
an
d p
lat
for
m
1.7
IN
TR
OD
UC
TIO
N T
HE
GL
YN
DE
BO
UR
NE
BR
AN
D
IMA
GE
MA
TT
ER
STh
ere
is n
o ot
her
ope
ra c
ompa
ny li
ke u
s. O
ur
his
tory
, th
e pr
oduc
tion
s, o
ur b
uil
din
gs a
nd
the
grou
nds
, ou
r col
leag
ues
and
our r
elat
ion
ship
to
the
Ch
rist
ie fa
mil
y al
l dis
ting
uis
h u
s fr
om o
ther
in
stit
uti
ons,
an
d h
elp
defi
ne
the
way
we
wor
k.
Mai
ntai
nin
g th
e st
reng
th o
f ou
r im
age
hel
ps
peop
le k
now
wh
at w
e st
and
for.
We
can
hel
p al
l ou
r aud
ien
ces
un
ders
tan
d m
ore
abou
t us
– w
hat
we
offe
r an
d w
hy; t
he
spec
ial
Gly
ndeb
ourn
e w
ay w
e do
th
ings
– b
y lo
okin
g af
ter
the
litt
le t
hin
gs a
nd
bein
g co
nsi
sten
t in
ou
r co
mm
un
icat
ion
s. W
het
her
spe
akin
g w
ith
a g
rou
p of
ch
ild
ren
or a
maj
or b
enef
acto
r, ta
lkin
g w
ith
a
set d
esig
ner
or g
reet
ing
arti
sts
on a
rriv
al, h
ow w
e lo
ok a
nd
how
we
talk
mak
es a
n im
port
ant
cont
ribu
tion
to h
ow w
e ar
e se
en.
Bei
ng t
rue
to o
ur b
rand
mea
ns
gett
ing
the
deta
ils
righ
t.
Mak
ing
our m
essa
ge c
lear
get
s us
not
iced
.
Aud
ienc
es a
ppre
ciat
e w
hat
Gly
ndeb
ourn
e st
ands
for.
So t
hat
ou
r aud
ienc
es w
ill j
oin
us
and
shar
e ou
r pas
sion
,an
d ge
t the
mos
t out
of w
hat
we
hav
e to
off
er.
Con
sist
ency
Rec
ogn
itio
n
Und
erst
and
ing
Trus
t
Stro
ng b
rand
s ar
e no
t bu
ilt o
vern
ight
. It
s a
jou
rney
of e
ngag
emen
t wit
h o
ur a
udie
nce
1.8
IN
TR
OD
UC
TIO
N R
EV
IEW
ING
CR
EA
TIV
E W
OR
K
Suc
cess
ful c
omm
unic
atio
ns b
egin
wit
h a
cle
ar
and
focu
sed
brie
f. If
you
nee
d h
elp
wri
ting
or
inte
rpre
ting
a b
rief
th
e C
omm
un
icat
ion
s te
am is
al
way
s av
aila
ble
to h
elp.
Wh
en re
view
ing
and
ass
essi
ng c
reat
ive
wor
k,
thin
k ab
out
the
follo
win
g:
Rev
iew
th
e or
igin
al b
rief
W
hy a
re w
e do
ing
this
wor
k? W
ho
is it
for?
W
hat
do
we
wan
t to
ach
ieve
from
it?
Init
ial r
eact
ion
How
do
I fee
l abo
ut t
he
wor
k? A
m I
prou
d of
it?
Targ
et a
udie
nce
reac
tion
How
wil
l my
targ
et a
udie
nce
feel
abo
ut t
he
wor
k?
Wil
l th
eir r
eact
ion
be
the
one
that
I w
ant?
Mee
ting
obj
ecti
ves
Doe
s th
is w
ork
ach
ieve
the
obj
ecti
ves
of t
he b
rief
?
Key
mes
sage
Is t
his
cle
ar?
If I
show
ed it
to s
omeo
ne
un
rela
ted
to G
lyn
debo
urn
e w
ould
th
e m
essa
ge b
e cl
ear
to t
hem
?
Bra
nd
test
Cou
ld t
his
wor
k co
me
from
any
oth
er b
ran
d?
Doe
s it
cap
ture
th
e sp
irit
an
d en
ergy
of
Gly
nde
bou
rne?
Fin
al t
est
Do
you
wan
t to
go a
nd
show
a c
olle
ague
th
is
wor
k ri
ght a
way
? If
som
eon
e im
port
ant t
o yo
u
wal
ked
in r
ight
now
, wou
ld y
ou b
e pr
oud
to s
how
th
em t
his
wor
k? W
ill t
he
pers
on w
ho
wro
te o
r de
sign
ed it
be
putt
ing
this
wor
k in
th
eir p
ortf
olio
(a
sk th
em!)
? W
ould
you
be
con
fide
nt a
bou
t sh
owin
g th
is w
ork
to y
our t
arge
t aud
ien
ce?
1] 2] 3] 4]
5] 6] 7]
7 T
IPS
FO
R G
OO
DC
OM
MU
NIC
AT
ION
S
We
wan
t our
inte
rnal
pro
cess
es to
be
sim
ple,
us
er-fr
iend
ly a
nd h
elpf
ul. A
bove
all,
we
wan
t to
ensu
re h
igh
stan
dard
s are
a p
rior
ity,
and
mak
e qu
alit
y co
ntro
l eas
ier t
o m
anag
e fo
r eve
ryon
e.
Her
e ar
e a
few
tip
s to
hel
p gu
ide
you:
Sta
rt w
ith
a c
lear
an
d fo
cuse
d br
ief
If y
ou n
eed
help
wri
ting
or i
nter
pret
ing
a br
ief
the
Com
mun
icat
ions
team
is a
lway
s ava
ilabl
e to
hel
p.
1.8
.1
INT
RO
DU
CT
ION
MA
KIN
G I
T W
OR
K S
MO
OT
HL
Y
MA
KIN
G IT
W
OR
K S
MO
OT
HLY
Tool
s at
han
dTh
ere
are
prep
ared
tem
plat
es fo
r man
y st
anda
rd
docu
men
ts to
dow
nloa
d fr
om th
e in
tran
et,
incl
udin
g:•
lett
er•
mem
o•
pres
s rel
ease
• m
eeti
ng a
gend
a•
brie
fing
docu
men
t
Don
’t re
inve
nt –
use
th
e te
mpl
ates
They
mak
e su
re a
ll ou
r com
mun
icat
ions
mat
eria
l is
cons
iste
nt a
nd p
rofe
ssio
nal,
and
they
mak
e yo
ur li
fe e
asie
r.
Doi
ng t
he
sim
ple
thin
gs c
onsi
sten
tly
will
mak
e yo
ur w
ork
succ
essf
ulCo
mpl
exit
y is
the
enem
y of
cle
ar
com
mun
icat
ion.
You
repr
esen
t G
lynd
ebou
rne
Not
you
, or y
our d
epar
tmen
t, bu
t Gly
ndeb
ourn
e as
a w
hole
. Be
clea
r, ac
cura
te a
nd p
rofe
ssio
nal –
ou
r rep
utat
ion
depe
nds o
n it
.
Eve
ryon
e ge
ts s
tuck
But n
o on
e ne
eds t
o ge
t fru
stra
ted.
For
sim
ple
inte
rnal
mes
sage
s, a
sk y
our d
epar
tmen
t co
lleag
ues f
or th
eir o
pini
on o
r ass
ista
nce.
Fo
r com
mun
icat
ions
add
ress
ed to
a w
ider
au
dien
ce, a
sk th
e Co
mm
unic
atio
ns te
am fo
r gu
idan
ce. B
e co
llabo
rati
ve.
Get
th
e be
st f
rom
you
r co
lleag
ues
Whe
n yo
u as
k fo
r som
eone
’s op
inio
n or
app
rova
l be
sure
to d
escr
ibe
the
brie
f, co
ntex
t, ti
mes
cale
, bu
dget
and
any
thin
g el
se th
at’s
rele
vant
. Be
cle
ar w
hy y
ou a
re a
skin
g th
em to
revi
ew
som
ethi
ng, a
nd w
hat t
he cr
iteri
a ar
e by
whi
ch
they
are
bei
ng a
sked
to e
valu
ate
the
wor
k.
Let
peo
ple
do t
hei
r jo
bsCo
nstr
ucti
ve c
riti
cism
hel
ps, a
nd h
elps
peo
ple
grow
; con
stan
t sec
ond-
gues
sing
doe
s not
. It
ero
des c
onfid
ence
, rem
oves
resp
onsi
bilit
y,
dem
otiv
ates
and
sti
fles c
reat
ivit
y.
Let
us
know
wh
at w
orks
, an
d w
hat
doe
sn’t
Giv
e us
you
r fee
dbac
k. T
he C
omm
unic
atio
ns
team
can
help
if so
met
hing
nee
ds c
lari
ficat
ion.
If
you
hav
e a
good
idea
we
can
help
you
put
it
into
act
ion,
to sh
are
wit
h ev
eryo
ne.
