Brand guide

The lockup

Logo Lockup - Charcoal

Logo Lockup - White

Logo Lockup - CobaltSteven Brown's approval required (LOGO-12)

Logo Lockup - BoneSteven Brown's approval required (LOGO-12)

• MustLOGO-01

  Use the full lockup: the Orbit and the TeraRecon wordmark together. Exception: the Orbit alone where a lockup can't fit or TeraRecon is already named on the same surface: an app icon, a favicon, a social avatar, or a small mark above a statement.

  Why and source

  One lockup everywhere spares makers a choice. For anything outside these cases, ask Steven Brown. Whether to use the wordmark on its own is an open question.

  LOGO-01 Use the full lockup. Agency guidelines R1 V4, p. 7; the Orbit exception decided 8 October 2026; merged with "The Orbit on its own, rarely" into one Must, written without hedges, by Steven Brown, 3 November 2026.

• MustLOGO-02

  Use the logo files as supplied, in one flat color: never stretch, rotate, recolor, outline or fill the logo with a gradient.

  Why and source

  Shadows, glows and other effects come under LAYOUT-06 No image-editing effects. The gradient Orbit from the identity's development stays out of use.

  LOGO-02 One flat color, as supplied. Agency guidelines R1 V4, p. 7; decision 30 September 2026 (call with Brian and Heather); shadows and glows moved to the one effects rule, 3 November 2026 (Steven Brown).

• MustLOGO-03

  Keep one letter height of empty space on every side of the lockup, measured as the cap height of the TeraRecon wordmark.

  Why and source

  Nothing else enters that space: no type, edge of the piece, image detail or other logo. Take the measure from the lockup you are placing, so it scales with the logo. The Orbit alone has no wordmark to measure from; its clear space is an open question.

  LOGO-03 Clear space around the lockup. Decided 30 October 2026; Steven Brown, on a call with Alexis (TeraRecon) about product labels.

• MustLOGO-04

  Never set the full lockup smaller than 120 px wide on screen or 1 in (25 mm) wide in print.

  Why and source

  At those widths the wordmark's capitals are about 13 px tall on screen (like 18 px text) and about 0.11 in in print (like 11 pt type), and its thinnest strokes still hold. Measure the whole lockup, without its clear space. Where there is less room, or the lockup would be cropped, use the Orbit on its own if LOGO-01 Use the full lockup allows it; otherwise make room. The Orbit alone has no minimum yet; ask Steven Brown before setting it very small.

  LOGO-04 Minimum size of the lockup. Decided 2 November 2026.

• MustLOGO-05

  Use the logo files from this guide's Files section or the brand library: the agency's "White" and "Bone" files are swapped.

  Why and source

  The agency's file named Bone is pure white, and the one named White is off-white (RGB 247, 241, 236).

  Files: Lockup, Charcoal, 800 px PNG; Lockup, White, 800 px PNG.

  LOGO-05 Use the logo files named for what they are. Measured 23 September 2026.

• ShouldLOGO-06

  Keep the logo modest and let the message be the big thing: the logo signs the piece, the headline speaks.

  Why and source

  • People read the biggest thing first. If that's the logo, the piece only says our name. If it's the message, it says why we matter, and the logo tells them who said it.
  • A small logo reads as confident. Trusted brands sign their work; a huge logo looks like it's asking to be noticed.
  • The system already says TeraRecon. Cobalt, particle flow, Extra Light type and the oval are recognized before anyone finds the logo.
  • It's how the agency designed it. The T-shirt (p. 31) has a small lockup and a large "See it through"; the display (p. 24) gives the logo its own bar under the message.
  • How small: easy to read at the distance the piece is seen from, and no bigger. If someone asks for it bigger, make the message clearer instead.

  LOGO-06 A small logo and a big message. Decided 8 October 2026.

• ShouldLOGO-07

  In everyday pieces, give the logo a fixed, quiet place apart from the message, sized for the piece's purpose.

  Why and source

  Covers, the app icon, signage and closing slides may give the logo more weight. See LOGO-06 A small logo and a big message.

  LOGO-07 Treat the logo as attribution in ordinary messages. Drawn from the examples in Agency guidelines R1 V4, pp. 23, 24, 25, 26, 27, 28; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

The Orbit and the wordmark

Orbit Mark - Charcoal

Orbit Mark - White

Orbit Mark - CobaltSteven Brown's approval required (LOGO-12)

Orbit Mark - BoneSteven Brown's approval required (LOGO-12)

Wordmark - Charcoal

Wordmark - White

Wordmark - CobaltSteven Brown's approval required (LOGO-12)

Wordmark - BoneSteven Brown's approval required (LOGO-12)

• MustLOGO-08

  The website favicon is the Cobalt Orbit, as set in HubSpot Brand. The social avatar and the app icon (the LinkedIn company-page logo, the iPhone home-screen icon, any other avatar) are the White Orbit, alone, centered on a square of the Cobalt Gradient.

