Good print design communicates with people at their own pace and level of engagement.
We design printed materials that feel special, are sustainably produced, and connect with the user. From high-quality stationery to large-format installations and multi-format publications, our understanding of material, content, and format allows us to create unique solutions that stand out and are remembered.
Print design is used on various media, from business cards and other stationery to more complex formats like editorial and packaging design. Much like digital design, print design uses graphic design principles to structure appropriate information into a piece of communication that an audience can interpret—the tone and complexity of a message change with each format. For example, a business card traditionally aims to communicate a person’s or business’s details, while a magazine will showcase a much deeper range of topics.
High-quality print can bring your brand strategy to life by working alongside digital and experiential design. When designing a piece of brand communication (for example, a campaign or product launch), a designer or agency will use the elements of a brand identity to construct a range of executions that share a brand message. This usually includes a mixture of appropriate print applications that form a tangible touchpoint for an audience.
Print design has been critical to human development for over a thousand years. The first printed publication was produced in China around 868 AD, with mass production of printed communication beginning in Europe during the mid-15th century. These innovations fundamentally changed how ideas were circulated among communities and helped initiate various enlightenments worldwide. Over time, the significance of these interactions has become intrinsically linked with the various traditional printed formats themselves, regardless of their content. Due to an accumulation of these cultural exchanges, print design now comes loaded with multiple meanings and expectations that a designer can use. Because of these expectations, print design is essential when communicating information with an audience. For example, someone glancing at a billboard will expect a high-speed transfer of information — usually within the first few seconds of viewing. Conversely, someone picking up an annual report will have a very different set of expectations.
As with any branch of graphic design, print is fundamentally about communication. Aside from specific cases (for example, an ‘Instagram only’ brand), it is generally accepted that a strong communication strategy will at least consider a balance of print, digital and experiential executions to communicate a message. One of the most obvious differences between print and digital design is how users interact with the content. The simple ability to hold a printed object in your hand and feel the quality of the paper and print is often overlooked.
The print design brings a uniquely tactile experience that might include texture, shape, tone, colour or weight — all things a screen cannot replicate. In addition to this, specialist printing techniques like letterpress, die-cutting, or foil blocking can bring an entirely new perspective. This is a much more immersive experience than viewing the same content on a screen. We know from various research studies that immersive experiences stay in the minds of an audience longer and ultimately help convert and drive sales. When deciding what effects are essential to a message, it should also be remembered that print cannot compensate for some of the benefits digital design can bring. These include the use of audio and video elements alongside other interactive options.
As with digital design, the world of print is continually evolving. New processes and applications are constantly being created, pushing the boundaries of what is possible. The most significant change we have witnessed within the design industry has been the move to high-quality executions, to which print lends wonderfully. When building communication strategies, we advise clients to focus their print budget on the most critical moments. We then create ‘high-touch applications such as product packaging and specialist publications or direct mail. This ensures that every piece of print feels special and properly considered. There is still a place for ‘mass market’ print. However, there is often a balance to be struck between this and digital advertising. When a high-quality material is required, there is no substitute for print.
There is a vast array of print processes available to use. However, the main three we use at LBD Studio are offset lithography, modern letterpress and digital printing. Other commonly used processes are flexography, screenprinting, large format and 3d printing. Offset lithography (often just called ‘offset printing’ or just ‘litho’) is the standard print process. It traditionally uses four colours: cyan, magenta, yellow and black (called ‘key’). This process lends itself well to mass production as the aluminium plates hold an image accurately over many repetitions. Once the plates have been set up, they are moved onto rollers before being used with the print material. In addition to (or instead of) the four plates, unique colours can be picked from a Pantone book. These colours match the book, so you always get the same colour — a great solution for brands with specified colours to adhere to. Letterpress printing is (to our knowledge) the oldest surviving print process used in the commercial industry today. It similarly uses blocks or plates for foil-blocking, debossing or embossing. The paper comes into direct contact with the plate, meaning an impression is left on the surface of the page. Having been physically pressed into the material, the printed content leaves a beautifully tactile impression that casts a slight shadow when handled. Digital printing is a process we regularly use for short runs. The process is similar to lithography in that key colours are specified. However, plates are unused, bringing the cost down and making it perfect for projects requiring a few copies. The process here can involve various techniques; however, the most common are inkjet or laser printing, similar to an office printer. Another advantage of digital printing is the turnaround time, allowing clients to print on demand when needed.