1.8
.2
INT
RO
DU
CT
ION
GL
OS
SA
RY
OF
KE
Y B
RA
ND
TE
RM
S
IDE
AO
ut o
f th
e or
dina
ryU
nusu
al, s
urpr
isin
g an
d un
expe
cted
, bu
t alw
ays g
roun
ded
in re
al li
fe.
– N
OT
out o
f thi
s wor
ld.
OF
FE
RE
xcep
tion
al o
pera
for
eve
ryon
eTh
e be
st th
at ca
n be
don
e; in
clus
ive.
–
Exce
ptio
nal d
oes N
OT
mea
n ‘e
xclu
sive
’.
VIS
ION
Tran
sfor
min
g op
era
Tran
sfor
min
g a
stor
y, a
per
son,
an
expe
rien
ce,
or a
n ex
pect
atio
n. M
akin
g an
impa
ct –
on
an
indi
vidu
al, o
n an
art
form
.
PE
RS
ON
AL
ITY
Exp
ert
Know
wha
t you
are
talk
ing
abou
t. If
you
are
un
sure
, find
an
expe
rt –
and
trus
t the
m.
Und
erst
ated
Ec
onom
ical
. Con
fiden
t.
Rel
axe
d Ex
pres
sing
exc
item
ent d
oes n
ot re
quir
e an
ex
clam
atio
n m
ark.
Bl
ack
tie
is su
gges
ted
atti
re d
urin
g th
e Fe
stiv
al;
it is
a tr
adit
ion
that
show
s res
pect
for t
he w
ork
and
the
arti
sts,
but
it d
oes n
ot im
ply
a fo
rmal
at
titu
de in
the
way
we
com
mun
icat
e.
Cos
mop
olit
anW
e br
ing
the
wor
ld to
Gly
ndeb
ourn
e. O
ur
audi
ence
s exp
ect a
soph
isti
cate
d, w
orld
-cla
ss
expe
rien
ce.
Ori
gina
lN
ot d
oing
som
ethi
ng th
at n
o on
e ha
s don
e be
fore
– b
ut d
oing
wha
t onl
y G
lynd
ebou
rne
can.
LET
’S B
E C
LEA
RW
hen
prod
ucin
g co
mm
unic
atio
ns b
e su
re y
ou
unde
rsta
nd th
e ke
y te
rms i
n th
e Br
and
Plat
form
–
wha
t we
mea
n an
d do
n’t m
ean.
1.9
B
AS
IC E
LE
ME
NT
S L
OG
OT
YP
E
The
logo
type
has
tw
o co
lou
r ver
sion
s –
blac
k (p
osit
ive)
an
d w
hit
e (n
egat
ive)
. Th
e n
egat
ive
vers
ion
wil
l sta
nd
out m
ore
on a
dar
k ba
ckgr
oun
d, t
he
posi
tive
ver
sion
on
a li
ght
back
grou
nd.
Com
mon
sen
se s
hou
ld d
eter
min
e w
hic
h v
ersi
on is
mor
e ap
prop
riat
e on
a p
arti
cula
r ap
plic
atio
n.
Get
ting
it r
igh
tTr
y to
leav
e a
min
imu
m c
lear
are
a ar
oun
d th
e lo
goty
pe ro
ugh
ly e
qual
to t
he
hei
ght o
f th
e “E
”.
The
lett
ers
in t
he
logo
type
hav
e be
en s
peci
ally
d
raw
n a
nd
spac
ed: d
on’t
try
to re
crea
te it
or a
lter
it
in a
ny w
ay. A
lway
s re
prod
uce
the
logo
type
fr
om t
he
supp
lied
mas
ter a
rtw
ork
file
s, a
vail
able
fr
om t
he
Com
mu
nic
atio
ns
team
.
OU
R N
AM
EG
lyn
debo
urn
e is
a u
niq
ue a
nd
mem
orab
le n
ame.
Th
e w
ord
has
com
e to
sta
nd
for t
he
qual
ity
of o
ur
prod
ucti
ons,
th
e w
ay w
e or
gan
ise
educ
atio
n
even
ts, o
ur s
peci
al lo
cati
on, t
he
reac
h o
f ou
r d
igit
al p
latf
orm
an
d h
ow w
e w
elco
me
aud
ien
ces:
al
l th
e th
ings
th
at m
ake
the G
lynd
ebou
rne
expe
rien
ce.
Our
logo
type
To e
mph
asis
e th
is w
e h
ave
a d
isti
nct
ive
logo
type
fo
r use
in o
ur c
omm
un
icat
ion
s. O
ur l
ogot
ype
is a
si
ngle
wor
d; n
o de
scri
ptor
s –
like
Ope
ra C
ompa
ny –
ar
e n
eces
sary
. Th
e lo
goty
pe s
hou
ld a
lway
s ap
pear
som
ewh
ere
on a
ll o
ur c
omm
un
icat
ion
s.
Spe
cial
eff
ects
Ther
e ar
e lo
ts o
f gra
phic
an
d pr
inti
ng te
chn
ique
s th
at c
an b
e u
sed
for s
peci
al e
ffec
t: e
mbo
ssin
g,
foil
-sta
mpi
ng, d
ie c
utti
ng a
nd
engr
avin
g ar
e a
few
exa
mpl
es. M
ake
you
r ch
oice
s re
leva
nt to
you
r m
essa
ge: c
aref
ul c
olou
r ch
oice
s an
d sp
ecia
l pr
inti
ng fi
nis
hes
can
be
use
d to
add
per
son
alit
y an
d m
ean
ing
to c
omm
un
icat
ion
s.
cle
ar
are
a
TH
E C
HR
IST
IE F
AM
ILY
CR
ES
T
1.1
0
BA
SIC
EL
EM
EN
TS
LO
GO
TY
PE
WIT
H C
RE
ST
Th
e cr
est
shou
ld a
lway
s ap
pear
Use
th
e lo
goty
pe w
ith
cre
st w
hen
ever
pos
sibl
e
Use
th
e lo
goty
pe w
ith
out
cres
t
PA
RT
NE
RS
Som
etim
es o
ur p
artn
ers
nee
d to
iden
tify
G
lyn
debo
urn
e or
ack
now
ledg
e ou
r sup
port
in
thei
r ow
n c
omm
un
icat
ion
s, fo
r exa
mpl
e w
hen
a
Gly
nde
bou
rne
prod
ucti
on is
co
-pro
duce
d w
ith
an
oth
er o
pera
com
pany
. We
hav
e a
spec
ial
vers
ion
of o
ur l
ogot
ype
wit
h a
fixe
d re
lati
onsh
ip
to t
he
cres
t – o
r loc
ked-
up w
ith
th
e cr
est –
th
at w
e ca
n s
uppl
y to
ou
r par
tner
s.
The
logo
type
wit
h c
rest
lock
-up
has
bee
n
spec
iall
y cr
eate
d as
a u
nit
, an
d th
e re
lati
onsh
ip
betw
een
th
ese
two
elem
ents
is fi
xed.
It s
hou
ld
nev
er b
e re
-dra
wn
or a
lter
ed in
any
way
. Alw
ays
repr
oduc
e it
from
th
e su
ppli
ed m
aste
r art
wor
k.
It s
hou
ld n
ot a
ppea
r sm
alle
r th
an 1
5mm
hig
h.
Use
th
e lo
goty
pe w
ith
cre
st lo
ck-u
p• W
hen
th
e co
ntex
t is
perf
orm
ance
- or
even
t-re
late
d, b
ut o
uts
ide
of G
lyn
debo
urn
e’s
dir
ect c
reat
ive
cont
rol (
ie, a
bro
adca
st e
vent
at
an
oth
er v
enue
).• W
hen
Gly
nde
bou
rne
is c
red
ited
in a
not
her
co
mpa
ny’s
pro
duct
ion
rela
ted
mat
eria
l (i
e, a
pro
gram
me
not
ice
reco
gnis
ing
the
loan
of
Gly
nde
bou
rne
stag
e pr
ops
or c
ostu
mes
).• M
ain
stre
am o
r mu
sic
pres
s en
quir
ies
requ
esti
ng a
Gly
nde
bou
rne
logo
type
.
[see
exam
ples
on
pg. X
X]
1.1
1
BA
SIC
EL
EM
EN
TS
LO
GO
TY
PE
WIT
H C
RE
ST
LO
CK
-UP
Th
e m
inim
um
siz
e t
he
lock
-up
ca
n
ap
pe
ar
is 1
5m
m h
eig
ht
Th
e lo
go
typ
e a
nd
cre
st is
‘lo
cke
d-u
p’
an
d c
an
be
pro
vid
ed
to
ou
r p
art
ne
rs
as
a s
ing
le u
nit
fo
r co
nsi
ste
ncy
.
15
mm
Th
e in
itia
l cap
GW
hen
spa
ce is
ver
y li
mit
ed o
r tec
hn
ical
re
solu
tion
is in
adeq
uat
e an
d u
se o
f th
e lo
goty
pe
wou
ld b
e to
o sm
all f
or o
ptim
al le
gibi
lity
we
can
u
se t
he
dis
tin
ctiv
e ca
pita
l “G
” fr
om t
he
logo
type
.Th
ink
of it
as
a pr
oxy
logo
type
, lik
e th
e N
ike
‘sw
oosh
’ mar
k.