  Why and source

  The favicon is Cobalt by Steven Brown's approval for this one use: the Cobalt Orbit on a transparent ground, the website's default favicon. The avatar and app icon follow the agency's app icon on p. 29: the Orbit fills 78% of the square's width so it holds at small sizes, and the gradient runs from Cobalt at the top-left corner, with its darkest corner cropped outside the square. The Orbit stands alone here under LOGO-01 Use the full lockup, and is White on the avatar because LOGO-11 Pick the logo color by the ground gives White on the Cobalt Gradient. Make every avatar size from the 1024 px master.

  

  Files: Icon, White Orbit on the Cobalt Gradient, 1024 px PNG; Icon, 512 px PNG; Icon, LinkedIn company-page logo, 400 px PNG; Icon, iPhone home-screen icon, 180 px PNG; Orbit mark, Cobalt, SVG.

  LOGO-08 Favicon, social avatar and app icon. Decided 30 October 2026; the Cobalt favicon approved by Steven Brown, 30 October 2026: "Actually that favicon is fine it's just not propogating".

• MustLOGO-09

  Use the Orbit alone for a profile picture, never the full lockup.

  Why and source

  A profile picture is cropped to a circle or a rounded square and shown at a few dozen pixels. A lockup there is either cropped, which it may never be, or shrunk below its minimum size (LOGO-04 Minimum size of the lockup) until it fails WCAG. Use the avatar file: the White Orbit on the Cobalt Gradient (LOGO-08 Favicon, social avatar and app icon).

  Files: Icon, White Orbit on the Cobalt Gradient, 1024 px PNG; Icon, 512 px PNG; Icon, LinkedIn company-page logo, 400 px PNG.

  LOGO-09 The Orbit, not the lockup, as a profile picture. Decided 2 November 2026; written without "generally" by Steven Brown, 3 November 2026.

• MustLOGO-10

  Don't make logos for products. Name a product in type, in Public Sans beside or under the TeraRecon lockup; a product name may be set as a plain wordmark, never with its own symbol.

  Why and source

  One mark keeps the master brand strong and spares designing, approving and policing one for every product. The category colors (p. 10) already tell the categories apart.

  LOGO-10 No product logos. Decided 8 October 2026; context clarified 3 November 2026 (documentation).

Which logo on each color

Light grounds: Charcoal

Cobalt and dark grounds: White

Bone and Cobalt: one job each

Never

Advanced visualization for every reading room

Ratios use the WCAG contrast calculation. This guide sets a 4.5:1 target for its approved logo/background pairings; that is TeraRecon's target, not a general WCAG requirement for logos. Screen colors shown; check print on a proof.

• MustLOGO-11

  Use the one logo color the table gives for the ground the logo sits on.

  Why and source

  The agency allows two colors on each kind of ground (p. 7); the table Logo color by ground narrows it to one, from the agency's examples and measured contrast. Keeping Cobalt for one-color jobs is our decision: the agency allows Cobalt on light grounds, and p. 4 sets the Cobalt Orbit above Charcoal text.

  Logo color by ground

  Ground	Logo	Why
  White, Bone, light grays, light photos	Charcoal	The default everywhere. 9.5–10.4:1.
  Cobalt, Deep Cobalt, the Cobalt Gradient, the Cobalt end of a category gradient	White	6.1–12.0:1.
  Charcoal, black, dark photos	White	10.4–21:1.
  Cyan or Aqua	Charcoal	White fails here (2.1:1 and 1.9:1).
  Flat Violet, Orchid, or any mid-tone	No logo	Nothing reaches 4.5:1; category solids are never full grounds.
  Dark ground where the other light elements are Bone	Bone	Rare: ask Steven Brown first. So the mark matches the type beside it.
  One-color jobs on a light material: single-spot print, promo items, embroidery	Cobalt (PANTONE 2935 C)	Rare: ask Steven Brown first. Only where Cobalt is the only ink or thread; never beside Charcoal type.

  Files: Lockup, Charcoal, 800 px PNG; Lockup, White, 800 px PNG.

  LOGO-11 Pick the logo color by the ground. Decided 7 October 2026.

• MustLOGO-12

  Use the Charcoal or the White logo. Exception: the Cobalt or the Bone logo, only with Steven Brown's approval for that piece.

  Why and source

  The brand kit gives employees the Charcoal and White lockups only. The guide keeps the Cobalt and Bone files for the cases named in the table Logo color by ground, under LOGO-11 Pick the logo color by the ground.

