When Color Matters

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You’re designing a new brochure, flyer, or newsletter and want to make sure it looks great. You’re considering printing it full-color, but aren’t sure if that’s the best option to choose, considering your budgetary needs. Here are some tips to help you decide how many colors to use and how to make the most of the colors you choose.
When to use spot colors…
  • You only need one or two colors for the printed piece.
  • Your project doesn’t include any full-color photos.
  • Your corporate colors need to be reproduced to exact specifications and cannot be reproduced faithfully enough by combining cyan, magenta, yellow, and black (CMYK)… the four “process” colors.
  • Your project calls for fluorescent, metallic, or other special inks.
When to use process color…
  • You need more than two colors.
  • Your piece includes full-color photos.
When to use both…
  • You want to enhance the colors by including a “bump” plate (an extra printing plate set up in one of the four process colors and meant to enhance that tone).
  • Your project includes full-color photos, but your logo or corporate colors don’t reproduce well with process color inks.
  • Your project includes full-color photos and also requires metallic, fluorescent, or other special inks.
No matter what color combination you choose, there are some things you can do to ensure your project goes more smoothly. For example, as you’re preparing your artwork, make sure you aren’t “duplicating” any colors. Look through the color palette in your page layout software. Remove any duplicate colors you find, and reassign the corresponding objects and layers accordingly.
Also make sure you give your colors the same names in each application you use for the project. For example, make sure you give the color the same name in InDesign as you give it in Photoshop and Illustrator. This will help reduce confusion and ensure the colors separate properly when preparing the piece for print.
And finally, if you decide to go with process printing, use your design software to convert any spot colors you have to their CMYK equivalents. When doing so, double-check the values the software assigns, to ensure good printability. For example, if Photoshop gives a color a 1% magenta value, you might want to do some tweaking to eliminate the need for that value. We’ll be happy to help you optimize your files for print and answer any questions you have while producing your files.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Typographical Terms

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The following is a short list of common typographical terms:

  • The baseline is the invisible baseline that type sits on.
  • Body copy, body text, and sometimes just plain body or text refer to the main block of text that you read, as opposed to headlines, subheads, titles, etc. Body text is usually between 9 and 12 points in size.
  • A bullet is a little marker typically used in a list instead of numbers or between words. This is the standard bullet: •
  • A dingbat is a small, ornamental character. You might have the fonts Zapf Dingbats or WingDings, which are made up of dingbats.

  • Elements are the separate objects on the page. An element might be a single line of text, a graphic, or a group of items that are so close together they are perceived as one unit. To determine the number of elements on a page, squint your eyes, and count the number of times your eye stops to see each separate item on the page.
  • Extended text refers to large amounts of body copy (see above), as in a book or long report.
  • Eye flow refers to the way someone moves their eyes around a page. Designers need to become more conscious of this flow and design accordingly.
  • Justified type lines up flush on both the left and the right edges.

  • A rule is a drawn line often used under headers.
  • White space is the space on a page that is not occupied by any text or graphics. Beginners tend to be afraid of white space. Professional designers use lots of it.
  • Trapped white space occurs when the white space (see above) on a page is seemingly “trapped” between elements (such as text or photos), with no space through which to flow.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Color on Color

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Two-color printing adds life to a printed piece without draining the budget. Now you can make those two colors work a little harder by using a technique called overprinting. Overprinting involves the layering of two ink colors to create a unique third color. By doing this you can create many new possibilities for creative design. Not only will this process intensify the colors you are already using, you can often achieve a third color at no additional printing costs to you.
A quick glance at how to overprint:
Shown here is an example of how you might use overprinting to achieve the effect of a third color. The color PMS 299 and PMS 233 overlap, producing a third color similar to PMS 268.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Stationery Paper Basics