Th
e tw
o-lin
e va
riat
ion
Som
e of
ou
r par
tner
s pr
ovid
e fi
xed
size
an
d re
solu
tion
par
amet
ers
for u
se o
n t
hei
r web
site
s.
In c
erta
in c
ases
we
may
wan
t to
use
th
e fu
ll
Gly
nde
bou
rne
nam
e bu
t th
e lo
goty
pe d
oes
not
co
nfo
rm to
th
e re
quir
ed s
ize.
In s
uch
cas
es w
e h
ave
a sp
ecia
l hyp
hen
ated
var
iati
on t
hat
is
“bro
ken”
ont
o tw
o li
nes
.
SP
EC
IAL
VA
RIA
TIO
NS
Som
e ap
plic
atio
ns
of o
ur b
ran
d h
ave
part
icu
lar
rest
rict
ion
s th
at m
ake
it d
iffi
cult
or u
nfe
asib
le to
u
se t
he
logo
type
. Th
e re
stri
ctio
n m
ight
be
a ve
ry
smal
l spa
ce (s
uch
as
a C
D p
acka
ge o
r boo
k sp
ine)
or
a te
chn
ical
lim
itat
ion
(lik
e an
sm
artp
hon
e ap
p.
or w
ebsi
te a
ppli
cati
on).
To e
nsu
re w
e h
ave
a co
nsi
sten
t bra
nd
pres
ence
wh
ere
rest
rict
ion
s ap
ply
we
hav
e tw
o sp
ecia
l-u
se v
aria
tion
s of
th
e lo
goty
pe. A
lway
s co
nsu
lt t
he
Com
mu
nic
atio
ns
team
bef
ore
rele
asin
g th
e lo
goty
pe to
ou
r pa
rtn
ers.
1.1
2
BA
SIC
EL
EM
EN
TS
LO
GO
TY
PE
SP
EC
IAL
VA
RIA
TIO
NS
Sm
art
ph
on
e w
ith
init
ial c
ap
G a
pp
. ico
nP
art
ne
r w
eb
site
ap
plic
ati
on
of
two
-lin
e lo
go
typ
e
1.1
3
BA
SIC
EL
EM
EN
TS
CO
LO
UR
Exa
mp
le s
imp
le b
len
ds
– d
iffe
ren
t v
alu
es
of
the
sa
me
hu
e
Exa
mp
le s
op
his
tica
ted
ble
nd
s –
on
e h
ue
ble
nd
ing
into
an
oth
er
hu
e
TR
AN
SF
OR
MIN
G C
OL
OU
RU
sing
col
our b
len
ds is
a d
isti
nct
ive
way
to
expr
ess
our v
isio
n o
f tra
nsfo
rmin
g op
era.
O
ur p
rodu
ctio
ns
are
full
of c
olou
r an
d ou
r co
mm
un
icat
ion
s sh
ould
be
too.
Col
ours
cr
eate
dif
fere
nt m
oods
, rel
ate
to a
sub
ject
or
com
plem
ent a
n im
age.
Let
th
e co
lou
r in
ph
otog
raph
s an
d il
lust
rati
ons
guid
e yo
ur
colo
ur c
hoi
ces.
Col
ours
can
be
use
d as
bac
kgro
un
ds o
r in
pan
els.
Th
ey c
an b
e u
sed
to e
mph
asiz
e ty
pogr
aphy
, pa
rtic
ula
rly
in h
ead
lin
es o
r to
lin
k pi
eces
of
info
rmat
ion
.
Th
e tr
ick
is t
o ge
t th
e ba
lanc
e ri
ght.
If y
ou h
ave
a co
lou
rfu
l im
age,
lim
it t
he
num
ber
of c
olou
rs s
urr
oun
din
g it
. If y
ou a
re d
esig
nin
g a
typo
grap
hic
pie
ce u
se a
cou
ple
of c
olou
rs o
nly
. D
on’t
go
craz
y w
ith
col
our u
nle
ss it
s ex
trem
ely
rele
vant
.
To k
eep
our l
ook
fres
h b
ut c
onsi
sten
t, c
hoo
se
colo
urs
bas
ed o
n c
ampa
ign
s –
i.e. i
f an
aud
ien
ce
deve
lopm
ent b
roch
ure
is u
sing
ora
nge,
lin
k al
l th
e re
late
d m
ater
ials
(pos
ters
, inv
itat
ion
s,
web
site
info
, etc
.) by
als
o u
sing
ora
nge.
Not
a c
olou
r pal
ette
– a
col
our t
reat
men
t.
1.1
4
BA
SIC
EL
EM
EN
TS
TY
PO
GR
AP
HY
OU
R T
YP
OG
RA
PH
IC S
TY
LE
We
use
tw
o ca
refu
lly
chos
en t
ypef
aces
des
ign
ed
to b
alan
ce t
he
cont
empo
rary
wit
h t
he
clas
sic.
En
igm
a an
d Tr
ilog
y S
an
s ar
e d
isti
nct
ive,
ve
rsat
ile,
an
d co
mpl
emen
t eac
h o
ther
. E
nigm
a is
ou
r pri
mar
y fo
nt a
nd
shou
ld b
e th
e fi
rst c
hoi
ce fo
r ou
r com
mu
nic
atio
ns.
Its
desi
gn
has
tra
dit
ion
al q
ual
itie
s bu
t th
e de
tail
s ar
e id
iosy
ncr
atic
an
d in
div
idu
al. U
se E
nig
ma
acro
ss
all c
omm
un
icat
ion
s m
ater
ial:
• h
ead
lin
es a
nd
prod
ucti
on t
itle
s•
intr
oduc
tory
cop
y an
d pu
ll q
uote
s•
body
cop
y
Trilo
gy S
ans
is o
ur s
econ
dary
font
an
d is
use
d as
a
san
s se
rif c
ompl
emen
t to
Enig
ma.
Use
Tri
logy
Sa
ns
for s
ubh
eads
, cap
tion
s, ta
bles
, an
d fo
otn
otes
: wh
enev
er t
ypog
raph
ic v
arie
ty w
ill
mak
e ou
r com
mu
nic
atio
ns
mor
e re
adab
le.
Bod
y co
pyFo
r pub
lica
tion
s w
ith
larg
e am
ount
s of
bod
y co
py
– su
ch a
s th
e te
xt o
f an
an
nual
repo
rt o
r th
e ar
ticl
es in
th
e Fe
stiv
al p
rogr
amm
e bo
ok –
En
igm
a sh
ould
be
the
prim
ary
font
use
d, b
ut
Tril
ogy
San
s m
ay a
lso
be u
sed
to p
rovi
de s
ome
vari
ety
and
cont
rast
.
The
com
plet
e En
igm
a an
d Tr
ilog
y Sa
ns
font
fa
mil
ies
hav
e en
ough
var
iety
for a
ll a
ppli
cati
ons
of t
he
bran
d. T
her
e ar
e n
o ru
les
abou
t wh
ich
w
eigh
t to
use
– c
hoo
se t
he
one
wh
ich
bes
t fit
s yo
ur m
essa
ge. B
ut h
elp
the
read
er a
nd
use
re
stra
int:
too
man
y va
riat
ion
s ca
n lo
ok c
onfu
sing
an
d d
iffi
cult
to re
ad.
Gen
eral
offi
ce u
seG
eorg
ia is
the
defa
ult
fon
t for
app
licat
ion
s n
ot
suit
able
for E
nig
ma
or T
rilo
gy S
ans,
incl
udi
ng
• em
ails
•
web
site
bod
y co
py•
elec
tron
ic le
tter
s an
d m
emos
Enig
ma,
Tri
logy
San
s an
d G
eorg
ia a
re th
e on
ly
appr
oved
fon
ts –
no
oth
er fo
nts
sh
ould
be
use
d.
Enig
ma
Georgia
Reg
ula
rIt
alic
sma
ll c
aps
Bol
dBo
ld It
alic
Re
gu
lar
Italic
Ext
ra B
old
Ext
ra B
old
Ita
lic
Regular
Italic
Bold
Bol
d I
tali
cTr
ilog
y S
an
s
1.1
5
BA
SIC
EL
EM
EN
TS
BR
AN
D A
RC
HIT
EC
TU
RE
In t
ext
Wh
en w
riti
ng fo
r ou
r ow
n p
ubli
cati
ons,
web
site
an
d pr
ess
rele
ases
, or p
rovi
din
g co
py fo
r oth
er
orga
nis
atio
ns,
we
refe
r to
Gly
ndeb
ourn
e Tou
r 201
2 an
d G
lynd
ebou
rne F
esti
val 2
012,
usi
ng a
n in
ital
ca
pita
l let
ter f
or e
ach
wor
d. W
e al
way
s in
clud
e th
e ye
ar, f
ollo
win
g th
e de
scri
ptor
. Fo
r bre
vity
, aft
er t
he
firs
t usa
ge in
an
art
icle
we
dro
p th
e n
ame
Gly
nde
bou
rne,
an
d w
rite
sim
ply
Tour
201
2 or
Fes
tiva
l 201
2.