  LOGO-12 Charcoal or White; Cobalt and Bone by approval. Decided 26 October 2026; the exception written without hedges by Steven Brown, 3 November 2026.

• MustLOGO-13

  Over a photo, the logo goes only where the area is calm, the contrast is good and it covers nothing of the photo's subject; choose the logo color for the area directly under it. Over a pattern, choose the color the same way. Where no such area exists, or it is mixed, put the logo on a flat panel.

  Why and source

  See LAYOUT-05 One subject per panel. A shadow or outline added to make the logo read breaks LAYOUT-06 No image-editing effects.

  LOGO-13 Over a photo or pattern, judge the area under the logo. Decided 7 October 2026; the photo conditions decided 3 November 2026 (Steven Brown: "Logo is sort of in-between. It can only go over a photo if it is in a non-busy area with good contrast and, critically, is not covering the subject of the photo.").

• MustLOGO-14

  Set "See it through" in its outlined oval. The large, loose display treatment (p. 24, 25 and 31) is used only with Steven Brown's approval.

  Why and source

  The loose treatment runs the words large, with a rule after "it" (p. 24, 25), or stacked over particle flow on apparel (p. 31). LOGO-15 Size the tagline by its role sizes the oval by the tagline's role. A new lockup that combines the logo and the tagline needs Steven Brown's approval before it is used.

  

  LOGO-14 "See it through" sits in its oval. Decided 22 September 2026; the loose display treatment held for approval by Steven Brown, 3 November 2026: "Tagline will typically be in the oval for now."

• ShouldLOGO-15

  Set the tagline in its oval in both of its roles, and size it by the role: large as the main message, small as a signature.

  Why and source

  LOGO-14 "See it through" sits in its oval sets the oval; the loose display treatment needs Steven Brown's approval. As the main message: a closing panel, a booth header or a cover. As a signature: under the lockup on a feed post, a decal or a label.

  LOGO-15 Size the tagline by its role. Drawn from the examples in Agency guidelines R1 V4, pp. 13, 14, 23, 24, 25, 31; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."; both roles set in the oval by Steven Brown, 3 November 2026: "Tagline will typically be in the oval for now."; context clarified 3 November 2026 (documentation).

• MayLOGO-16

  Give the logo its own rounded bar under the main card, the same width as the card.

  Why and source

  A Bone bar with the Charcoal logo and the tagline oval at the right, or a Cobalt bar with the White logo.

  In our work: the booth, all the way round.

  LOGO-16 The lockup bar. Drawn from the examples in Agency guidelines R1 V4, pp. 23, 24; rewritten as a May in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

Category colors

• MustCOLOR-03

  Use Aqua, Violet and Orchid as gradients from Cobalt. Exception: as solids in small accents; never as a full-flood ground or on type.

  Why and source

  The only solid category color at size in the agency's examples is the chip inside a product tag (p. 20). As particle-flow pills, only in an approved pairing (Aqua on Cobalt, for print). A product slide, card or panel may sit on its category gradient (Cobalt into the category color, the dominant use on p. 10), with the White logo at the Cobalt end.

  COLOR-03 Category colors belong to products and stay small. Agency guidelines R1 V4, p. 10; type: decision 8 October 2026; written without "mainly" by Steven Brown's direction, 3 November 2026.

• MustCOLOR-04

  Aqua, Violet and Orchid, their tints and their gradients, appear only where the piece is about that category: Aqua for Advanced Visualization, Violet for Imaging Workflows, Orchid for Insights. Everywhere else the palette is Cobalt, Deep Cobalt, Cyan, Charcoal, Bone and White. A category color is never a neutral, a decoration or a tint behind unrelated content.

  Why and source

  COLOR-04 Category colors only where that service line is the subject. Decided 10 October 2026; Steven Brown, website restage iteration review; clarifies p. 10.

• ShouldCOLOR-05

  Keep the TeraRecon structure recognizable, and mark the category with a contained treatment such as a panel or a tag.

  Why and source

  Check: does the category read as TeraRecon while staying distinct from the other two? The agency shows this on one website family, so it does not require a Cobalt outer hero in every medium.

  COLOR-05 Keep category identity inside the master-brand frame. Drawn from the examples in Agency guidelines R1 V4, pp. 10, 20; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

Tertiary colors

• MustCOLOR-06

  Use the tertiary colors only in charts and graphs, never in hero graphics or large color fields.

  Why and source

  On the web they also mark clinical areas by a fixed map (WEB-06 Clinical areas take tertiary colors by a fixed map); those marks count as chart use.