Many specialist finishes can be used during the printing process. Most are applied directly to the paper’s surface after printing but before trimming. Specialist print finishes include foil-blocking, die-cutting, varnishing, spot UV, lamination, edge-printing, holographic foils, debossing, embossing, and laser-cutting. Each of these finishes significantly contributes to a design.
We work with many specialist printers and have built strong relationships with them. We trust their expertise and regularly ask their opinions on the best way to achieve a specific finish or outcome. It is this same spirit of collaboration that we aim to instil in our client relationships. When choosing a print supplier, we recommend requesting recommendations from someone who regularly commissions print. We are always happy to point interested parties or potential clients in the right direction. Feel free to get in touch if you are looking for a recommendation.
Appropriate paper choice is as vital to a design as the type or quality of print. As with our print suppliers, we work closely with specialist paper merchants to offer our clients our recommendations. For example, when designing the EverWax Olive for Halley Stevensons, we specified a unique set of Favini Crush papers that featured 30% post-consumer waste from the olive oil industry. This became a vital storytelling mechanic as this product utilised waste from the olive oil industry. Subsequent papers were also chosen from GF Smith, where approximately 20% of the paper pulp was made using waste from the cotton industry. Again, this is tied neatly to the brand message defined at earlier stages of the design process. When choosing a paper supplier or a particular stock, we recommend asking about sustainability credentials. This often takes the form of an FSC mark explaining the level of responsible forestry management. We recommend avoiding paper suppliers that cannot give detailed information on this. For more information on our approach to sustainability and how we can help you reduce the carbon footprint of your print and packaging materials, please visit our sustainability consultancy page.
Stationery design is one of the most common examples of print design. Brand agencies typically create a suite of business stationery during the branding process, as these offer a good range of formats for testing a new visual identity.
When combined with a broader brand identity, well-designed business stationery can help build brand presence by creating consistency that customers and other recipients will recognise and trust.
Through ‘branding’ everyday interactions like receipts, invoices, or letters, stationery design can help reinforce the impression that a company has appropriately considered everything. Conversely, if a customer receives poorly designed communication, it can create negative associations and diminish trust.
Recent examples of stationery design by LBD Studio include Halley Stevensons, Max McCance and CIK Accounting Solutions.
Stationery formats such as letterheads and business cards are essential brand-building tools that help raise awareness and generate consistency. They represent a business and establish a communication tone with customers, clients, suppliers, and other stakeholders.
Branded letterheads communicate your business’s identity in business communication, including invoices or formal correspondence; business cards promote the visibility of contact information at business meetings and conferences.
A business’s stationery business is carefully planned to create a consistent brand identity that will help the company stand out from competitors in its industry while establishing a tone of professionalism throughout all communications.
Letterhead typically takes the format of a pre-printed A4 sheet. It can be single-sided or double-sided and is often used alongside business cards to provide more information about the business.
Letterheads can include many elements, such as logos, contact details, and disclaimers. These will vary depending on your business needs, but any should not distract from the core message—keeping the design clear and uncluttered is essential.
The standard format for a UK letterhead is 210mm x 297mm.
Branded business cards provide contact information. They represent you and your business and must reflect well on both.
Business cards can be single-sided or double-sided, but they must always have enough space for contact information. It’s often good practice to include your business name on the front and other relevant details on the back, such as an address, website, details, and social media links.
The standard format for a UK business card is 55mm x 85mm.