ON
E C
OM
PA
NY
, ON
E B
RA
ND
We
are
a la
rge
com
pany
invo
lved
in m
any
dif
fere
nt k
inds
of a
ctiv
itie
s, a
nd
we
stri
ve to
ac
hie
ve t
he
sam
e h
igh
sta
nda
rds
in e
very
thin
g w
e do
. We
wan
t to
emph
asis
e th
at G
lyn
debo
urn
e is
on
e u
nif
ied
orga
nis
atio
n, s
o w
e co
mm
un
icat
e w
ith
on
e cl
ear b
ran
d.
The
only
exc
epti
on is
wh
en w
e n
eed
to h
elp
aud
ien
ces
dif
fere
ntia
te b
etw
een
th
e To
ur a
nd
the
Fest
ival
. We
hav
e a
con
sist
ent w
ay o
f tre
atin
g th
e de
scri
ptor
s fo
r th
ese
two
acti
viti
es –
not
sep
arat
e n
ames
or l
ogot
ypes
, bu
t a w
ay o
f wri
ting
.
Usi
ng a
des
crip
tor
wit
h t
he
logo
type
The
desc
ript
or is
set
in E
nig
ma
Smal
l Cap
s, w
ith
al
ign
ing
num
eral
s. U
se 2
0% c
har
acte
r tra
ckin
g an
d ra
nge
to t
he
righ
t edg
e of
th
e lo
goty
pe.
Its
prop
orti
on to
th
e lo
goty
pe a
nd
the
lin
e sp
acin
g ar
e sh
own
in t
he
exam
ples
as
“X.”
fest
iva
l 20
12x x x
tou
r 2
012
x x x
1.1
6
BA
SIC
EL
EM
EN
TS
IM
AG
E S
TY
LE
Th
ere
is m
uch
mor
e to
Gly
nde
bour
ne t
han
w
hat
app
ears
on
our
stag
esB
eyon
d pr
oduc
tion
ph
otos
, ou
r ph
otog
raph
ic
imag
es s
hou
ld e
xpre
ss o
ur p
erso
nal
ity,
an
d th
e ap
proa
ch w
e ta
ke to
ou
r com
mu
nic
atio
ns:
wor
ds
and
imag
es t
hat
dem
onst
rate
ou
r abi
lity
to m
ake
an im
pact
– t
ran
sfor
min
g a
stor
y, a
per
son
, an
ex
peri
ence
, an
exp
ecta
tion
– a
nd
our i
mag
ery
shou
ld s
uppo
rt t
hes
e st
orie
s.
Ba
sic
imag
e pr
inci
ples
obse
rvat
iona
lca
ptu
ring
real
pla
ces
and
situ
atio
ns,
wh
eth
er o
n
stag
e, b
acks
tage
or w
ay o
ff s
tage
.
hum
an in
tere
stre
flec
ting
an
asp
ect o
f th
e w
hol
e G
lyn
debo
urn
e ex
peri
ence
th
at o
ur a
udie
nce
s ca
n re
late
to:
arti
sts
and
staf
f at w
ork
or a
t pla
y; a
udie
nce
m
embe
rs a
t Gly
nde
bou
rne
even
ts; t
he
tool
s an
d eq
uip
men
t, m
ater
ials
an
d en
viro
nm
ents
th
at
hel
p de
live
r ou
r pro
ject
s; t
he
buil
din
gs a
nd
grou
nds
at G
lyn
debo
urn
e…
show
ing
impa
ct…
bu
t alw
ays
enga
ged
wit
h o
r des
crib
ing
wh
at
mak
es G
lyn
debo
urn
e ex
cept
ion
al. W
e ca
n s
how
th
e bi
g pi
ctu
re a
nd
the
smal
l det
ails
, bu
t im
ages
sh
ould
refl
ect h
ow w
e ar
e ou
t of t
he o
rdin
ary.
IMA
GE
ST
YL
EIm
ages
are
cru
cial
to o
ur c
omm
un
icat
ion
s.
Wh
eth
er y
ou a
re c
hoo
sing
imag
es fr
om o
ur
cata
logu
e of
pro
duct
ion
ph
otos
an
d ar
chiv
es,
or c
omm
issi
onin
g n
ew im
ages
, we
wan
t ou
r co
mm
un
icat
ion
s to
feel
exc
itin
g to
peo
ple,
bu
ild
ing
anti
cipa
tion
for a
n o
ut o
f the
ord
inar
y G
lyn
debo
urn
e ex
peri
ence
.
Gly
ndeb
ourn
e im
ages
are
:
• ex
pert
inv
enti
ve, s
tyli
sh•
unde
rsta
ted
sin
cere
, con
vin
cing
• re
laxe
d re
al li
fe•
cosm
opol
itan
int
ern
atio
nal
• or
igin
al s
urp
risi
ng, u
nex
pect
ed
no
t clic
hés
no
t for
ced
no
t pos
ed o
r set
-up
no
t “co
ncep
tual
”
not c
ompo
site
s or c
olla
ges
1.1
7
BA
SIC
EL
EM
EN
TS
IM
AG
E S
TY
LE
Fig.
1] T
he
clos
e cr
oppi
ng o
f th
is im
age
enga
ges
the
view
er, d
raw
ing
him
in w
ith
an
obs
erva
tion
th
at is
bot
h in
vent
ive
and
un
expe
cted
.
Fig.
2] T
he
vant
age
poin
t of t
his
aud
ien
ce
mem
ber l
ost i
n t
hou
ght m
akes
th
is im
age
un
ders
tate
d an
d su
rpri
sing
.
Fig.
3] T
his
clo
se u
p sh
ows
an a
spec
t of r
eal l
ife
Gly
nde
bou
rne.
Th
e or
igin
al d
etai
led
pers
pect
ive
mak
es it
sty
lish
an
d av
oids
bec
omin
g a
clic
hé.
fig
.1
fig
.2
fig
.3
SA
MP
LE
GLY
ND
EB
OU
RN
E IM
AG
ES
WO
RD
S A
ND
IMA
GE
SE
xpre
ssin
g ou
t of
th
e or
dina
ry
To h
elp
expl
ain
the
prin
cipl
es o
f the
bra
nd s
tyle
, be
low
are
thre
e ex
ampl
es o
f a p
ossi
ble
leafl
et
prom
otin
g Fe
stiv
al ti
cket
sale
s. T
he sa
me
imag
e co
mbi
ned
wit
h di
ffere
nt w
ords
subt
ly ch
ange
s th
e m
eani
ng.
1.1
8
BA
SIC
EL
EM
EN
TS
IM
AG
E S
TY
LE
Exa
mpl
e 3
Un
de
rsta
ted
an
d s
op
his
tica
ted
,
this
exa
mp
le m
ake
s a
n im
pa
ct
by
en
ga
gin
g t
he
re
ad
er’
s
inte
llig
en
ce; r
ely
ing
on
ou
r
stro
ng
na
me
re
cog
nit
ion
an
d
we
ll-k
no
wn
ga
rde
ns,
th
is b
uild
s
an
tici
pa
tio
n b
y n
ot
giv
ing
to
o
mu
ch a
wa
y. I
t’s
a c
on
fid
en
t
exp
ress
ion
of
out o
f the
ord
inar
y.
Exa
mpl
e 1
Th
is m
ay
se
em
ap
pro
pri
ate
,
bu
t is
to
o li
tera
l an
d n
ot
surp
risi
ng
: ve
ry o
rdin
ary
.
Exa
mpl
e 2
Th
is e
xam
ple
is t
ryin
g t
oo
ha
rd.
Alt
ho
ug
h t
em
pti
ng
, it
ma
kes
an
un
rea
listi
c d
em
an
d o
n t
he
rea
de
r a
nd
se
em
s to
pro
mis
e
an
ou
t o
f th
is w
orl
d e
xpe
rie
nce
.
Exa
mp
le 1
Exa
mp
le 2
Exa
mp
le 3
fest
iva
l 20
1221
May
–28 A
ugus
t
Com
e ea
rly
and
enjo
y th
e ga
rden
s
fest
iva
l 20
1221
May
–28 A
ugus
tfe
stiv
al
2012
21 M
ay–2
8 Aug
ust
Leav
e yo
ur
wor
ld b
ehin
dBo
x offi
ce
now
ope
n
fest
iva
l 20
1221
May
–28 A
ugus
t
GE
TT
ING
IT R
IGH
T•
The
logo
type
app
ears
on
ever
ythi
ng.
• U
se th
e po
siti
ve (b
lack
) ver
sion
of t
he
logo
type
on
a lig
ht co
lour
, the
neg
ativ
e (w
hite
) ve
rsio
n on
a d
ark
colo
ur. [
See fi
g. 1]
• D
on’t
stre
tch
or d
isto
rt th
e lo
goty
pe in
any
w
ay. A
lway
s use
the
mas
ter a
rtw
ork
files
from
th
e Co
mm
unic
atio
ns te
am. [
See fi
g. 2]
•
Don
’t ad
d w
ords
to th
e lo
goty
pe, l
ike
fest
ival
, to
ur o
r ope
ra. [
See fi
g. 3]
• N
ever
cha
nge
the
scal
e or
colo
ur o
f any
par
t of
the
logo
type
, or a
lter t
he sp
acin
g of
cha
ract
ers
wit
hin
the
logo
type
. [Se
e fig.
