Walsh Brand Standards Manual

C O R P O R A T E I D E N T I T Y

INTRODUCTION

With a rich history that spansmore than a century, our company warrants a well- defined identity and consistent message. This document serves as a guideline to the graphic representation of our brand, to be shared through all forms of internal and external communications. The marketing and communication methods listed within distinguish us from our competitors, and the results leave a lasting impression with our customers – creating a brand identity composed of history, safety, quality, and ethics. Since 1898, the Walsh name has been recognized as one of North America’s most experienced and respected contractors. Originating in the basement of an Irish immigrant, we’ve grown into a multi-billion dollar provider of multi- faceted construction-related services for a wide range of customers. We employ more than 8,000 professionals, yet have historically relied on our logo to serve as the best representation of the company. Although the logo is recognizable, the inconsistencies and graphical relationship with surrounding content have limited the effectiveness of fully communicating our identity with customers and the marketplace. In 2015, the Walsh family hosted organization leaders at Lake Geneva, WI for an event that celebrated our culture and focused on refining strategy, improving operations and strengthening the shared sense of One Walsh. Discussions focused on the best methods for collective communication. After much research, review, and strategy, it was concluded that a unified effort in brand messaging was needed as the company continues to grow and evolve. The foundation of our brand, the Walsh and Archer Western logos, our most visible identifiers, remain unchanged. They are a classic, bold design; one with the WALSH text stretched across a big green W, and the other a large arrow being intercepted by a big green W. The logos are largely recognized by our customers, partners, and the general public.

The colors of green and white are reflective of the Irish heritage of the company’s founder Matthew Myles Walsh. As we continue to evolve as a company and service provider, our brand identity has slightly altered as well. Not only are we a company limited to the green and white colors, but like our services, we are flexible, and we have supplemented our identity with a series of new fresh colors. These colors are to be used strategically in our communications. Though colors vary, they are all part of a consistent platform laid out within the standards document. Simple, sleek, headline fonts have been chosen to accompany the graphical elements of our communications. Historically, font choices have varied in all forms of communication; delivering visually confusing messages. These new fonts will accompany all graphics and will bring consistency to all of our messages and strengthen our identity OUR IDENTITY Our brand identity incorporates two components, how we look, and how we make customers, employees and recruits feel. When our message connects with an audience, a feeling is accomplished and secured in relation to our brand. We establish this connection through our tone of voice, which is derived from our personality, trustworthiness, expertise, and confidence. PERSONAL: We are a family-owned company, built upon old fashion everyday values of hard work and respect. We are a local company that stretches across the United States and Canada. We are a neighbor to our many communities and are invested in their well-being. For these reasons, we communicate through a simple form of friendly dialogue. We always refer to the company

in the context of the first person; always stating “us, we and our”, instead of stating the company name. This invites a friendly environment that is respectful of the audience and eliminates any corporate overtones. TRUSTWORTHY: We are a steadfast partner with every customer throughout the full lifecycle of a project, and a reliable employer for each employee who provides for their family. We promote an open arena for communication and convey our message in a transparent and approachable manner. Many have put their faith and well-being into the hands of the company, and our communications must deliver the trustworthiness they desire, and make certain that we are approachable while ensuring that their future is safe with us. CONFIDENT: In order to be noticed and remain visible in the marketplace, we must portray confidence. Our identity of confidence is not arrogance; it’s our ability to strongly deliver a message of expertise. We have been providing customers with solutions for over 100 years, and have successfully completed some of North America largest projects. Our communications must be precise and accurate, proving that our experiences are warranted, while striving to exceed the expectations of our customers, employees, and recruits. PHOTOGRAPHY QUALITY: Our message is only as good as the images that accompany it. It is critically important to our identity and communication that images be of the highest quality. Photography that is blurred and pixelated significantly reduces our credibility to our customers as a proven and experienced service provider. Also, images must carry amessage and be relevant to its neighboring content. Do not use a photo just because it’s visually appealing; it must relate to the adjacent message.