Invoice design templates come in various sizes and formats. These non-standard (but essential) communication tools are often produced simultaneously, sometimes from the same sheet. Within the fashion and retail sectors, a receipt and returns slip are typically made on a single perforated A4 sheet, minimising the amount of waste created.
It is increasingly common for companies to produce digital-only stationery designs that can be used within word processing tools such as Microsoft Word. Some packages like Xero and Quickbooks produce branded communications, alleviating the need for physical sheets.
We consider poster design to be communication in its purest form. It’s a way to quickly and effectively communicate with an audience, whether for advertising purposes or to get your message across. Poster design relies on simplicity and boldness to grab attention, and it has become one of the most popular forms of communication today. As a standalone discipline of graphic and print design, poster design is integral to the modern marketing mix. Many principles attributed to printed posters are now used in digital banners, sequential adverts, hero visuals and homepage landers.
This Knowledge Base article will explore some elements associated with poster design, including colour theory, typography choices, layout options and more.
Posters first appeared in the 1800s, when most communication was word-of-mouth. Initially, posters advertised products and services, but they soon evolved into an art form that allowed designers to experiment with different styles and layouts.
The first posters were created in France during the Revolution of 1848 by Eugène Grasset (designer), Henri Rivière (engraver) and Louis-François Lafont.
The invention of large-scale printing presses, including wooden block printing, lithography and linoleum cut printing, allowed for more excellent communication.
During the 19th and 20th centuries, governments employed poster design for political purposes. For example, posters were heavily used in France during the 1848 Revolution. They became one of the most popular forms of communication, as people could share their messages quickly with a large audience. The messages and iconography used in these posters can be considered ‘information heavy’—the primary focus is to communicate a message in uncertain terms. This visual style lends itself to modern-day placards, where the simple use of colour and bold typography express a message.
Similarly, the Russian Revolution of 1917 relied heavily on poster design to spread messages of revolution and propaganda. The iconic red, white and black images of women and children working in fields to help fuel the nation created a sense of national identity in itself; 100 years on, much of Russian visual culture still draws on the simplified illustration style and dynamic typography.
As posters continued to evolve, typographers started experimenting with different typefaces, making communication more expressive and visually playful. Recent poster design examples by LBD Studio include Oslo Street Art Tours, The International Society of Typographic Designers, Mace Group and Halley Stevensons.
There are many types of poster design used in today’s communications mix. From sequential adverts on the London underground to large-format digital posters, the number of available formats has increased hugely over the last 10 years.
Standalone posters focus on a single, clear message. The primary purpose of a poster design is to quickly and effectively grab one’s attention, whether they are advertising a product, promoting a film or trying to communicate a public health message.
Folded or collapsable posters can be unpacked to form a much larger surface. For example, some book covers or dust jackets can be unfolded to reveal a folded poster design. This design solution is beneficial when creating a direct-mail campaign, as posters are typically immense.
Folded posters are also heavily used in game design. Publishers may include a folded map within the game box to help users navigate the game while building brand awareness and loyalty to a particular title or series.
Sequential posters are poster designs that work both as a set and individually. While it is not essential to see every poster in a series, they often build a sense of consistency and continue a message, visual language and tone of voice throughout. This helps to keep a campaign or brand message fresh in the minds of consumers.
Sequential posters also help establish a sense of continuity, communication, and cohesion. Branded sequential advertising is one-way companies use poster design for communication and brand-building exercises; it allows them to communicate their message more effectively while establishing the company’s identity through repetition.
Advertising billboards are a traditional, large-format adaption of the poster. The concept is the same: use a defined area to quickly and effectively communicate a single message. Advertising billboards are often measured in sheets — this denotes the number of physical sheets used to make up that billboard. For example, a 48-sheet will be made from 48 individual posters glued together to form a larger panel.
Digital posters are similar to advertising billboards; instead of printed sheets, they use a simple pixel system, much like a computer monitor. The main advantages of digital posters are that they can be either static or have a level of animation. They can also be updated and changed with less physical and financial implications. It is usually a case of switching a file and allowing the software to take over.