4]
• N
ever
dis
play
the
logo
type
at a
n an
gle.
It
alw
ays a
ppea
rs in
the
hori
zont
al p
osit
ion.
[S
ee fi
g. 5]
• Th
e cr
est a
lway
s app
ears
wit
h th
e lo
goty
pe
over
lapp
ing.
The
cre
st a
lway
s ble
eds o
ff or
wra
ps
arou
nd a
n ed
ge. [
See fi
g. 6]
• Ba
ckgr
ound
colo
ur b
lend
s are
par
t of o
ur
visu
al s
tyle
. [Se
e fig.
6]•
You
can
use
the
logo
type
ove
r a p
hoto
grap
hic
back
grou
nd, b
ut y
ou n
eed
to m
ake
sure
its c
lear
. O
nly
use
the
logo
type
on
back
grou
nd im
ages
th
at p
rovi
de su
ffici
ent c
ontr
ast a
nd a
n ev
en to
ne.
[See
fig.
7]•
Don
’t us
e th
e lo
goty
pe o
n an
y ba
ckgr
ound
im
age
or g
raph
ic th
at m
akes
it u
ncle
ar.
[See
fig.
8]•
Nev
er u
se im
ages
that
are
clic
hés o
r tha
t re
info
rce
out-
of-d
ate
perc
epti
ons o
f ope
ra o
r G
lynd
ebou
rne.
[See
fig.
9]
1.1
9
BA
SIC
EL
EM
EN
TS
GE
TT
ING
IT
RIG
HTfig
.1fi
g.2
fig
.3
fig
.4fi
g.5
fig
.6
fig
.7fi
g.8
fig
.9
The
mor
e co
nsi
sten
t ou
r ton
e of
voi
ce is
, th
e m
ore
like
ly it
is t
hat
ou
r aud
ien
ces
wil
l rec
ogn
ise
and
un
ders
tan
d w
hat
mak
es u
s ou
t of t
he o
rdin
ary.
A c
onsi
sten
t ton
e of
voi
ce a
lso
has
fin
anci
al a
nd
fun
ctio
nal
ben
efit
s, a
s it
redu
ces
the
nee
d fo
r in
terv
enti
ons
and
edit
ing.
Wh
ere
do w
e us
e ou
r to
ne o
f vo
ice?
We
use
it e
very
wh
ere
and
ever
y ti
me
we
com
mu
nic
ate:
• m
arke
ting
mat
eria
ls•
med
ia re
lati
ons
• on
-lin
e an
d d
igit
al –
incl
udin
g em
ail,
bl
ogs
and
the
web
site
• co
rpor
ate
com
mu
nic
atio
ns
such
as
annu
al
re
port
s •
inte
rnal
com
mu
nic
atio
ns,
HR
com
mu
nic
atio
ns
and
job
ads
• si
gnag
e
Wh
at is
our
ton
e of
voi
ce b
ase
d on
?O
ur t
one
of v
oice
is d
eriv
ed fr
om, a
nd
insp
ired
by,
o u
r bra
nd
plat
form
. [se
e dia
gram
on
pg. 1
.5]
The
big
idea
at t
he
hea
rt o
f ou
r bra
nd
is
OU
T O
F T
HE
OR
DIN
AR
YTh
is s
hou
ld a
lway
s be
ou
r sta
rtin
g po
int.
Eve
ry
tim
e w
e co
mm
un
icat
e, w
e sh
ould
ask
ou
rsel
ves
‘doe
s th
is e
xpre
ss w
hat
is o
ut o
f th
e or
din
ary
abou
t us?
’
We
wou
ldn’
t use
th
e ex
act w
ords
‘ou
t of t
he
ord
inar
y’ in
ou
r com
mu
nic
atio
ns.
Inst
ead,
we’
d u
se t
he
idea
of o
ut o
f th
e or
din
ary
to c
onve
y ou
r po
int o
f vie
w. S
o, fo
r in
stan
ce, w
e w
ould
n’t s
ay:
The D
VD
of t
he 2
009
Fest
ival
pro
duct
ion
of P
urce
ll’s
‘Fai
ry Q
ueen
’ cap
ture
s on
film
a p
erfo
rman
ce th
at is
tr
uly
out o
f the
ord
inar
y.
Inst
ead,
we’
d u
se o
ur b
ran
d’s
big
idea
as
a sp
ring
boar
d fo
r th
e im
agin
atio
n:
From
the m
omen
t a R
esto
rati
on d
raw
ing
room
tr
ansf
orm
s int
o an
ench
ante
d w
ood,
the D
VD
of t
he
2009
Fes
tiva
l pro
duct
ion
of P
urce
ll’s ‘
Fair
y Q
ueen
’ ta
kes y
ou o
n a
diso
rien
tati
ng jo
urne
y of
love
lorn
pai
n an
d m
agic
.
WH
AT
IS A
TO
NE
OF
VO
ICE
?A
ton
e of
voi
ce is
th
e w
ay in
wh
ich
we
wri
te a
nd
spea
k; w
hat
we
say
and
how
we
say
it. W
e u
se it
fo
r eve
ryon
e w
e n
eed
to c
omm
un
icat
e w
ith
:
• au
die
nce
s•
supp
orte
rs•
the
pres
s•
part
ner
org
anis
atio
ns
• ea
ch o
ther
Wh
oeve
r we’
re s
peak
ing
to, w
e sh
ould
alw
ays
sou
nd
like
Gly
nde
bou
rne.
How
ever
, hav
ing
a si
ngle
ton
e of
voi
ce d
oesn
’t m
ean
bla
nd
un
ifor
mit
y. It
’s a
spr
ingb
oard
not
a
stra
ight
jack
et.
2.1
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
TO
NE
OF
VO
ICE
2.2
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
Bei
ng
unde
rsta
ted
mea
ns
we
don
’t te
ll ov
er-c
ompl
icat
ed s
tori
es:
Aft
er th
e war
, Joh
n Ch
rist
ie’s
thou
ghts
retu
rned
to
the h
opes
he’
d ha
d si
nce 1
932
of la
unch
ing
an ‘E
nglis
h Ba
yreu
th’.
In 19
52, h
e inv
ited
Wag
ner’s
gra
ndso
ns,
Wie
dlan
d an
d W
olfg
ang,
to th
e Fes
tiva
l, bu
t the
y w
ere
unab
le to
com
e. H
owev
er, t
he fo
llow
ing
year
thei
r si
ster
Fri
edla
nd ca
me t
o Su
ssex
to d
iscu
ss p
ossi
bilit
ies,
bu
t aga
in n
othi
ng ca
me o
f thi
s.
Inst
ead,
we
iden
tify
the
nu
b of
the
stor
y, a
nd
sim
ply
tell
it (u
sin
g th
e fi
rst p
erso
n p
lura
l – w
e,
our,
us
– to
en
gage
ou
r au
dien
ces)
:
This
yea
r’s p
erfo
rman
ces o
f Die
Mei
ster
sing
er v
on
Nür
nber
g fin
ally
mak
e rea
l our
68-
yea
r am
biti
on o
f br
ingi
ng W
agne
r to
Gly
ndeb
ourn
e.
Bei
ng
rela
xed
mea
ns
we
avoi
d so
un
din
g st
iff
and
over
-for
mal
:
Wou
ld p
atro
ns k
indl
y re
frai
n fr
om le
avin
g lit
ter o
n th
e mai
n la
wn.
Tha
nk y
ou.
Inst
ead,
we’
re p
olit
e, d
irec
t an
d co
nci
se:
Plea
se ta
ke a
way
you
r lit
ter
Bei
ng
cosm
opol
itan
mea
ns
we
alw
ays
emph
asis
eth
e gl
obal
nat
ure
of o
ur w
ork:
Firs
t see
n on
the T
our i
n 20
00, D
avid
McV
icar
’s
prod
ucti
on, c
ondu
cted
by
Gly
ndeb
ourn
e on
Tour
’s
Mus
ic D
irec
tor J
akub
Hru
�a, s
tars
Bra
zilia
n te
nor
Ata
lla A
yan
and
Am
eric
an so
pran
o Ke
ri A
lkem
a.
Fin
ally
, we’
re o
rigi
nal,
so w
e av
oid
a fo
rmu
laic
ap
proa
ch, s
uch
as:
Beco
me a
n A
ssoc
iate
Mem
ber
and
be p
art o
f the
futu
re o
f Gly
ndeb
ourn
e.A
ssoc
iate
Mem
bers
secu
re a
pla
ce o
n th
e wai
ting
list
fo
r Fes
tiva
l Soc
iety
mem
bers
hip
and
rece
ive p
rior
ity
book
ing
imm
edia
tely
aft
er o
ur M
embe
rs.
Inst
ead,
we
use
the
mag
ic o
f ope
ra to
en
tice
ou
r au
dien
ces
(an
d, if
pos
sibl
e, th
eir o
wn
voi
ces
to
expr
ess
it):
— ‘P
eter
Qui
nt a
t the
win
dow
, cal
ling
to th
e chi
ldre
n’—
‘Cle
opat
ra ca
ptiv
atin
g G
uilio
Ces
are’
— ‘T
he P
rese
ntat
ion
of th
e Ros
e… a
nd th
e sta
bbin
g
of S
carp
ia!’