  COLOR-06 Tertiary colors are for charts. Agency guidelines R1 V4, p. 11; the web's clinical-area marks counted as chart use by Steven Brown, 3 November 2026 ("It's a chart."), after the map decided 16 October 2026 ("We'll go with tertiary colors for body modules.").

Gradients

A category gradient that carries White copy changes its angle and stops: COLOR-11 White copy on a category gradient sits on the Cobalt end.

• MustCOLOR-07

  Use the gradients with these stops; Deeper Cobalt and the mid blue #0083FF exist only as gradient stops.

  Why and source

  When the Cobalt Gradient is used, its darkest corner is cropped outside the piece (p. 9). On screen, add slight noise or dither so a gradient doesn't band.

  COLOR-07 Gradients. Agency guidelines R1 V4, pp. 9–10; stops from the agency's InDesign file.

• MustCOLOR-09

  Text on Cyan or Aqua is Charcoal, never White: Charcoal measures 5.0:1 on Cyan and 5.4:1 on Aqua, White 2.1:1 and 1.9:1.

  Why and source

  It holds wherever text meets these colors, in any medium: a Cyan ground, a chip, a button or a tag.

  COLOR-09 Charcoal text on Cyan and Aqua. Decided 13 October 2026; Steven Brown, website restage decision D5, first as the web rule WEB-04; restated by color pair for every medium by Steven Brown, 3 November 2026: "One rule per color pair."

• MustCOLOR-10

  Text on Violet is White; text on Orchid is Charcoal.

  Why and source

  Violet and Orchid appear as solids only in small accents (COLOR-03 Category colors belong to products and stay small), so this pairing carries short labels such as a product chip. White on Violet measures 3.9:1 and Charcoal on Orchid 3.7:1: below the 4.5:1 that WCAG AA asks of ordinary text. The 3:1 allowance applies to large text: at least 18 pt, or 14 pt bold. A 12–14 px SemiBold chip is not large text. Logo/brand-name text has a specific exemption; a functional label does not become exempt because it uses brand colors. The other inks measure lower: Charcoal on Violet 2.7:1, White on Orchid 2.8:1. The chip sizes, and Steven Brown's acceptance of these chips (13 October 2026), are in WEB-05 Text on product chips.

  COLOR-10 White text on Violet, Charcoal text on Orchid. Decided 13 October 2026; Steven Brown, website restage decision B (category chips), first in the web rule WEB-05; restated by color pair for every medium by Steven Brown, 3 November 2026: "One rule per color pair."; context clarified 3 November 2026 (documentation).

• MustCOLOR-11

  A category gradient that carries White text runs at 315 degrees, with the category color at 0 %, #0083FF at 10 % and Cobalt from 26 %, and the copy sits on the Cobalt end.

  Why and source

  With the gradient's own stops (category 0 %, #0083FF 64.8 %, Cobalt 100 %), White copy over the lower half sits on the category color (1.9:1 on Aqua); White on Cobalt is 6.1:1. A category gradient that carries no White text, and every other gradient, keeps its own stops (COLOR-07 Gradients). On the web, a product card holds its copy column to 76 % of its width (WEB-07 Product card copy column).

  COLOR-11 White copy on a category gradient sits on the Cobalt end. Decided 13 October 2026; Steven Brown, website restage decisions D8 and B (panel contrast), first in the web rule WEB-07; restated for every medium by Steven Brown, 3 November 2026: "One rule per color pair."

• ShouldCOLOR-08

  Set headlines in White on Cobalt grounds and over particle flow, and in Charcoal on Bone and White. Keep Cobalt, Cyan and the category colors out of headlines.

  Why and source

  The grounds, from most to least used: the Cobalt Gradient, Bone, White around cards, and flat Cobalt in lockup bars. Charcoal is a ground only behind the White logo.

  COLOR-08 Text colors on grounds. Drawn from the examples in Agency guidelines R1 V4, pp. 2–34; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

Type styling

Web sizes: WEB-09 The web type scale, in 2.2 Digital and print.

• MustTYPE-03

  Set headlines and sub-headlines in sentence case, never Title Case.

  Why and source

  Capitalize the first word and proper names only: "See it through", "Where imaging, clinical intelligence, and action align".

  TYPE-03 Sentence case. Agency guidelines R1 V4, p. 13.

• MustTYPE-04

  Write "clinical intelligence", never "intelligence" alone: the headline reads "Where imaging, clinical intelligence, and action align".

  Why and source

  The agency's sample on p. 13 predates this decision and is kept as the agency wrote it. Use the new wording on every piece. "Imaging intelligence" stays as it is for now, as in "enterprise imaging intelligence".

  TYPE-04 Clinical intelligence. Decided 9 October 2026.