Another advantage of digital poster design is that the frequency and content can be changed depending on location or time of day. For example, one digital advertising board may feature four adverts in a cycle, giving designers, advertisers, and marketers greater flexibility.
Editorial design is the art of presenting content in a way that is engaging to its readers. It has been a key part of the publishing industry for centuries, but editorial design has evolved and grown considerably over the last two decades. In this article, we will explore the history and principles of editorial design and how they can be applied to your business.
Traditional editorial design originated with editorial illustrations, dating back to the early eighteenth century. By 1843, editorial drawings had grown in popularity and became a regular feature of Victorian weekly magazines.
The editorial design evolved to include highly visual layouts with expressive typography and imagery, eventually becoming one of the core principles of editorial design. This modern editorial and publication design style was commercialised at scale in the early twentieth century through the work of pioneering individuals like Condé Nast. Founded in 1873, his publishing company began producing fashion magazines aimed at high-end clientele. Condé realised that publishing a magazine was only the first step in reaching its customers — from here, they focused on creating highly visual content that would grip readers and make them want to read more.
From here, publications such as Vogue and Vanity Fair were born. The editorial design had been transformed from a small section within an established magazine to the very foundation on which these publications were built.
Recent editorial work includes the Max McCance product book, Halley Stevensons EverWax sample guides and The Feather Company Collection Lookbook.
There are many types of editorial design; however, the most common examples are magazines, books, and inserts.
Lifestyle magazines are perhaps the largest area of editorial design. Editorial designers work to make a layout engaging and informative for a specific audience. They make this content aesthetically pleasing and instructive, using principles such as white space, typography, imagery, and colour. For example, a designer may pair a serif typeface with floral imagery and a pastel colour palette for a home and garden magazine to create a calming and inviting editorial design.
Books are editorial design another form of editorial design. Designers develop a layout and typographic system to create a visually engaging and insightful product. For more information about books and how they are made and published, please see our dedicated article on book design.
The editorial design principles are as important now as they have been for centuries. While there is no right or wrong way to tackle editorial design, the principles we are about to explain have accumulated over time and are now widely considered the core principles of the craft. These design elements include
A grid system is an invisible but fundamental framework that editorial designers use to organise layout and content. A well-designed grid will ensure everything on the page is balanced and easy to read.
An editorial design with a within system will encourage the reader to continue exploring an article or editorial piece. A grid system makes it easier to read a grid and increases the accessibility of content for those with visual impairments.
White space is an editorial technique that allows the reader’s eye to focus on one element at a time. It can be created by leaving large empty spaces between text, images, and illustrations on tablet devices. Each element should be carefully considered; enough white space should be left to balance the various elements on a page. From here, white space adds to the publication’s aesthetic and provides balance and organisation.
Typographic design is another editorial design principle that uses text to express messages and information without extensive deciphering. Good typography can be playful and illustrative and even work closely with photography to create unique visuals. Employing a ‘type as image’ design language can make editorial design more considered while making it accessible.
Image-led design relies on imagery and photography to express a message. This highly visual medium can help make editorial design engaging and informative. It can also help strike a vibrant tone that readers will carry throughout the rest of the editorial.
Photographic and illustrative imagery is often designed to a grid system, which allows the designer to create an aesthetically pleasing layout for their audience. Appropriate art direction of these assets will provide reasonable control over the tone, especially when paired with strong written content.
When combined, the elements above form a sense of hierarchy. Balancing all elements is vital to ensure the tone is correct and the most critical information is easily accessible. A quick test checks the order in which a reader digests information. This can be measured by asking a group to mark where their eye is drawn first on a page. If that is not the title or a piece of key content, then the balance is wrong and should be addressed.
Editors’ design pays close attention to the balance of editorial content and how it is presented to the reader. The size of headlines, spacing, and typeface all contribute to the editorial design’s sense of rhythm. This is just as important to designers, who must juggle written and visual orders when producing an editorial design.