Wha
teve
r ope
ra m
eans
to y
ou, o
ur A
ssoc
iate
Mem
bers
m
ean
ever
ythi
ng to
us.
On
ce w
e’ve
beg
uile
d ou
r pot
enti
al A
ssoc
iate
M
embe
rs, w
e ca
n th
en g
o in
to d
etai
l of w
hat
M
embe
rsh
ip e
nta
ils.
How
do
we
mak
e ou
r to
ne o
f vo
ice
‘out
of
the
ordi
nary
’?Ev
ery
tim
e w
e co
mm
un
icat
e, w
e sh
ould
ask
ou
rsel
ves
‘is o
ur t
one
of v
oice
exp
ress
ing
our
dist
inct
per
son
alit
y?’
EX
PE
RT
UN
DE
RS
TAT
ED
RE
LA
XE
DC
OS
MO
PO
LIT
AN
OR
IGIN
AL
Bei
ng
expe
rt m
ean
s w
e do
n’t
hid
e be
hin
d ja
rgon
:
A fu
ll po
rtfo
lio o
f rob
ust i
niti
ativ
es to
und
erpi
n th
e po
licy
of su
stai
nabi
lity
is n
ow in
pla
ce a
nd w
ill b
e rol
led
out i
n an
on-
goin
g pr
ogra
mm
e thr
ough
the c
urre
nt
finan
cial
yea
r.
Inst
ead,
we
hav
e th
e co
nfi
den
ce to
use
con
cise
an
d st
raig
htf
orw
ard
lan
guag
e, a
lway
s ex
pres
sed
in th
e ac
tive
rath
er th
e pa
ssiv
e vo
ice:
We’
ll be
intr
oduc
ing
our n
ew su
stai
nabi
lity
init
iati
ves
thro
ugho
ut 2
011-
12.
2.3
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
1 M
ake
an im
pres
sion
Ever
y co
mm
un
icat
ion
is a
n o
ppor
tun
ity
to m
ake
an im
med
iate
an
d vi
vid
impr
essi
on. F
or in
stan
ce,
we
can
gra
b th
e at
tent
ion
of a
pre
ss re
leas
e re
ader
fr
om t
he
star
t:
Rus
alka
sing
ing
her S
ong
to th
e Moo
n at
the B
rixt
on
Ritz
y. D
on G
iova
nni b
eing
dra
gged
to h
ell i
n A
dela
ide,
So
uth
Aus
tral
ia –
and
New
Yor
kers
dri
nkin
g in
L’el
isir
d’
amor
e in
the d
ark
of C
entr
al P
ark.
Ope
ra cr
eate
d in
Ea
st S
usse
x, E
ngla
nd, n
ow h
as th
e pot
enti
al fo
r rea
l gl
obal
reac
h.
Hav
ing
intr
igue
d th
e re
ader
, we
can
th
en e
xpan
d on
th
e th
eme:
In b
ring
ing
its p
rodu
ctio
ns to
cine
mas
wor
ldw
ide,
G
lynd
ebou
rne i
s tra
nsfo
rmin
g th
e ope
ra ex
peri
ence
an
d he
lpin
g a
new
art
form
emer
ge.
and
fin
ally
, we
intr
oduc
e th
e ba
sic
info
rmat
ion
th
e pi
ece
nee
ds to
con
vey:
In p
artn
ersh
ip w
ith
City
Scr
een/
Pict
ureh
ouse
Ci
nem
as, G
lynd
ebou
rne i
s off
erin
g liv
e and
pr
e-re
cord
ed sc
reen
ings
to in
tern
atio
nal a
udie
nces
, fo
r onl
y £1
5.
Wh
en s
truc
turi
ng a
ny c
omm
un
icat
ion
, th
ink
of
a py
ram
id: t
he
mos
t ent
icin
g in
form
atio
n fi
rst;
fo
llow
ed b
y a
broa
der b
ase
of d
etai
l.
If t
he
mat
eria
l you
’re w
orki
ng w
ith
doe
sn’t
co
ntai
n a
ny li
vely
det
ail,
appr
oach
th
e pi
ece
as
a jo
urn
alis
t wou
ld, a
nd
do s
ome
rese
arch
. For
in
stan
ce, i
f you
r sou
rce
mat
eria
l is
rath
er b
asic
:
Phot
Ope
rati
ve ex
plor
es th
e pos
sibl
e lin
ks b
etw
een
two
dist
inct
art
form
s to
crea
te a
wor
k th
at fi
nds i
n th
ese
conn
ecti
ons a
new
mea
ns o
f exp
ress
ion.
take
ten
min
ute
s to
spe
ak to
th
e pe
ople
re
spon
sibl
e fo
r th
e w
ork
and
fin
d ou
t th
e ki
nd
of
deta
ils
that
wil
l eng
age
and
impr
ess
a po
tent
ial
aud
ien
ce. A
sk w
hat
th
e ‘n
ew m
ean
s of
ex
pres
sion
’ are
, how
long
doe
s th
e pi
ece
last
, why
is
it c
alle
d Ph
otO
pera
tive
? If
pos
sibl
e, g
et a
quo
te
from
th
e cr
eato
rs –
an
d le
ad w
ith
it.
‘Pho
tOpe
rati
ve is
whe
re g
host
s rub
shou
lder
s wit
h th
e liv
ing,
whe
re th
e mun
dane
co-e
xist
s wit
h th
e fa
ntas
tica
l.’ –
Dav
id C
hand
ler,
Dire
ctor
, Pho
tow
orks
.
Phot
Ope
rati
ve p
rese
nts t
he n
ight
ly ex
hila
rati
on o
f pe
rfor
man
ce a
long
side
the d
aily
gri
nd o
f pra
ctic
e, th
e m
agic
of o
nsta
ge il
lusi
on a
nd th
e mec
hani
cs th
at d
rive
it
bac
ksta
ge.
Use
wh
at y
our s
ourc
e te
lls
you
– t
hei
r det
aile
d kn
owle
dge
and
enth
usi
asm
wil
l bri
ng t
he
com
mu
nic
atio
n to
life
.
4 T
HIN
GS
T
O K
EE
P IN
MIN
D
‘Don
’t w
rite
bec
ause
you
feel
yo
u h
ave
to s
ay s
omet
hin
g.
Wri
te b
ecau
se y
ou h
ave
som
eth
ing
to s
ay.’
–f.
sc
ot
t f
itzg
er
al
d
We
can
aff
ord
to h
ave
con
fide
nce
in t
he
wor
ld-c
lass
qu
alit
y of
ou
r pro
duct
ion
s –
so w
e do
n’t h
ave
to fa
ll b
ack
on t
ired
, ‘hy
pe’ w
ords
suc
h
as fa
ntas
tic,
exci
ting
an
d po
wer
ful (
wh
ich
any
way
h
ave
less
impa
ct t
he
mor
e w
e u
se t
hem
).
Rat
her
th
an te
llin
g a
teac
her
th
at:
Ope
ra is
the p
erfe
ct a
rt fo
rm fo
r stu
dent
s to
enco
unte
r m
usic
, dra
ma,
des
ign
and
thea
tre c
raft
s – th
e res
ult o
f w
hich
is ex
cept
iona
lly p
ower
ful.
inst
ead,
we
show
why
th
e ar
t for
m is
pow
erfu
l:
Ope
ra is
whe
re p
reci
sion
mee
ts p
assi
on, w
here
cr
aft m
eets
insp
irati
on, w
here
tech
niqu
e mee
ts
tran
sfor
mat
ion.
and
then
we
can
ass
ure
th
e te
ach
er t
hat
th
is is
th
e pr
ogra
mm
e to
ch
oose
bec
ause
it c
over
s so
m
any
subj
ects
:
It’s
the o
nly
art f
orm
that
has
it a
ll: m
usic
, dra
ma,
m
ovem
ent,
lite
ratu
re, p
erfo
rman
ce, d
esig
n an
d th
eatr
e.
Usi
ng q
uote
s is
a p
ersu
asiv
e w
ay to
sh
ow t
hat
ou
r w
ork
is e
xper
t an
d or
igin
al (f
or in
stan
ce),
rath
er
than
tell
ing
our a
udie
nce
s th
at w
e ar
e. T
o m
ake
the
opti
mu
m im
pact
, we
shou
ld k
eep
quot
es
shor
t an
d to
th
e po
int:
“Str
ange
ly m
ovin
g, d
eepl
y w
eird
and
hau
ntin
gly
beau
tifu
l.” —
The
Dai
ly T
eleg
raph
, 200
9
Avo
id q
uote
s th
at s
oun
d st
ilte
d an
d in
auth
enti
c:
“The
opp
ortu
nity
to st
udy
and
draw
on
a w
ide r
ange
of
dis
cipl
ines
pro
ved
inva
luab
le d
urin
g th
e pup
il’s
GCS
E co
urse
.”
Inst
ead,
use
quo
tes
wh
ich
are
rela
xed
and
nat
ura
l:
“The
stud
ents
’ foc
us –
and
thei
r ent
husi
asm
for a
ll th
at w
as g
oing
on
arou
nd th
em –
wer
e out
stan
ding
.”