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With so many papers available, how do you decide what papers to spec for your business stationery? Here are a few basics to keep in mind. For more advice, talk to one of our customer service representatives. We’re experts at choosing the perfect paper for every job.
  • Start with the basics. Letterhead is typically printed on an uncoated, 20 to 28 pound bond paper. For business cards, consider an uncoated, 80 pound cover stock. If your design includes photos or other fine touches, choose a coated stock instead, for better print quality and clarity.
  • Know your limitations. Check your office laser or inkjet printer’s specifications before selecting a stock. You don’t want your letterhead’s weight to exceed the limitations of the office equipment you plan to use it on.
  • The color of paper you select will affect how inks appear when printed on it. Even different shades of white can affect print quality in different ways. Make sure you select a paper that will complement the ink colors needed for the design.
  • In the same way, it’s generally a good idea to avoid darker colors or distracting background images. Otherwise, your correspondence may be difficult to read when printed on your letterhead.
  • Study the samples. All of the major paper companies provide sample books filled with examples of the various papers they have to offer. Many even show how different inks appear when printed on the page. Visit our print shop to take a look at these sample books and to get our advice for selecting a paper that’s right for you.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct marketing, graphic design and marketing – 318.868.3351

The Risk of Over Designing

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Simplicity is often seen, but it s a concept that is not easily explained. For some graphic designers, it’s second nature. For others, it involves much forethought. Today’s designers are trending toward more simple, clutter-free designs, as they return to simplicity. Here are some examples of how the traditional theme of less is more is used:
Advertising
  • Not only can simple ads grab attention, but their short and to the point messages are also easier to comprehend. The concept of “less is more” is especially effective when writing ad copy.
Catalogs and Brochures
  • Catalogs and brochures are expected to be a vast source of information, yet readers appreciate when they are simplified, organized, and easy to read and comprehend. Simplicity is often its own reward since it encourages increased use.
Packaging
  • Like a poster, a package needs to attract the eye within seconds of its initial viewing. In recent years, shelves have been jammed with products whose designers have attempted to out-design one another. This gives simple package designs featuring primary colors, bold copy, white space, and clean design the ability to effectively break through the clutter.
Identity
  • Not only do logos convey the personality of a company, but they also offer a memorable impression. Simple designs that incorporate a company’s complex ideas are the root of a logo’s power.
One of the perks of being a designer is the ability to develop a personality or character for a company or product. For designers, simplicity means a return to basics, but not at the expense of creative design.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Designing Successful Newsletters

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Newsletters have become a great way for businesses to spread information, “tell their story,” solidify customer loyalty, and increase sales.
Here are a few tips to keep in mind while designing your company newsletter:
  • Content Is Important – Successful newsletters provide interesting content for their readers, in addition to product information from the newsletter provider.
  • Color Draws the Eye – Use multiple colors of ink to draw attention to important articles and information. Two-color newsletters are very effective, and full-color newsletters are gaining popularity.
  • Pull Quotes Create Interest – Pull quotes create interest and increase the likelihood that an article will be read. These quotes are taken directly from the article and focus on interesting, key points.
  • Good Design Provides More Room for Copy – A well-planned and designed newsletter can contain 20% to 30% more content than a casually designed newsletter. Seeking advice from professional graphic artists is often profitable. They can help design an effective template for your future use.
  • Good Back Page Design Is Important – An estimated 15% of readers start reading at the back page of a newsletter and work their way to the front page.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Breakthrough Brochures

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  • Use color to focus attention on your main selling features and to improve the perception of quality. Two colors are better than one, and full-color printing is better yet.
  • Using a glossy paper will often make your brochure look more professional.
  • Avoid the temptation to try to jam too much information into a small space. In good brochure design, less is more.
  • Don’t overlook the value of white space to bring a clean look to your design and to help accentuate key selling points.
  • For readability, consider using a serif type for body copy. Studies have shown that serif type is easier to read. Sans serif type is good for headlines and subheads.
Other Good Ideas:
  • If you will be mailing your brochure as a self-mailer, consider applying a coated finish (varnish) to the printing. The coating will help prevent scuffing — ink being rubbed off by the post office’s mail-sorting equipment.
  • For the best impression, consider mailing your brochure in a matching envelope.
  • For a unique sales and marketing twist, consider applying a small label somewhere on the brochure to draw attention to a special feature, special pricing, a sales rep’s name, or a toll-free number.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Creative in Black & White