Designers often work closely with editorial teams to ensure their designs are legible. This can be achieved by using a typeface that is easy to read, with a low x-height and strong open counters. Editorial design must also look good, so striking the right balance of colours is vital. I struggle with low-contrast colours, which make a design challenging to process.
Book design is a niche area of print and editorial design that focuses on the visual design of a book. The books. These formats include novels, children’s and photo books, and graphic journals.
Books are all about stories, but what are the core principles of book design? Good examples of book design always start with a straightforward narrative.
The key to a well-designed book is its DNA, which consists of four features: hierarchy, grid, scale, and tone of voice. A book designer communicates a story without drawing attention to the design itself, and a solid understanding of typography, layout, and production techniques is essential to this.
Book design has many formats, from traditional hardback novels and short stories to less conventional structures such as loose-leaf, Japanese-bound, and singer-sewn.
Recent examples of book design work include the Max McCance annual report, Halley Stevensons brand guidelines and Heath Diamonds product manual.
The core principles of book design concern how the book looks and works. The designer is responsible for ensuring the reader enjoys every page and is not distracted by anything else.
A book designer must consider the following aspects during a design project:
These key factors ensure that the book reads smoothly from start to finish.
In its simplest terms, a book’s cover is its shop window. A good example of book design will always be clear and introduce you to the topic without having to work too hard. Many principles of poster design are applied to book cover design as it is essential to express an idea or theme quickly to potential readers. The designer spends a lot of time getting this right because the front cover has to convey everything that can be found inside. It needs to give the reader an idea of what content they will discover. The font size, design and colour of the book cover have to instantly convey a message about the type of book it is.
Book design is a diverse discipline of print design with infinite formats. These can range from tightly controlled novels to more loosely defined artist books. However, they share some standard features. Their explicit purpose is to communicate information, and the type of book design determines how this content will be presented. A textbook requires a different approach than a report or editorial magazine.
The main format options for book design are the following:
While these are the most common base formats of book design, size, material choice, layout, binding and other alterations can dramatically change the look and feel of a book design.
A book design’s general look and feel will help readers understand the content. It is also essential to set the right tone from the beginning. The phrase’ never judge a book by its cover’ is necessary. People categorise and choose items based on first impressions, so it is essential to design for optimal first impressions carefully.
Different types of binding can change the look and feel of a book design. The choice of format has to be balanced against the budget and available material. Over the years, these formats have changed considerably and now include:
The type of binding used will affect how a book opens, influencing whether it is read from front to back or opened randomly. It can also affect how it is stored. Some book designs combine different binding types to add variety and texture.
A good designer knows that there are no hard and fast rules about how a book should be designed other than the need to convey its message clearly and elegantly.
Hierarchy is the most important principle to consider when designing a book. A hierarchy lists all of the elements of a book, ranging from largest to smallest. The hierarchy will then be used as a structure for arranging information
A typical book design hierarchy might include:
After the hierarchy is established, it can be used to communicate essential components of the book.
Another area of book design includes the layout and structure for each page. This covers the hierarchy of elements such as headings, body copy (main text volume), quotations and ‘page furniture’ like folio marks, page numbers, chapter headings and more. All of these elements have essential roles to play. However, it is the job of an editorial or book designer to organise these into a coherent system that is both useful and visually appealing. A well-designed book will use space efficiently and have rules that clearly define how this information is structured.
Typography can represent the tone of a text, with large serifs on one page indicating a serious or formal tone, for example. Other design elements, such as image use and layout, also play an essential role.
Legibility is essential for long-form materials such as books as it bridges the gap between content and reader. A typographer will ensure that all text is laid out, using high-contrast colour schemes and a minimum of clutter. Typographic elements should be spaced appropriately using metrics like leading, kerning and tracking. Appropriate sizing is also essential, particularly when typesetting a novel or long passage of text, as readers can quickly tire of poorly typeset books.