PERSONNEL: When photographing individuals, we want to portray them in a photojournalistic element. Images of people should be captured while they are working, and appear to be engaged in their product. It’s important that we convey a message that shows our people actively caring on the jobsite. SAFETY: Safety is the driving force behind our culture. The most important thing we can do every day is to send our people home in the same condition as when they arrived. We must convey thismessage in all forms of communication whenever the opportunity exists. When using images of works on a jobsite, it is imperative that all personnel wearing hard hats, safe footwear, high visibility vest, safety glasses and gloves, where appropriate. These regulations must be strictly adhered to. Also, be aware of the project site for any potential safety concerns. We will not allow any photos that would imply an unsafe work environment or dangerous situation. BRAND GOVERNANCE The Corporate Communications Department is ultimately responsible for maintaining our brand identity, any deviations to these standards must be reviewed and approved by the Department.

CONTENTS

1) 2) 3) 4) 5) 6) 7) 8) 9) 10)

TYPOGRAPHY - PG 25 COLOR - PG 15 STATIONERY - PG 47 EMAIL SIGNATURE - PG 55 LOGOTYPE - PG 1 ADVERTISING - PG 59 COLLATERAL - PG 69 PROMOTIONAL - PG 83 SAFETY - PG 99 VEHICLES - PG 109

LOGOTYPE

A logo is the visual foundation of a brand and serves as the stand-alone graphical representation of a company. The logo should always maintain its natural identity, and should never be manipulated or merged to be presented in an altered form.

LOGOS: A mark or symbol created for an individual, product, service, or company that translates the impression of the company it is representing.

LOGOTYPE: Any alphabetical configuration that is designed to identify by name an individual, product, service, publication or company.

LOGOTYPE LOGOTYPE

WALSH LOGO INTRODUCTION Our logo represents us at the highest level. Together, the “W” and the wordmark act as a signature, an identifier, and a stamp of quality.

To maintain consistency and professionalism, follow the few simple guidelines in this section for logo use.

Here are some guidelines to get started with: The Walsh and Archer Western logos are only to be used together within certain applications like: National Ads where both entities work is shown, Company Wide Email Marketing, and Tradeshows. We should never use the logos together on Business Cards, Letterhead, Job-Site Banners, Equipment, Email Signatures, Hard Hats or Vests.

LOGOTYPE

The Walsh logo is the most important visual symbol of our brand. It is the primary carrier of our identity and core values.

In many contexts, the logo is the only sign of our corporate identity. It is important that we have strict regulations for the use of the logo to ensure consistency in communication across marketing and business units. All reproduction of the logo must be made from the original artwork.

You can obtain the original artwork from the Corporate Communications Department.

COLOR

The color of the Walsh logo is green (PMS 347C).

Green (PMS 347C) is the Walsh brand color and should be included in everything we do, primary in the form of the green logo. The color green should not completely dominate our communication, but instead function as an anchor and a distinctive feature. The logo has been saved in different color systems: PMS (Pantone), CMYK, RGB, Black, and White. More information about color palettes is available in section 2.

LOGOTYPE LOGOTYPE

ARCHER WESTERN LOGO INTRODUCTION Our logo represents us at the highest level. Together, the “W” and the arrow act as a signature, an identifier, and a stamp of quality.

To maintain consistency and professionalism, follow the few simple guidelines in this section for logo use.

LOGOTYPE

The Archer Western logo is the most important visual symbol of our brand. It is the primary carrier of our identity and core values.

You can obtain the original artwork from the Corporate Communications Department.

COLOR

The color of the Archer Western logo is green (PMS 347C).

LOGOTYPE COLOR VARIATIONS LOGOTYPE

The Walsh and Archer Western logos are to be displayed primarily in green. Where this is not possible, due to technical constraints, it is permissible to display the logo in an alternate color (see colors on the following page). Under no circumstances can the logo be used in any other color. FULL-COLOR The full-color logo is the most common version, consisting of the primary Walsh colors. If printing restrictions are an issue, use the one color version. ONE-COLOR One-color versions of the logos should be used only if printing restrictions demand it. REVERSED When placing the logo on a colored background, it should be reversed in one of the ways shown on the opposite page.