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With the extreme popularity of high resolution computer screens on the desktops of designers everywhere, it is easy to forget that simple black ink on white paper still provides an economical and extremely creative approach to design.
If you’re on a limited budget, need something printed fast, or need an alternative idea, why not design your next project in black and white?
  • Consider the following ideas from Give Five, an outreach organization that unites adults with children in need:
  • Consider creating an ad with screens (gray shades) — these are easy and inexpensive to reproduce in a variety of media.
  • Strive to create a layout that draws attention to the ad and also helps it stand apart from the (inevitable) crowd.
  • Cheap art: The hands featured in these ads were photographed using a desktop scanner and then manipulated in Adobe Photoshop. Keep ideas like this in mind when looking for budget solutions for a project.
  • This spread: Ads that call for attention through a variety of easily produced black-against-white illustrations and graphic styles.
There are endless ways to display an ad’s content, even when restricted to a single color of ink. Explore.
Explore and Consider:
  • Hand-drawn elements
  • Cartoons
  • Unusual border treatments
  • Linework around and/or inside the ad
  • Interesting, bold typography
  • Sideways elements
  • Reversed text/graphics

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Communicating with Color

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Next time you want to make a bold statement, try saying it with color!
Depending on what type of message or meaning you wish to convey, the color combinations you choose can support, emphasize, or contradict your message. Color stimulates the senses, symbolizes abstract concepts and thoughts, expresses fantasy or wish fulfillment, and produces an aesthetic or emotional response.
According to the Institute for Color Research, humans make a subconscious judgment about a person, environment, or item within 90 seconds of initial viewing, and the majority of that assessment is based on color alone. Because color delivers an instant impression that is generally understood universally, color is very important in conveying a mood or idea where verbiage is not used or understood.
The power of color combinations can also be seen on many levels of marketing communication, including corporate identification and logos, signage, television ads, billboards, print media and packaging, online web sites, and on point-of-purchase displays.
Here is a small sampling of dominant colors and the responses they elicit:
  • Red: Exciting, energizing, sexy, hot, dynamic, stimulating, provocative, aggressive, powerful
  • Bright Pink: Happy, attention-getting, youthful, spirited, fun, wild
  • Light Pink: Romantic, soft, sweet, tender, cute, babies
  • Orange: Fun, childlike, harvest, juicy, friendly, loud
  • Beige: Classic, sandy, earthy, natural, soft
  • Brown: Wholesome, warm, woodsy, rustic, durable, masculine
  • Purple: Royalty, powerful, expensive
  • Light Blue: Calm, quiet, peaceful, cool, water, clean
  • Bright Blue: Electric, vibrant, stirring, dramatic
  • Bright Yellow: Enlightening, sunshine, cheerful, friendly, energy, happy
  • Black: Powerful, elegant, mysterious, bold, classic, magical, nighttime
  • Silver: Classic, cool, money, valuable, futuristic
  • Gold: Warm, opulent, expensive, radiant, valuable, prestigious

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Paper Potential

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Paper is often taken for granted. Even by designers.
Older than Jesus
The first sheets of paper were made in China in about 200 BC. Since then, it has become indispensable. Paper was originally intended to be purely a carrier of images and scripts, but because of its natural properties — strength, flexibility, and durability — and its low costs, it has subsequently been developed and exploited to produce a vast variety of items from disposable clothing to loudspeaker cones. However, the main use of paper continues to be as a surface on which to print information.
It Doesn’t Have to Be White
In recent years, there has been an encouraging increase in experimentation with different sorts of papers and in the diversity of techniques, both traditional and new, which designers apply to them. Whereas in the past there may have been some resistance to this, both printers and manufacturers are now becoming increasingly accommodating.
The Choice
For designers, choosing the right paper for a job should be just as important as choosing the right typeface — both decisions are part of the designer’s creative input. However tight the brief, however demanding or restricting the client, the choice of paper is generally made by the designer.
At our print shop, we specialize in searching out beautiful, alternative papers. Would you believe we have over 463 different papers available, over 86 different kinds of white paper, 200 different colors, and 31 different textures?
We care, because paper matters.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351