The choice of materials can significantly impact how a reader interacts with a book. For example, choosing paper stock for internal pages can make the difference between someone putting a book down and finishing it. Just as each occasion needs an appropriate outfit, a book must be dressed appropriately. Paper choice is just as important as cover design. A good book designer knows choosing materials and finishes on covers, paper, and inlays will significantly impact how well a book design is received.
When choosing a paper grade, ensure it is appropriate to the subject matter and complements the design. Using a high-quality book cloth will produce a high-quality finished result. However, using low-grade paper stock will compromise the design.
Cover materials such as high-quality book cloth will also impact the impact received. While the cover should always be appropriate for a book’s intended use and look, designers have options.
Print finishes are also helpful for books that want to stand out. They can add value by complementing an existing design, giving it a premium feel. Embossing, spot UV (or varnish), foil stamping, and ing are just some options available, and the right finish can affect how well a book is received.
‘Annual report design’ describes the planning, design, and production of an annual corporate summary, often used for shareholder updates and financial reporting purposes.
Annual reports are a long-established discipline of print design, incorporating lessons from editorial design and corporate literature. They explain an organisation’s performance over one year and usually focus on company information, financials, and key performance indicators (KPIs).
The design of annual reports varies from company to company. Some organisations use them as promotional materials, while others are focused on reporting their achievements or explaining progress made in a specific territory.
Annual reports are usually designed as printed material; however, PDF and online versions are also commonly produced. For larger companies that have floated on a stock exchange, it can be a legal requirement to make an annual report, and for these companies, the design is often more conservative. These documents must be carefully laid out to ensure readers can find their way around. Annual reports also include an appendix with pages listing all the shareholders and major corporate stakeholders.
Recent annual report design work examples include Mace, Adidas, Asics and Sky.
There are many things to consider when producing an annual report. One of the most important considerations is ensuring it will be relevant and usable for a company’s stakeholders. To satisfy this, most annual reports are neatly divided into two sections;
The ‘company information’ section usually includes a summary of the last year, strategic goals, key performance indicators (KPIs), the progress made toward those goals, and a plan for the future. The second section then breaks down the financial information or other performance indicators deemed relevant to the company and its stakeholders.
Some companies may also include a section on how they manage their resources, for example, the materials they use and where they come from. This is often required by law to be transparent about any environmental impacts or ethical considerations in the supply chain.
There are many different types of annual reports. One of the most common variations is a printed book that includes the abovementioned topics and additional information such as staff successes, awards, or other recently-meted milestones. A company may also produce supporting reports aimed at specific stockholders or other stakeholders with diverging interests. These may include environmental performance, corporate social responsibility, and policy updates. They will likely include many graphs, charts, infographics, and detailed financial information.
Another type of report is the digital annual report, which companies commonly use to promote their vision and values with interactive content such as videos and animated infographics. These reports are often visually immersive and are written in many languages to help engage a broad range of stakeholders.
Like its printed counterpart, a high-quality digital annual report will be well-structured and straightforward to navigate. However, the financial sections can be much more manageable as technology allows filters. These help users find specific data quickly without having to use an appendix.
Interactive infographics are another standard device used in online annual reports. An infographic might include:
There is no correct way to structure an annual report. However, there are established practices and specific criteria that should be met. For example, it should be clear and concise for the reader. The CEO’s letter to shareholders (and other stakeholders), which will usually open the annual report, is crucial in ensuring no misunderstandings about what a company does or how it operates.
It is also the job of the opening statement to summarise and frame the financial data from the previous year. While stakeholders will extrapolate their information, a good introduction will give context and purpose to many topics covered.
From here, a company overview is usually included, summarising what has happened over the last year, including strategic goals and key performance indicators (KPIs), and reporting on progress toward these goals.
The strategic plan section of an annual report concerns the brand’s future. This section outlines the company’s goals and aspirations and provides a roadmap. These goals may form business pillars or territories that can be expanded throughout the report. The roadmap usually identifies milestones, timescales, and the operational implications of each goal. From here, stakeholders will clearly understand where a company is headed.
