Graphic Design That Works

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One Step Beyond

In design, the use of color is not dictated by current trends, like in fashion or textiles,

but by the communication that needs to be delivered. Color is used to call attention

to certain focal points and to add support to the overall mood and message of a

piece. According to Josef Albers, “Color is the most relative medium in art.” And he’s

right. You can drastically change the overall communications of a piece by merely

varying the intensity, temperature, value, or placement of color. When making decisions

about color, it is important that you have the proper working environment. Neutral

surroundings and color corrective lights can aid greatly when making subtle color

distinctions.

When choosing a color scheme, try to vary the values—the lights and darks—instead

of the hues. You will get a lot more impact that way. Having too many different

colors in a piece is similar to trying to capture attention by shouting at a noisy

concert. By limiting the palette, you can better control the communication that is

being delivered. There has been a lot of study into the symbolic and psychological

aspects of color. It is said that certain colors, by their nature, evoke certain emotions,

while others have developed a symbolic or inherent meaning over time. But,

because color is relative to how one uses it within a layout, these theories do not

always apply for every situation. Furthermore, when picking colors, designers don’t

have to stick exclusively to PMS or process colors. “You can special-match things. As

designers, we have to be a bit more inventive and studious in order to get our clients

noticed,” adds art director David Salanitro. “You can be a designer that specs things

out of a catalog or you can create.”

Because most inks are transparent, the color, texture, and surface of the paper you

use can alter the colors you choose. “Paper has an effect on the way you will deliver

a message,” says art director Michael Barile. “Coated paper offers the most range of

information—retaining sharpness in color and detail while uncoated paper can be a

lot less controllable.” Because we see color that is reflected off the surface of a

paper, anything that changes the surface will affect the color that is perceived.

“When experimenting with paper and color, the best thing to do is to get in touch

with the paper manufacturer and request samples that show the use of various tech-

niques on a particular sheet,” notes art director Randy Smith. “A printer can also act

as a great resource of information.” When used effectively, color can add impact and

interest to any communications device.

Effectively Using Color

Graphic Design That Works

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W)

26

C

LIENT:

Wausau Papers is promoting its

Astrobrights fluorescent paper line.

FIRM:

SVP Partners

ART DIRECTOR:

Randy Smith

DESIGNERS:

Randy Smith, Bob Vitale, and Jean

Page

PHOTOGRAPHER:

Various stock

COPYWRITER:

Randy Smith

ABOVE: The storytelling

brochure details the life of

the shy guy who, after using

Astrobrights, is no longer shy.

The colorful piece helps to

promote the fluorescent paper

line called Astrobrights to the

graphic design community. It

was handed out at shows and

mailed in a striking fluorescent

pink envelope.

RIGHT: Each spread shows the

versatility of the fluorescent

line of papers through the

application of a variety of inks

and production techniques.

Opaque whites are used under

the duotones to decrease the

intensity of the paper color and

make the lights pop. Foil

stamping, thermography, and

silver ink are also used

throughout. A fold-over binding

adheres several Japanese-folded

pages—giving the piece weight

and breath.

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CLIENT:

Robertson-Ceco Corporation makes

prefabricated metal buildings.

FIRM:

Reservoir

ART DIRECTORS/DESIGNERS:

David Salanitro and Ted Bluey

PHOTOGRAPHER:

Reservoir

COPYWRITER:

Reservoir

ABOVE RIGHT: The annual report,

boldly entitled

Build with Metal,

serves as a resource for builders

and architects, an educational

tool for investors and the finan-

cial community, and a manifesto

for building with metal. A special

match silver and an opaque

black were both double-hit to

create a smooth and solid coat.

The silver was also dull varnished

to give the appearance of metal.

RIGHT: Because the piece was

very technical in nature, the

design team tried to keep the

reader interested by making

each page different and exciting

to look at. Each chapter empha-

sizes an advantage of working

with metal—like strength, speed,

value, flexibility, and imagination.

A bold and architectural feel in

the layout, type, and use of color

is carried throughout.

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