• ShouldTYPE-05

  Never leave a single word alone on the last line of a headline or sub-headline, and avoid it in body copy; break the line by hand, or rewrite.

  Why and source

  A one-word last line is called an orphan. Avoid widows too: a paragraph's last line stranded at the top of the next column or page. In PowerPoint and print, add a line break (Shift+Enter) before the last two or three words. On web pages, text-wrap: balance on headings and text-wrap: pretty on body text do it automatically.

  TYPE-05 No one-word last lines. Decided 8 October 2026.

• ShouldTYPE-06

  Set headlines left-aligned and ragged right, never hyphenated; a headline that is one phrase takes no period.

  Why and source

  • One phrase, no period: "See it through", "Coordinated imaging intelligence", "Zero-click 3D batching".
  • Two sentences keep their punctuation, and the line breaks after the first: "Everything you need. / All in one place.", "Questions? / We're here to help."
  • Break lines by sense, not by the box: "Where imaging, / clinical intelligence, / and action align".

  TYPE-06 Headline setting. Drawn from the examples in Agency guidelines R1 V4, pp. 3, 13, 14, 24, 25, 33; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

• ShouldTYPE-07

  Use capitals only inside category chips, product tags and buttons, never for loose labels or headlines.

  Why and source

  TYPE-07 Capitals only in chips and tags. Drawn from the examples in Agency guidelines R1 V4, pp. 20, 23, 26; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

• ShouldTYPE-08

  Keep the main message light, large and spacious, and set supporting text apart by size and position; keep heavier weights for small labels.

  Why and source

  Check: is the main message plainly the first thing read, with the supporting labels clearly below it?

  TYPE-08 Let scale and placement carry the headline hierarchy. Drawn from the examples in Agency guidelines R1 V4, pp. 13, 23, 24, 25, 26, 27, 28, 34; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

Anatomical particle flow

• MustGRAPHIC-05

  Make particle flow one flat pill color on one ground: no third color, no tint and no gradient in the pills.

  Why and source

  Contrast comes from pill size, not color.

  GRAPHIC-05 Particle flow is a duotone. Decided 8 October 2026.

• MustGRAPHIC-06

  Generated particle flow follows the pill geometry measured from the agency's files: pills on a hexagonal lattice, long and thin, nearly parallel to their neighbors, with one size value driving length, width and angle.

  Why and source

  Measured from about 28,000 pills in the agency's 26 August Illustrator files. Everything is in units of the pitch p, the distance between neighboring pill centers. The numbers are in tokens.json under pattern.pill; Duotone Studio draws to them by default, and build-source\measure_pills.py checks a generated file. Abstract fields also bend their flow along paths (p. 17), so a field has no single angle; the formula sets each pill's angle against the field's local flow.

  One Rhythm pill geometry, in units of the pitch p

  Property	Value
  Lattice	Hexagonal: rows 0.866 p apart, alternate rows offset p/2
  Size	One value s, 0 to 1, drives every dimension; a field is one grayscale size map
  Fine pills (most fields)	Width 0.073 + 0.136 s, length 0.306 + 0.908 s: aspect 4.2 to 5.8
  Bold pills (stand-alone Cyan-on-light image tiles)	Width 0.190 + 0.137 s, length 0.670 + 0.536 s
  Longest pill	1.21 p, so neighbors stay within about 27° of each other
  Angle (fine)	108 − 241 s + 96 s² degrees from horizontal: large pills lie flat, small ones vary
  Angle (bold)	78 − 55 s degrees
  Whole field	May be mirrored, or turned by up to about 20°

  GRAPHIC-06 Pill geometry: the One Rhythm standard. Measured 19 September 2026.

• MustGRAPHIC-07

  Never use White for the pills.

  Why and source

  Category colors may be pills where a pairing is approved, as Aqua on Cobalt is for print.

  GRAPHIC-07 Never White pills. Decided 8 October 2026.

• MustGRAPHIC-08

  Fade particle flow with a solid in the ground color laid over the pills, running from opaque to transparent, so the pills stay one color and sink into the ground.

  Why and source

  Measured: every faded field in the agency's final files is made this way, including p. 4's pale pills (Cyan under White at about 78%).

  GRAPHIC-08 A fade is a separate layer. Decided 8 October 2026.

• MustGRAPHIC-09

  Show anatomy at high contrast (Cyan on Bone or Cyan on Cobalt) so the body part is clearly identifiable, and use it where a 3D rendering is present.

  Why and source

  In our work: the booth, all the way round.

  GRAPHIC-09 Anatomy at high contrast. Agency guidelines R1 V4, p. 15.

• MustGRAPHIC-10

  Use the agency's particle-flow files, or particle flow that has been approved before use.