Key performance indicators (KPIs) are essential to any annual report. Closely aligned with the strategic plan, a KPI measures progress against the outlined goals. These metrics can be as simple as sales revenue or more complicated, such as customer spending over a specified period. Other KPIs may be turnover, recruitment, or new product releases.
Success stories are also a standard part of any annual report. These sections look to share company milestones, awards or other successes with stakeholders. Success stories are a good way to encourage a feeling of solidarity and cohesion. They can also promote a positive working culture that values and shares success as a team. Staff profiles can also be featured in an annual report. While this would traditionally detail the board of directors, it is now commonplace to feature a broader range of roles. This can help promote diversity within an organisation, encourage positive career paths, and celebrate the wide range of available skills.
An annual report will include an environmental sustainability section about the company’s efforts. This can be done through energy consumption or recycling initiatives to help raise stakeholders’ awareness of how they contribute to reducing their carbon footprint. Other corporate policies, such as an ethical statement, equality, diversity, inclusion, and many more, can also be included.
The financial section of an annual report breaks down the financial information or other performance indicators deemed relevant to the company and its stakeholders. In annual reports, a company’s balance sheet usually includesets assets, liabilities, and any other pertinent information such,h as depreciation. This financial data will be shared with the previous year so stakeholders and investors can understand how well a business has perf time. Including a forecast within the report is also essential, helping stakeholders understand where time and money are being spent going forward.
Corporate literature describes the wide range of printed materials a business uses to communicate with its audiences. These audiences vary from company to company, but common examples include customers, clients, staff, businesses, partners, and shareholders. Typical examples of corporate literature are brochures, annual reports, company profiles, and recruitment literature.
Sometimes described as branded literature or business literature, the nature of these materials is to inform, educate and persuade. The design of these materials is often a key part of getting a message across clearly, as they need to be visually appealing and informative. The content must be straightforward to read so an audience can quickly understand it.
The word ‘corporate’ often confuses the topic, as it can feel like these communications are only for large corporations. In reality, most organisations need branded literature to help them articulate their services and products.
Branded literature can be used to fit many different functions. One of the most common is a brochure. A corporate brochure can be designed to inform, persuade, or sell products and services, for example, by displaying your company’s alignment with values that potential customers want, such as environmental consciousness.
While we generally consider corporate literature printed material, we include websites, blogs, and other digital communications in the ‘branded literature’ mix. We prefer to keep these materials separate because different editorial practices are used across the board.
Recent examples of corporate literature design include The Feather Company’s environmental policy brochure, RBB Economics’ recruitment brochure, Mace Group’s annual report and accounts, Max McCance’s supplier guide, and Halley Stevensons EverWax sample packs.
Many types of corporate literature exist, including brochures, annual reports, company profiles, recruitment materials, leaflets, innovation reports, pitch tenders, corporate policies, and more. These materials tend to be long-form pieces that explain a topic in detail. Copywriting and information hierarchy are key components, as they aim to deliver the content efficiently while keeping information easy for readers to understand and remember.
This differs from advertising, where the assumed knowledge of a given subject is lower and the time to learn is limited. Corporate literature can afford to be more detailed, expanding on topics fully and providing information that might otherwise be difficult to source. Below are the most common types of corporate literature.
Printed brochures are perhaps the most common type of business literature. These documents are often A-format (A4, A5, A6), tri-fold (DL) or square in shape. They deliberately use these interactive formats to encourage readers to handle them, increasing the chances of the brochure being read cover to cover.
Brochures used by organisations usually have a specific purpose, such as promoting products and services or explaining corporate values and culture. The design for these documents can be anything from very straightforward typography with infographics or images on each page to more creative layouts that combine text with graphics within each section. Branded brochures can also be designed as standalone documents or supplement other materials such as presentations. They are perfect for providing more information about products, services, and the organisation in a condensed way.
