Help w/healthcare services trifold (rev. 1, part 2 of 2)
catherine_seemann (19 points) | Thu, 2009-08-13 20:03
(Note: Rev. 1, part 2 of 2)
2nd page of healthcare services trifold.
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This is Definitely MUCH better!!!! Not sure about the colors so much, but it's a huge step up from first version.
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The top right text is a little long. Lines of text that long reads uncomfortably. Round 10 to 12 words, max 15 is the optimal length for a line to prevent strained reading.
As ladylee said, your colours don't seem to work together harmoniously. Here's an idea: Pantone offers free software called MyPantone which you can download from their website if you register as a user. It works for free with RGB and CMYK, but you have to buy Pantone Libraries. (Just $10 though). It offers a great way to find colour matches from your base colour giving Analogous, Complementary, Triadic, Split Complementary and Tetradic palettes.
You can also use Adobe's Kuler which has some awesome community created palettes.
If you keep your ears open, you'll see better.
I find the whole layout to be very "choppy" - not sure where to start reading first. It lacks a "flow" to it. And I agree with Mintsauce; the top right text needs to be broken into two columns for easier readability. Unfortunately, that will make it even more choppy than it already is.
I don't mind the colors, I think they go together ok. But I don't like the gold/tan text. Have your considered just using a gray or black?
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Thanks for the feedback! I actually did use Kuler to try to find a good color scheme, but had to base a triadic on that rather dark green, which is the organization's signature color. If anyone has specific suggestions on how to soften the look, that'd be great.
I've heard that using tints of CMYK can be tricky on the press and that I should see if I can make the brown using just 1 or 2 colors. Thoughts?
Also: Felt the choppiness as well, but not sure how to correct it without changing the overall look. Will try moving around some photos.
Thanks again!
There really is no such thing as "tints of CMYK." All process colors, from the palest to the heavily saturated, are simply different formulas built by using (or not using!) the four process colors. (Each color is called a build; your purple and lighter lavender, for instance, are two separate builds, not a dark color and a screen, or tint of it, even though you might have arrived at it by dividing each of the purple's CMYK percentages by the same number to arrive at it -- and even though we might refer to it casually as a screen of the darker color.) Your press operator should be able to produce a finished product that matches your specifications, if you are using a standard reference, such as the Pantone Process Coated colors. Of course, variations in paper stock can affect the outcome of your color choices, so it's important to take that into consideration, too.
It goes without saying that you get what you pay for; process work done on the cheap through some gang shop you find online may not give you the finished product you hoped for. A full-service printer will provide a proof that you can examine and approve; the finished product must match it or they have to do it over.
That said, the answer to your question about how to accommodate the client's signature dark green would be to use less of it than you have. There are two reasons in my mind for this, one subjective and one less so.
Subjectively, I feel it's a harsh shade of green for health care. I know green is a color associated with health care, but this one? Ouch.
Less subjectively, from a purely technical point of view, large fields of dark solid colors can be difficult to print beautifully. A lot depends on the quality of the press, the skill of its operator, the porosity of the paper and whether or not a varnish, or aqueous coating is used as a finish. When choosing a printer, ask to see samples of similar work or ask their advice about how they think your design will print on the stock you've selected. They might suggest a heavier stock, for one thing, since dark colors don't work nicely on thinner, translucent paper.
Some dark inks can be hard to dry, too, creating a ghosting problem that can only be controlled by slip-sheeting the job (adding alternate layers of plain paper between printed sheets), adding considerably to production costs.
Hope this helps.
Mara
Thanks again for the advice. I will talk to the printer today and see what they recommend so the job comes out right.
P.S. Have a class in production starting Monday, so hopefully will learn all the ins and outs of this side of the business this fall!
Highly recommend you do NOT use brown text. Brown is created using 3 colors minimum, but usually all four (your design program will have the breakdown available in the color palette somewhere) - so brown text is a registration nightmare. That's why your printer (or whoever) recommended you switch to something that only uses 2 colors. And while it's true a good printer with the right equipment can print just about anything - you won't be making any friends with a job like that. The other thing you might want to consider is that - since you're starting out - you're probably looking for portfolio pieces. Brown, muddy text will not impress anyone - take my word for it. If you absolutely HAVE to have the brown text, I recommend you try to cheat the color using either yellow (or magenta) and black only. Text is not like a solid block of color - you can fool the eye. It might "match" the color better if it's actually a little lighter than the real brown you selected (compare the text now - it probably looks a little darker than the real color).
Better idea... the flow seems to be a problem, so why not add a screen of color behind BLACK text instead? Green screen for the green text, etc... That will separate the brochure into digestible sections and solve the printing problem in one shot. Voila.