  Why and source

  Approval comes from Steven Brown, who also has the agency's files.

  Files: The agency's particle-flow and rendering files.

  GRAPHIC-10 Pre-approved particle flow only. Agency guidelines R1 V4, pp. 15–17.

• ShouldGRAPHIC-11

  On screen, put particle flow on the Cobalt Gradient most of the time; flat grounds give variety.

  Why and source

  

  GRAPHIC-11 Digital particle flow sits on the Cobalt Gradient. Decided 8 October 2026.

• ShouldGRAPHIC-12

  Keep particle flow inside a rounded card, not edge to edge on a page. Exceptions: environmental wall bands and apparel.

  Why and source

  GRAPHIC-12 Particle flow inside rounded cards. Drawn from the examples in Agency guidelines R1 V4, pp. 14–31; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

Abstract particle flow

• ShouldGRAPHIC-13

  Choose an approved field whose direction suits its job: anatomy that reads as a body part, or abstract flow that moves along paths.

  Why and source

  Anatomical fields run in near-parallel diagonals; abstract fields bend along their paths (GRAPHIC-06 Pill geometry: the One Rhythm standard). Use the supplied files (GRAPHIC-10 Pre-approved particle flow only). The agency gives each field its job: anatomy "helps anchor the TeraRecon visual language in the world of medical imaging" (p. 15), and abstract flow "creates a sense of momentum and intelligent connection while adding depth and energy to layouts" (p. 16). So anatomy suits a piece about seeing the body in imaging, and abstract flow a piece about data and workflows moving.

  GRAPHIC-13 Match particle direction to the kind of field. Drawn from the examples in Agency guidelines R1 V4, pp. 15, 16, 17; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."; context clarified 3 November 2026 (documentation).

Precision marks

02TeraRecon
Intuition

• MustGRAPHIC-14

  Never put precision marks and particle flow in the same composition.

  Why and source

  As drawn on p. 18: ten hairline marks in a mid gray (#8D8E89), evenly spaced from 10% to 90% of the card's width, each about 2.5% of the width tall, standing on an Aqua Gradient edge strip about 5% of the width deep.

  GRAPHIC-14 Not with precision marks. Agency guidelines R1 V4, p. 18.

What makes it work

Do and avoid

Bentos on one grid

Four layouts on the same 8 × 8 grid. Each panel spans whole modules, given as columns × rows, and holds one subject.

The layout rules

• MustLAYOUT-01

  On a framed piece, make the border 4% of the artboard's short side, the same on all four sides, in the ground's color, Bone or White.

  Why and source

  Anything from 3.5% to 4.5% is fine. On a printed piece the border is never under 1/8 in: the trimmer drifts by 1/32 to 1/16 in, and a thinner border shows it as one side thicker than the other. On screen, round to whole pixels. The border is the ground showing around the panels (LAYOUT-02 Grounds alternate as they nest). Full-bleed pieces, the environmental band (p. 30) and apparel (p. 31) have no border. The agency's framed pieces measure 3.4% to 4.4% (pp. 23, 24, 25 and 28).

  The border at 4% of the short side

  Artboard	Short side	Border
  Slide or screen, 1920 × 1080 px	1080 px	43 px
  Letter brochure or flyer, 8.5 × 11 in	8.5 in	0.34 in (about 11/32 in)
  Poster, 24 × 36 in	24 in	0.96 in
  Card, 5 × 7 in	5 in	0.2 in (3/16 in is inside the range)
  Business card, 3.5 × 2 in	2 in	1/8 in, the print minimum

  LAYOUT-01 Border width. Decided 9 October 2026; measured on the agency's p. 23, 24, 25 and 28 (visual ledger 5a); the border's color set to the ground's, Bone or White, by Steven Brown, 3 November 2026.

• MustLAYOUT-02

  Alternate grounds as they nest: a Bone ground holds White panels, and a White panel may hold Bone bentos. Never set a panel directly on a ground of its own color.

  Why and source

  Bone is the default ground on the web. The border of a framed piece takes the ground's color (LAYOUT-01 Border width).

  LAYOUT-02 Grounds alternate as they nest. Decided 3 November 2026; Steven Brown, on the brand guide audit: "I really like bone as a background on web… bone as a background, white for a div, and bone again as a bento is possible."

• MustLAYOUT-03

  Lay out a square piece at 1200 × 1200 px on the 8 × 8 grid: a 48 px margin, 16 px gutters, 124 px modules and a 24 px corner radius, with every panel spanning whole modules.

  Why and source

  Every other format takes the same grid, worked out from its short side: a margin of 4% of the short side, rounded to whole pixels and the same on all four sides (LAYOUT-01 Border width); a gutter of 1/75 of the short side; eight modules across the short side; and on the long side, the number of rows that keeps the modules closest to square, with the remaining length divided evenly. Where the pixels don't divide evenly, modules differ by at most 1 px. A format 3:1 or wider, such as a banner or an email header, takes 12 full-height columns instead, with the same margin and a gutter of 1/75 of the long side; its columns differ by at most 1 px. The corner radius is 1/50 of the short side. The table under The grid gives the common formats. The eight-panel arrangement is for a poster, booth or brochure; a feed post takes fewer panels, so it stays uncrowded. The Italy LinkedIn ads sit off this grid by 8 px across and 34 px down: their photo and brand panels are 832 and 256 px wide and 718 px tall over a 370 px copy panel, where the grid's 6 + 2 columns over 5 + 3 rows give 824 and 264 px over 684 and 404 px. Their brand panel is sized from the lockup and its clear space (28 + 200 + 28 px).

  The grid for common formats, in px: under The grid.

  LAYOUT-03 The square grid: 8 × 8 at 1200 × 1200 px. Decided 3 November 2026; Steven Brown, adopting the grid drawn for the Italy LinkedIn ads as the standard for square pieces; every other format worked out from its short side, with the margin equal on all four sides, by Steven Brown, 3 November 2026: "Keep the border equal."; context clarified 3 November 2026 (documentation).

• MustLAYOUT-04

  Make the design with the layout: place and size each panel precisely, and let the photograph fill it, cropped only by the panel's edge.

  Why and source

  A product stands in its real or studio setting (see PHOTO-01 Product UI on real devices), and the panel's corners are the only crop. Masking or cutting out a product comes under LAYOUT-06 No image-editing effects.

  LAYOUT-04 Frame the scene, not the prop. Decided 2 November 2026; Steven Brown, on the Italy LinkedIn ads: "We achieve design through precise layout within frames, not through masking individual props."; masking moved to the one effects rule, 3 November 2026 (Steven Brown).

• MustLAYOUT-05

  Give each subject its own panel, and never layer one subject on top of another: no copy over the product, and nothing breaking out of its frame.

  Why and source

  A subject is what a panel is about: a photograph, a rendering, the product UI or a block of copy. The logo is not a subject: it may sit over a photo only as LOGO-13 Over a photo or pattern, judge the area under the logo allows.

  LAYOUT-05 One subject per panel. Decided 2 November 2026; Steven Brown, on the Italy LinkedIn ads: "We do not layer subjects on top of each other."

• MustLAYOUT-06

  Use no image-editing effects: no masking or cut-outs, drop shadows, bevels, glows, blurs or anything like them, on panels, cards, photographs, products, logos, buttons, chips or type.

  Why and source

  Depth comes from the ground: White panels on a Bone ground, Bone bentos in a White panel (LAYOUT-02 Grounds alternate as they nest), a hairline in Charcoal at low opacity, or a tone step within the palette. The shadows inside a photograph are real light and stay.

  LAYOUT-06 No image-editing effects. Decided 2 November 2026; Steven Brown, on the Italy LinkedIn ads: "We eschew photoshop-like tricks and effects; masking, drop shadows, bevels, etc."; merged with "No drop shadows" (decided 10 October 2026, website restage iteration review) into one Must by Steven Brown, 3 November 2026.

• MustLAYOUT-07

  Lay out panels on a clean grid: one margin, one gutter and one corner radius for the whole piece, with every panel edge on a grid line.

  Why and source

  LAYOUT-03 The square grid: 8 × 8 at 1200 × 1200 px gives the numbers for a square piece.

  

  LAYOUT-07 Panels on a clean grid. Decided 2 November 2026; Steven Brown, on the Italy LinkedIn ads: "Emphasize the importance of clean grid systems."

• ShouldLAYOUT-08

  Give each module one job, such as the message, the image or the attribution, then assemble the composition. Modules may differ in size and still read as one piece.

  Why and source

  Check: can a reader tell the main message, the supporting image and the attribution apart at a glance? LAYOUT-05 One subject per panel is the Must behind this.

  LAYOUT-08 Divide the composition into distinct jobs. Drawn from the examples in Agency guidelines R1 V4, pp. 1, 14, 23, 24, 25, 28; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

• ShouldLAYOUT-09

  Align related edges, keep the gaps between modules even, and let the ground show as a frame around the composition.

  Why and source

  LAYOUT-07 Panels on a clean grid sets the numbers. Environmental bands and apparel are not framed. Check: do the edges and gaps group what belongs together?