Brochures can be produced in several ways. However, the most common practice is to use an A-format design, such as A5, with page numbers that can be divided by four. Using this example, an A4 sheet of paper can be folded once, creating four ‘pages’. Typical A-format brochure page counts are 16pp, 24pp and 38pp. Tri-fold brochures work similarly, but instead of having one fold, they have two folds, creating six pages per sheet. This increases the number of interactions and surfaces that can be designed but reduces the space available.
Annual reports are a long-established discipline in editorial design and corporate literature. They explain an organisation’s performance over one year, usually focusing on financials and key performance indicators (KPIs).
The design of annual reports varies from company to company. Some organisations use them as promotional materials, while others are focused on reporting their achievements or explaining progress made in a particular territory.
Annual reports are usually designed as printed material; however, PDF and online versions are also commonly produced. For larger companies that have floated on a stock exchange, it can be a legal requirement to make an annual report, and for these companies, the design is often more conservative. These documents must be carefully laid out to ensure readers can find their way around. Annual reports also include an appendix with pages listing all the shareholders and major corporate stakeholders.
For more information about this subject, please read our article about annual report design.
A company profile is a document that includes information about a business, such as its mission, values, history, and more. For many companies, these documents don’t usually contain as much information as a brochure or annual report because they are designed to give people a quick overview. You may see them used in marketing campaigns to attract new customers or when someone is trying to answer a question about what a company does.
One of the most popular uses of company profiles is alongside other corporate documents such as brochures and annual reports. These profiles can help introduce the company and establish its uniqueness relative to its competitors.
Recruitment materials are an increasingly important area of corporate literature as businesses compete for the best talent. As the marketplace evolves, many companies invest in creating high-quality printed materials to attract the best candidates.
While there is no set format for recruitment material, it usually includes information about the company’s values and offerings, an overview of current vacancies, and contact details so potential employees can easily apply. Corporate literature such as brochures and reports is an excellent way for HR to work on branding and raising awareness of their organisation.
Recruitment materials often also showcase personal and professional growth opportunities within a business, highlighting the perks and training available. This helps to establish a clear career path for potential employees to work towards.
Whitepapers, thought leadership pieces and innovation reports are specific types of corporate literature. They showcase a company’s expertise, latest research projects, innovations, and developments in a professional format that can be easily distributed to interested parties. These reports can establish a company’s reputation as an authority in its industry or show progress on strategic plans.
While innovation reports typically focus on one particular area of a business, it is not uncommon for them to cross over into other areas, such as HR strategy and marketing initiatives.
Whitepapers are commonly used when a business wants to draw attention to an issue or propose a solution. These pieces often include relevant statistics and research but are also designed with the reader in mind. So, these reports must use simple language that is easily understood by anyone interested in the subject matter.
While leaflets and flyers are most commonly associated with advertising and direct-to-consumer campaigns, they are occasionally used as corporate literature. For example, they might be used as an insert within more expansive materials such as an annual report or corporate brochure.
Businesses also use leaflets and flyers to communicate concise messages (such as an event) or to promote other materials, such as whitepapers or innovation reports.
Pitch documents, bid documents, tenders, and business proposals (RFPs) are all common types of corporate literature that businesses might use to win new business. Depending on the company’s goals, these documents can be part of a larger marketing strategy or standalone.
Small businesses often use pitch standalone to try to win new customers. These documents give an overview of a company, outline how they propose to navigate and manage a project and detail the services, staff, and methodologies they would use. Particular care is given to cost, time, and material estimates, which are all included in the document.
Larger companies typically use bid documents, tenders and RFPs to win new business — often from other large companies. These will give a detailed overview of what is required for the project or campaign and how it would be executed if they were chosen as suppliers. These will usually follow a set format with specific criteria being addressed throughout. As with most types of corporate literature, a company’s profile and previous experience will be outlined in detail.
Corporate policies, such as environmental policies, quality, diversity, and inclusion policies, are standard corporate literature often required by law. These policies clearly outline a company’s position on various topics, from employment law to resource sources and management.
Common types of corporate policies are:
