Gem Paper

Building a Corporate Theme

Your assignment is simple. Fire up your desktop publishing software and produce a series of printed pieces that look the same, only different. They may be your corporate identity materials… letterhead, envelopes, business cards, etc. Or there may be several related marketing pieces such as an ad, a brochure and a direct mail package. Whatever the project, you are now in theme-building territory. Try these tools to create a cohesive series and still give each piece some individuality.

Type

Consistent use of type from piece to piece is a powerful theme-builder. Use the same combination of fonts for heads, subheads and body copy. For a little variety, try different versions of fonts for different pieces - Helvetica Condensed Black Oblique for a poster headline, for instance, and Helvetica Condensed Bold for a flyer headline. It is best to use postscript fonts in your desktop publishing program if you intend to send your files to a service bureau or commercial printer.

Graphic Images

Defining exactly how graphic images create a cohesive look in a series can be tough - but you know it when you see it. Sometimes a graphic element like a starburst on each piece will do it. You can vary the size and position of the graphic and still maintain a common element. Or screen back the image and run your text over it. The image will still be there in the background, providing a subtle link from piece to piece.

Another option is to use the same style of illustration or photograph for each piece. Consistent placement and proportion of the images can heighten the connection. For example, a large outline photograph in the lower left corner of each piece may be appropriate. Or a certain weight or style of rule associated with the headings at the top of each piece.

Color

Color is another method for providing continuity that can range from subtle to screaming. Different ink colors that share the same hue, value or intensity can give each piece a family look. Color can help organize information, too, such as subheads printed in the same color on all pieces. Background screens of the same color on each piece provide more subtle continuity. Another possibility is to use paper colors that share a family look - pastel color paper, for example.

In print communication, color can support your message in many ways. It can help organize information. It can help guide the eye through the piece. It can draw attention to specific areas or add variety to otherwise monotonous chunks of text.

But before you get carried away with the 256 million colors available with most desktop publishing programs, here are some tips to ensure the colors you choose enhance your communication message -instead of obscuring it.

A common device that’s used to organize colors is a color wheel. Usually divided into 10 segments, the wheel displays colors according to their sequence in the spectrum. Each of the segments represents a family of colors - hundreds or thousands of slight variations that nonetheless share common ancestry. There are four common color schemes you can use to coordinate your color selection.

Monochromatic schemes use hues that lie within one segment - sort of a subtle variation on a theme. The result is a harmonious range of brighter or duller tones in the same color. Easy, effective and elegant.

Analogous schemes include colors that are separated by one segment on the color wheel. These usually go together as well as monochromatics, especially when one color is dominant.

Contrasting schemes are colors separated by three segments. This strategy is trickier because some combinations clash. One trick is to make the duller color dominant and use the brighter one sparingly for accent. This approach yields a lively result.

Complementary schemes use colors that are opposites on the color wheel. Be careful because this strategy can backfire, leaving you with garish combinations that assault the eye. You can back it down by using one color as a dominant and the other as an accent.

One thing to remember is that the printing process can only approximate the colors you select when preparing your desktop publishing files. Regardless of your printer’s expertise, some variations will occur due to paper, humidity, inks, the press and other variables. But with a grasp of some underlying theories behind the effective use of color, you’ll be better prepared to choose colors that advance your communication objectives.

The two most common desktop publishing programs are Adobe Indesign and QuarkXpress.