  LAYOUT-09 Keep a visible frame and a consistent gutter rhythm. Drawn from the examples in Agency guidelines R1 V4, pp. 14, 23, 24, 25, 28; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

• ShouldLAYOUT-10

  When the aspect ratio changes, keep the reading order and each element's role, and choose a new arrangement and crop for the new space.

  Why and source

  Compose a phone layout for its space rather than shrinking the desktop one. Check: does the narrow format keep the same message hierarchy?

  LAYOUT-10 Recompose for the format. Drawn from the examples in Agency guidelines R1 V4, pp. 23, 25, 26, 28; rewritten as a Should in our own voice by Steven Brown's direction, 3 November 2026: "We are the source of truth, we don't need to refer back to the agency."

Usage by category

• MustRENDER-02

  Feature 3D renderings in Advanced Visualization, use them in a supporting role in Imaging Workflows, and keep them minimal in Insights.

  Why and source

  In compositions, colorize renderings within the spectrum shown on p. 19. The agency's examples put renderings on White rounded tiles, also inside a gradient card.

  

  RENDER-02 Renderings lead in Advanced Visualization. Agency guidelines R1 V4, pp. 19–20.

Agency guidelines R1 V4, p. 20

The use of anatomical 3D renderings should align with the role imaging plays within each category. Renderings are used most prominently within TeraRecon Advanced Visualization, where rendering output is core to the offering. Within TeraRecon Imaging Workflows products like TeraRecon Detect, renderings should play a supporting role alongside workflow and connectivity-focused visuals. Within TeraRecon Insights, use should be minimal, with greater emphasis placed on data, intelligence, and analytics. This approach ensures each category remains visually aligned to its purpose while maintaining consistency across the TeraRecon portfolio.

Print

• MustPRINT-01

  In print, use the PANTONEs from the palette and expect them to be duller than the screen; use CMYK only as a fallback, knowing it can't reach Cobalt.

  Why and source

  Cobalt sits 15.6 ΔE (a measure of visible color difference) from its ink, and Deeper Cobalt has no ink.

  PRINT-01 Screen is master; print is the nearest ink. Decided 8 October 2026.

• MustPRINT-02

  Print particle flow as two flat spot inks, one for the pills and one for the ground, from the pairings above.

  Why and source

  The pairings are the rows of the table Print pairings at the top of 2.2 Print; the table under this rule gives each pairing's inks and contrast.

  Print pairings

  Pills on ground	Inks	Contrast, screen / ink (ΔE)
  Cyan on Deep Cobalt	2995 C on 293 C	54.3 / 39.6, the strongest on screen
  Cyan on Cobalt	2995 C on 2935 C	38.9 / 31.4
  Aqua on Cobalt	3115 C on 2935 C	47.6 / 41.5, the strongest in ink
  Deep Cobalt on Cyan	293 C on 2995 C	54.3 / 39.6
  Cyan on White	2995 C on paper	28.6 / about 31.6
  Cyan on Bone	2995 C on 25% 2330 C	not measured

  PRINT-02 A print duotone is two spot inks. Decided 8 October 2026.

• MustPRINT-03

  Run a print gradient only between two inks the job carries, at most PANTONE 2935 C → 293 C, with noise added against banding; when the printer can't hold two spots, use a flat spot ground.

  Why and source

  PRINT-03 Print gradients run between two inks. Decided 8 October 2026.

• MustPRINT-04

  Make print fades the same way as on screen: the ground ink as a tint over the pills, running to zero; get a proof.

  Why and source

  PRINT-04 Fades in print. Decided 8 October 2026.

• MustPRINT-05

  Use the spot pairings for offset and wide-format spot printing, and flat grounds for CMYK-only jobs; proof fabric (dye-sublimation banners and walls, called SEG, and apparel), which prints flatter than the swatch book.

  Why and source

  Extended-gamut printing is the printer's call.

  In our work: the booth, all the way round.

  PRINT-05 By process. Decided 8 October 2026; written without "prefer" by Steven Brown's direction, 3 November 2026.

• MayPRINT-06

  For hero print pieces that should glow like the screen, a neon Cyan (PANTONE 801 C) on 2935 C may be proofed; it is not adopted.

  Why and source

  PRINT-06 Open question: a neon Cyan. Decided 8 October 2026.

RSNA 2026, Booth 6109 | North Hall

Delivered Print files filed 8 October 2026; previz render 5 October 2026

Drag across the picture, or use the slider, to walk around the booth.

Employee brand kit and PowerPoint template v1

Delivered 8 October 2026

The Teams, LinkedIn and email art is under Files. The template's first version:

RSNA 2026 table decal and sanitizer lockup

Delivered Lockup delivered 7 October 2026; decal proof 8 October 2026, in review, shown as the newest design

Homepage hero field

Delivered 16 September 2026