In a
mor
e fo
rmal
con
text
, suc
h a
s th
e A
nnu
al
Rep
ort,
we
can
con
vey
our e
xper
tise
(bu
t sti
ll
sou
nd
orig
inal
) by
avoi
din
g va
gue
clai
ms
such
as:
The s
culp
ture
exhi
biti
on w
as b
oth
popu
lar a
nd
crit
ical
ly a
ccla
imed
.
and
inst
ead
give
figu
res,
bac
ked
by a
con
cise
, en
gagi
ng q
uote
:
The s
culp
ture
s, d
escr
ibed
by
The E
veni
ng S
tand
ard
as
“mon
umen
tal y
et m
inut
ely
deta
iled”
, att
ract
ed a
n av
erag
e of 7
0% o
f the
aud
ienc
e for
each
per
form
ance
.
2 S
how
, don
’t t
ell
It’s
mor
e pe
rsu
asiv
e to
coa
x a
resp
onse
from
an
au
die
nce
rath
er t
han
tell
ing
them
how
to
resp
ond.
So,
inst
ead
of s
ayin
g:
Gly
ndeb
ourn
e is c
omm
itte
d to
an
ener
gy-s
avin
g pr
ogra
mm
e whi
ch re
flec
ts G
lynd
ebou
rne’s
long
-ter
m
desi
re to
ult
imat
ely
beco
me c
arbo
n ne
utra
l.
we
cou
ld ta
ke a
mor
e or
igin
al a
ppro
ach
to
intr
oduc
e ou
r com
mit
men
t:
In b
ring
ing
oper
a to
the c
ount
rysi
de, w
e’re
det
erm
ined
no
t to
take
too
muc
h ou
t of i
t.
then
sh
ow a
real
exa
mpl
e an
d de
mon
stra
te t
he
resu
lt in
a w
ay t
hat
reso
nat
es w
ith
ou
r aud
ien
ces:
Each
toile
t flu
sh h
as b
een
adju
sted
to sa
ve fo
ur li
tres
of
wat
er. I
n a
year
, tha
t’s th
e equ
ival
ent o
f a q
uart
er
of o
ur la
ke!
2.4
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
Thin
king
ou
rsel
ves
into
th
e re
ader
’s m
ind
also
hel
ps u
s de
cide
wh
at o
rder
to p
rese
nt
info
rmat
ion
. For
inst
ance
, in
ou
r new
slet
ter,
inst
ead
of o
pen
ing
a pi
ece
on t
he
New
Gen
erat
ion
Fu
nd
wit
h s
omet
hin
g th
e re
ader
alr
eady
kn
ows:
The F
und
guar
ante
es G
lynd
ebou
rne’s
obj
ecti
ves
of b
uild
ing
on o
ur a
rtis
tic h
erit
age.
we
can
imm
edia
tely
cap
ture
inte
rest
by
open
ing
wit
h a
ch
alle
ngin
g st
atem
ent w
hic
h m
akes
cle
ar
wh
at t
he
arti
cle
is a
bout
:
“If w
e don
’t bu
ild a
nex
t gen
erat
ion
audi
ence
as
com
mit
ted
as o
ur cu
rren
t Mem
bers
, the
n th
e Fun
d w
ill h
ave f
aile
d.” —
Dav
id P
icka
rd, G
ener
al D
irect
or
4 A
lway
s co
nsid
er o
ur k
ey
pe
rson
alit
y w
ords
N
ot e
very
pie
ce o
f com
mu
nic
atio
n c
an b
e si
mu
ltan
eou
sly
expe
rt, u
nde
rsta
ted,
rela
xed,
co
smop
olit
an a
nd
orig
inal
. So
we
nee
d to
dec
ide
wh
ich
per
son
alit
y tr
aits
are
mos
t rel
evan
t to
a pa
rtic
ula
r pie
ce o
f com
mu
nic
atio
n.
For i
nst
ance
:
EX
PE
RT
does
an
edu
cati
on le
afle
t mak
e cl
ear h
ow o
pera
’s
rang
e of
dis
cipl
ines
is p
erti
nen
t to
the
syll
abu
s? U
ND
ER
STA
TE
Ddo
es a
mar
keti
ng c
omm
un
icat
ion
coa
x a
reac
tion
by
usi
ng p
ersu
asiv
e, re
son
ant l
angu
age?
RE
LA
XE
Dis
cat
erin
g in
form
atio
n p
olit
e an
d w
elco
min
g,
rath
er t
han
sti
ff a
nd
form
al?
CO
SM
OP
OL
ITA
Ndo
es a
pre
ss re
leas
e fe
el re
leva
nt to
loca
l, n
atio
nal
an
d in
tern
atio
nal
med
ia?
OR
IGIN
AL
does
a n
ewsl
ette
r art
icle
take
a s
urp
risi
ng
pers
pect
ive
on a
sub
ject
?
3 T
hink
you
rsel
f in
to t
he r
eade
r’s
min
dTh
e m
ost e
ffec
tive
way
to e
nsu
re t
hat
a
com
mu
nic
atio
n is
hav
ing
impa
ct is
to a
sk
ours
elve
s ‘w
ho
is t
his
aim
ed a
t an
d is
it s
peak
ing
d
irec
tly
to t
hem
?’ F
or in
stan
ce, i
s th
e re
ader
ship
of
ou
r pro
gram
me
book
like
ly to
resp
ond
to, o
r ev
en u
nde
rsta
nd,
th
is k
ind
of la
ngu
age?
:
Gly
ndeb
ourn
e is c
omm
itte
d to
inve
stin
g in
its
inte
llect
ual p
rope
rty
to cr
eate
new
cont
ent,
bui
ld a
va
luab
le a
rchi
ve a
nd g
ener
ate n
ew st
ream
s of i
ncom
e.
Expr
essi
ons
such
as
‘inte
llec
tual
pro
pert
y’, ‘
new
co
nten
t’ a
nd
‘inco
me
stre
ams’
bel
ong
to a
n
inte
rnal
lang
uag
e w
hic
h is
rele
vant
on
ly to
us.
O
ur r
eade
rs a
re n
ot in
tere
sted
in o
ur w
ish
to
incr
ease
inco
me,
bu
t th
ey a
re in
tere
sted
in w
hat
pr
oduc
ts a
re a
vail
able
:
A tr
easu
re o
nly
has v
alue
whe
n it
’s sh
ared
. So
ever
y ye
ar, w
e’re
rele
asin
g ne
w g
ems f
rom
our
arc
hive
.
Our
Gly
ndeb
ourn
e CD
labe
l ran
ges f
rom
Idom
aneo
(1
964)
to R
usal
ka (2
009)
. We h
ave 1
3 pr
oduc
tion
s ca
ptur
ed o
n D
VD
, inc
ludi
ng D
on G
iova
nni a
nd B
illy
Budd
from
this
sum
mer
’s Fe
stiv
al.
2.5
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
2.6
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
1 W
rite
. Re-
wri
te. R
ead
it o
ut lo
ud.
Wh
en y
ou’v
e w
ritt
en s
omet
hin
g, re
ad it
ou
t lou
d –
it’s
th
e pe
rfec
t way
to e
nsu
re t
hat
it m
akes
se
nse
an
d so
un
ds n
atu
ral.
If it
doe
sn’t
im
med
iate
ly f
low
, go
away
an
d do
som
eth
ing
else
. Th
e ri
ght w
ords
wil
l com
e if
you
let t
hem
ta
ke a
litt
le lo
nger
.
2 K
eep
it s
impl
e. A
void
jarg
on.
Avo
id lo
ng a
nd
com
plex
sen
ten
ces.
Try
to k
eep
to o
ne
idea
per
sen
ten
ce. A
par
agra
ph s
hou
ld
expr
ess
a si
ngle
th
eme.
Avo
id u
sing
jarg
on a
nd
abbr
evia
tion
s an
d al
way
s ex
plai
n a
n a
cron
ym
the
firs
t tim
e yo
u u
se it
. 3
Avo
id b
ad g
ram
mar
. Spe
ll ch
eck.
Obv
iou
s bu
t ver
y im
port
ant:
acc
ura
cy is
ess
enti
al
to re
flec
t ou
r rep
uta
tion
as
an o
rgan
isat
ion
of
expe
rts.
4 T
est
run
your
wor
k. D
oes
it m
ake
sens
e?B
efor
e ‘g
oing
to p
ress
’, al
way
s ch
eck
you
r fac
ts
and
then
sh
are
you
r cop
y w
ith
a c
olle
ague
. Wh
en
retu
rnin
g th
e fa
vou
r, if
you
read
som
eth
ing
you
do
n’t u
nde
rsta
nd,
ask
th
e pe
rson
wh
o w
rote
it to
ex
plai
n it
to y
ou. T
hen
get
th
em to
wri
te d
own
w
hat
th
ey ju
st s
aid!
5 P
roof
rea
d ev
eryt
hin
gA
lway
s as
k so
meo
ne
to p
roof
-rea
d w
hat
you
’ve
wri
tten
– fe
w o
f us
are
infa
llib
le.
