The booklet includes headings for various aspects of composition: Text Composition; Indenting of Paragraphs; Punctuation Marks and Spelling; Capitals, Small Capitals, and Italics; References and Footnotes; Folios; The Printing of Plays; The Printing of Poetry; Make-up.
Beyond this specific set of guidelines, Tschichold made further changes to Penguin's graphic standards.
According to Tschichold establishing this quality was not immediately embraced by the compositors; “Every day I had to wade through miles of corrections (often ten books daily).
I had a rubber stamp made: ‘Equalize letter-spaces according to their visual value.’ It was totally ignored; the hand compositors continued to space out the capitals on title-pages (where optical spacing is essential) with spaces of equal thickness.”[3] Along with Gill Sans, Tschichold made use of Monotype Bembo, Monotype Centaur (by Bruce Rogers) and Gill's Perpetua typeface.
For Penguin's distinctive orange color, Tschichold replaced it with a warmer tone.