Res
olve
inco
nsi
sten
cies
by
refe
rrin
g to
The
G
uard
ian
Styl
e Gui
de, w
hic
h is
ou
r agr
eed
styl
e gu
ide,
ava
ilab
le o
n t
he
intr
anet
. You
’ll fi
nd
answ
ers
to q
uest
ion
s re
gard
ing
spel
ling
, pu
nct
uat
ion
, gra
mm
ar, s
ynta
x –
and
a gr
eat d
eal
mor
e –
set o
ut e
xhau
stiv
ely
from
A to
Z.
5 G
OLD
EN
RU
LES
F
OR
WR
ITT
EN
C
OM
MU
NIC
AT
ION
S
‘The
firs
t dra
ft o
f any
thin
g is
s**
t.’–
er
ne
st h
em
min
gw
ay
1 D
igit
al c
onte
nt is
not
th
e sa
me
as p
rint
ed
cont
ent.
Peo
ple
read
it d
iffe
rent
ly –
th
ey s
can
it –
so
we
hav
e to
wri
te it
dif
fere
ntly
. Div
ide
it in
to
smal
l chu
nks
wit
h s
ubh
ead
ings
. Use
bu
llet
po
ints
. For
larg
e am
ount
s of
text
, use
sh
ort,
in
trod
ucto
ry p
arag
raph
s, w
ith
a c
lick
th
roug
h to
bi
gger
chu
nks
. Avo
id to
o m
uch
scr
olli
ng –
don
’t
cut a
nd
past
e la
rge
amou
nts
of te
xt fr
om o
ther
do
cum
ents
– m
ake
them
ava
ilab
le a
s do
wn
load
s.
2 L
angu
age
is a
t its
mos
t pow
erfu
l wh
en
we
use
it e
con
omic
ally
– a
nd
that
’s d
oubl
y tr
ue
on-l
ine.
Wri
te in
tabl
oid-
size
pac
kage
s u
sing
a
max
imu
m o
f abo
ut 2
5 w
ords
per
sen
ten
ce, a
co
uple
of s
ente
nce
s pe
r par
agra
ph, f
our t
o si
x w
ords
per
hea
dli
ne
and
subh
ead
ing.
2.7
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
3 L
egib
ility
. It’
s h
ard
to re
ad o
ff a
scr
een
–
it’s
at l
east
25%
slo
wer
th
an re
adin
g pr
int.
Hel
p yo
ur r
eade
r. D
on’t
ove
rdo
bold
ing,
ital
icis
ing
and
capi
tals
. Nev
er u
se u
nde
rlin
ing
to h
igh
ligh
t – it
w
ill m
ake
the
text
look
hyp
erli
nke
d an
d co
nfu
se
you
r rea
der.
4 S
earc
hab
ility
. Wri
te to
be
fou
nd.
Con
side
r w
hat
wor
ds p
eopl
e w
ould
Goo
gle
to fi
nd
you
r pi
ece
– an
d u
se t
hem
. Bu
t don
’t o
veru
se t
he
sam
e ph
rase
– re
peti
tion
is d
eade
nin
g.
WR
ITIN
G F
OR
TH
E W
EB
–
4 T
HIN
GS
TO
TH
INK
AB
OU
T
‘Sor
ry t
his
lett
er is
long
er t
han
usu
al;
I hav
en’t
had
tim
e to
mak
e it
sho
rter
.’–
ma
rk
tw
ain
We
hop
e ev
eryt
hin
g yo
u n
eed
to w
rite
cre
ativ
ely
and
effe
ctiv
ely
is c
over
ed h
ere.
Bu
t we’
ll o
nly
de
velo
p a
con
sist
ent t
one
of v
oice
if w
e al
l fol
low
th
e gu
idel
ines
. It’
s su
rpri
sing
how
eas
y it
is la
pse
back
into
old
hab
its
wh
en t
he
pres
sure
is o
n, s
o pl
ease
do
keep
th
ese
guid
elin
es to
han
d.
If t
her
e’s
anyt
hin
g yo
u’re
uns
ure
of,
plea
se c
all o
r em
ail u
s. W
e’re
her
e to
hel
p.
Gil
lian
Bri
erle
y, H
ead
of C
omm
unic
atio
ns+4
4 (0
)127
3 81
2 32
1, e
xt 2
372
gill
ian
.bri
erle
y@gl
ynde
bou
rne.
com
Lau
ra Ju
kes,
Sen
ior M
arke
ting
Offi
cer
+44
(0)1
273
812
321,
ext
226
5la
ura
.juke
s@gl
ynde
bou
rne.
com
Rac
hel
Pig
gott
, Mar
keti
ng M
anag
er+4
4 (0
)127
3 81
2 32
1, e
xt 2
267
rach
el.p
iggo
tt@
glyn
debo
urn
e.co
m
2.8
B
AS
IC E
LE
ME
NT
S T
ON
E O
F V
OIC
E
‘Gre
at o
ppor
tun
itie
s to
hel
p ot
hers
sel
dom
com
e, b
ut s
mal
l on
es s
urr
ound
us
ever
y da
y.’
–d
esm
on
d t
ut
u
HE
LP!
3.1
E
XA
MP
LE
S
Mak
e an
impa
ct a
nd
stan
d ou
t.
We’
re a
n ar
ts o
rgan
isat
ion
that
is in
form
ed b
y it
s ri
ch
his
tory
bu
t w
hic
h is
ful
ly
enga
ged
wit
h t
he
cult
ure
arou
nd
us t
oday
.
Brin
ging
it a
ll to
geth
er
3.2
E
XA
MP
LE
S
Dav
id P
icka
rdGe
nera
l Dire
ctor
Gly
ndeb
ourn
eLe
wes
, Eas
t Sus
sex
BN
8 5U
U
T +4
4 (0
)127
3 81
2 31
2 F
+44
(0)1
273
812
783
davi
d.pi
ckar
d@gl
ynde
bour
ne.c
omw
ww
.gly
ndeb
ourn
e.co
m
3.3
E
XA
MP
LE
S
Sim
ple,
un
clu
tter
ed
com
mu
nic
atio
ns
attr
act
at
ten
tion
an
d se
nd
clea
r m
essa
ges.
3.4
E
XA
MP
LE
S
Wel
l-ch
osen
wor
d an
d im
age
com
bin
atio
ns
ad
d m
ean
ing
and
pers
onal
ity.
3.5
E
XA
MP
LE
S
We
wan
t to
be
thou
ght
pro
voki
ng
and
exci
tin
g,
rep
rese
nti
ng
the
bes
t th
at
oper
a ca
n b
e. C
aref
ul c
rop
pin
g of
an
imag
e ca
n p
rod
uce
an
unex
pect
ed a
nd
orig
inal
re
sult
.
Ass
ymet
rica
l lay
outs
– a
s op
pos
ed t
o tr
adi
tion
al,
cen
tred
– lo
ok c
onte
mp
orar
y an
d su
it o
ur v
isua
l sty
le.
Cos
ì fa
n tu
tte
Oct
ober
25,
29
& 31
Moz
art
Laur
ence
Cum
min
gs C
ondu
ctor
Robe
rt C
arco
n D
irect
orG
ideo
n D
avey
Des
igne
rG
lynd
ebou
rne
Tour
ing
Orc
hest
ra
box
off
ice
+44
(0)0
1273
812
700
ww
w.g
lynd
ebou
rne.
com
This
pro
duct
ion
is g
ener
ously
supp
orte
d by
the C
olum
bia
Foun
dati
on
3.6
E
XA
MP
LE
S
You
don
’t a
lway
s n
eed
imag
es o
r lo
ts o
f co
lour
s to
m
ake
som
eth
ing
enga
gin
g.
Ou
r p
erso
nal
ity
is r
eflec
ted
in o
ur t
one
of v
oice
: co
nfi
den
t an
d di
rect
, bu
t re
laxe
d an
d u
nd
erst
ated
.
3.7
E
XA
MP
LE
S
Tran
sfor
min
g op
era
Don
Gio
vann
i
Don Giovani
mo
zart
mozart
cast
In-S
ung
Sim
Alb
ina
Shag
imur
atov
aTo
by S
penc
eLu
cas M
each
emM
atth
ew R
ose
Mia
h Pe
rsso
nM
arit
a So
lber
gD
avid
Soa
r
OP
US
AR
TE
OPUSARTE
OA
102
1 D
Laur
ence
Cum
min
gs C
ondu
ctor
Robe
rt C
arco
n Di
rect
orG
ideo
n D
avey
Des
igne
rLo
ndon
Phi
lhar
mon
ic O
rhes
tra
For
spec
ial a
ppl
icat
ion
s w
her
e si
ze is
res
tric
ted
we
can
use
the
inti
al c
ap ‘G
’ as
a p
roxy
logo
typ
e to
iden
tify
ou
r off
er.
3.8
E
XA
MP
LE
S
Con
sist
ent
appl
icat
ion
of o
ur
ton
e of
voi
ce a
nd
visu
al s
tyle
w
ill h
elp
un
ify
the
orga
nis
atio
n an
d h
elp
our
audi
ence
s u
nd
erst
an
d w
hat
we’
re a
ll ab
out:
ou
t of
th
e or
din
ary
.