BLACK LOGO

GRAY LOGO

WHITE LOGO

BLACK LOGO

GRAY LOGO

WHITE LOGO

LOGOTYPE LOGOTYPE

FREE ZONE The Walsh logo must be surrounded by a precise free zone. The free zone is defined as the invisible area protecting the visual integrity of the logo. The free zone is measured as the minimum distance to other graphics, text, or imagery. In addition, the free zone is measured to the outside edge of the material on which the logo is placed.

The minimum size of the free zone around the logo is 0.5” as shown below.

The free zone is indicated by an invisible rectangle in all digital originals to simplify application.

0.5”

FREE ZONE The Archer Western logo must be surrounded by a precise free zone. The free zone is defined as the invisible area protecting the visual integrity of the logo. The free zone is measured as the minimum distance to other graphics, text, or imagery. In addition, the free zone is measured to the outside edge of the material on which the logo is placed.

The minimum size of the free zone around the logo is 0.5” as shown below.

The free zone is indicated by an invisible rectangle in all digital originals to simplify application.

0.5”

LOGOTYPE LOGOTYPE

PLACING TEXT AROUND THE LOGO - WALSH Walsh has a single brand strategy. To emphasize this, the Walsh logo must always stand alone, with the free zone respected, as in Example 3, shown below. Text is never to be placed in direct connection to the logo, doing so entails modification of the logo, and compromises the brand.

Never place text in direct connection to the logo.

Never place text in direct connection to the logo. Never place text below the logo.

PLACING TEXT AROUND THE LOGO - ARCHER WESTERN Archer Western has a single brand strategy. To emphasize this, the Archer Western logo always stands alone, with the free zone respected, as in Example 3, shown below. Text is never to be placed in direct connection to the logo, doing so entails modification of the logo, and compromises the brand.

Never place text in direct connection to the logo.

Never place text in direct connection to the logo. Never place text below the logo.

LOGOTYPE LOGOTYPE

SIZING AND SCALING - WALSH The Walsh logo should never be scaled like the “no” examples below.

x x NO NO

YES

SIZING AND SCALING - ARCHER WESTERN The Archer Western logo should never be scaled like the “no” examples below.

NO NO x x

YES

DUAL BRANDING

Our brand is so much more than a logo, a tag-line or set of colors. It defines who we are, what we say and how we act. It’s how we want people to see us. Showcasing two brands joined together to r present a service indicative of both their identities. Allowing one brand to introduce their product or service to the devotees of another brand.

DUAL BRANDING DUAL BRANDING USING THE WALSH AND ARCHER WESTERN LOGOS TOGETHER Walsh and Archer Western logos are only to be used together in certain instances. The logos need to coexist to give each part of The Walsh Group family their proper due when it comes to projects, experience and the people that work for their repsective brand. Never stack the logos. The only use for a stacked logo is on Social Media, and that is because of size restraints of each application. Respect the free zone when using the logos together.

9 National Advertising 9 Company Wide Email Marketing 9 Tradeshows 9 Website 9 Social Media WHEN TO USE DUAL BRANDING

YES

x x

WHEN NOT TO USE DUAL BRANDING

9 Business Cards/Letterhead 9 Equipment 9 Jobsite Banners 9 Email Signatures 9 Hard Hats/Safety Vests 9 Apparel

FREE ZONE The Walsh and Archer Western logo must be surrounded by a precise free zone. The free zone is defined as the invisible area protecting the visual integrity of the logo. The free zone is measured as the minimum distance to other graphics, text, or imagery. In addition, the free zone is measured to the outside edge of the material on which the logo is placed.

The minimum size of the free zone around the logo is equal to the letter “W” as shown below.

The free zone is indicated by an invisible rectangle in all digital originals to simplify application.

0.5”

COLOR

Color is a primary element to building a strong brand. Colors evoke recognition and emotions; the colors chosen within represent the Walsh identity effectively to customers, employees and recruits. Each color offers various associations; Walsh utilizes a combination of colors to best represent the brand.

Colors have been proven to control an individual’s ability to concentrate and learn. They deliver a wide variety of physiological, psychological, and sociological effects.

The following color palette captures the visual identities of the Walsh brand – strength, stability, and warmth.

COLOR COLOR THIS SET OF COLORS SHOULD BECOME RECOGNIZABLE AS DISTINCT TO THE WALSH GROUP. Consistent use of this palette will ensure a cohesive expression of the Walsh brand. Our palette was selected from the Pantone Matching System (PMS), the printing industry standard. Four- color process values and digital color mixes were derived from the PMS colors. More information about these colors appear on the following pages. Pre-made palettes are available from the Corporate Communications Department.

Green (PMS 347C) is our brand color and should be included in everything we do. The brand color is anchored by the green logo. The brand color should not dominate our communication, but function as the framework and a distinctive feature. The supplemental colors in the color palette add a fresh, bright and modern impression.

Note: It is critical to remember that monitors and print-outs rarely display colors correctly.

Please note that variations in tone are not permitted.

Please note, that no variations in tone are permitted.

COLOR CONSISTENCY To help improve color management and consistency for all design software, use the following color settings: North America Prepress 2 (Adobe RGB, U.S. Web coated SWOP 2 CMYK). When printing, sometimes colors that are set as spot or RGB will print less accurately than if they are set to process CMYK. Unfortunately, maintaining color consistency in-house can be difficult. The best way to check color is with a Pantone PMS color swatch book. Swatch books from the Pantone “Color Bridge” systemare a great reference that includes both spot and process builds. Color settings are at the bottom of the EDIT tab in InDesign.

OUR COLORS

Our colors are grouped into three sets as shown below. This section of the document will describe how to use them properly.

PRIMARY PALETTE

PMS 347C

PMS 2955C

PMS 307C

PMS 319C

PMS Cool Gray 7 C

SECONDARY PALETTE

PMS 351C PMS 7486C PMS 304C PMS 635C PMS 151C PMS 715C

NEUTRAL PALETTE

PMS 532C PMS 877C PMS 649C

COLOR COLOR

PRIMARY PALETTE

PMS 347C

PMS 2955C

CMYK 96, 10, 100, 0

CMYK 100, 0, 0, 70

Green (PMS 347C) is our brand color and is present in every all visual marketing and communication components. The brand color is carried by the green logo. The brand color should not dominate our communication but serve as the foundation of our identity. The secondary and neutral color palettes add a fresh, bright and modern impression. Using the Walsh green logo, rather than a white logo for example, is part of the graphic idea that ensures consistency. Correct colors are defined according to PMS colors for coated paper. Remember that display monitors and print-outs rarely display colors correctly. The primary palette, made up of our core green, blues and gray should appear in all designs and communications at some level. For print pieces, reproduce them in spot colors whenever possible to retain their integrity.

DIGITAL

RGB 0, 167, 116

RGB 0, 77, 109

Please note, that no variations in tone are permitted.

PMS 307C

PMS 319C

PMS Cool Gray 7 C

CMYK 100, 28, 0, 36

CMYK 80, 0, 30, 0

CMYK 42, 35, 35, 1

DIGITAL

RGB 0, 99, 150

RGB 0, 182, 190

RGB 153, 153, 154

COLOR COLOR The secondary palette supports the primary palette and gives our brand a greater visual flexibility. These colors should never replace the primary palette in designs and communications. SECONDARY PALETTE

PMS 351C

PMS 7486C

CMYK 35, 0, 35, 0

CMYK 25, 0, 35, 0

DIGITAL

RGB 162, 216,183

RGB 194, 225, 183

NEUTRAL PALETTE

The neutral palette offers quiet colors to be used in conjunction with the primary palette. These colors serve to enhance the primary palette, and provide a backdrop that allows our primary colors to take center stage. These colors should also never replace the primary palette in designs and communications.

Please note, that no variations in tone are permitted.

PMS 304C

PMS 635C

PMS 151C

PMS 715C

CMYK 33, 0, 0, 0

CMYK 20, 0, 0, 0

CMYK 0, 70, 100, 0

CMYK 0, 50, 80, 0

DIGITAL

RGB 162, 222, 249

RGB 199, 234, 251

RGB 243, 112, 33

RGB 247, 149, 72

PMS 532C

PMS 877C

PMS 649C

CMYK 0, 0, 0, 100

CMYK 0, 0, 0, 50

CMYK 0, 0, 0, 20

COLOR USE The concept of ratios can be helpful when selecting sets of colors from the palette for layouts andmaterials. On the adjacent page are examples of color ratios. COLOR COLOR

MASTER - 3 COLOR

The colors are split to show what colors are dominant when laying out ads, collateral, proposals, etc.

SECONDARY - 4 COLOR

TYPOGRAPHY

Typography is the art and technique of arranging type to make written language legible, readable and appealing when displayed. The arrangement of type involves selecting typefaces, point size, line length, line-spacing (leading), letter-spacing (tracking), and adjusting the space within letters pairs (kerning). The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as a decorative device, unrelated to the communication of information.

TYPOGRAPHY TYPOGRAPHY OUR TYPOGRAPHY

The Walsh brand uses the seven typefaces below. For consistency, the Trade Gothic and Archer font families are permitted for all marketing and communications efforts. Helvetica has a place in the Walsh Brand and that will be outlined in the section.

PRIMARY

SECONDARY Franklin Gothic Heavy Franklin Gothic Heavy Italic Trade Gothic No.18 Condensed Trade Gothic No.20 Condensed Bold

Typography is one of the easiest and most essential ways to create a consistent visual voice for our brand. If you need to obtain these font files or have any other general questions, please contact the Corporate Communications Department.

SECONDARY Archer

ALTERNATE - SPECIAL USE

Helvetica

ALTERNATE - SPECIAL USE

Times

TRADE GOTHIC Trade Gothic No.18 Condensed ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Trade Gothic No.20 Condensed ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Trade Gothic Condensed is a type family that allows for great flexibility. We use Trade Gothic No. 20 Condensed for most of our headlines, especially when we’re communicating from the master brand perspective. We use Trade Gothic No. 18 Condensed for subhead treatments and body copy for the master brand components. It can be used for introductory style copy as well as short captions. If you work for Marketing and Communications, the font is available internally. If you are working outside of the Corporate Headquarters the font is available through the Corporate Communications Department. WHERE TO FIND IT

TYPOGRAPHY TYPOGRAPHY

Trade Gothic No. 18 Condensed is suitable for subhead and body text when used under Trade Gothic No. 20 Condensed. For instance, using Trade Gothic No. 18 Condensed under Trade Gothic No. 20 Condensed for headline treatments creates a hierarchy that allows the reader to clearly distinguish information on the page and helps the eye maneuver across text-heavy areas. Never use 18 and 20 as the same size font to show hierarchy. Always show 20 as the dominate character. Trade Gothic Condensed No. 18 is ideal for sub-headlines

SUB-HEADLINE EXAMPLES HEADLINE SUBHEAD

HEADLINE SUBHEAD

FIRM HISTORY Walsh has practiced general building construction since its foundation in 1898 by Matthew Myles Walsh; the firm has been a family held business since that time. Walsh Construction was incorporated in the State of Illinois. IN-HOUSE CAPABILITIES The Walsh Group is capable of performing all site survey, engineering and layout, demolition, site utility, yard piping, process equipment piping and installation, excavation, concrete work and carpentry work with its own forces. HIERARCHY EXAMPLES Be sure to make division visible by using caps, color and size.

WHEN TO USE IT

9 Business Cards 9 Letterhead 9 Envelopes 9 Brochures 9 Write-ups 9 Body Copy

9 Handouts 9 Tradeshow Banners 9 Email Signatures 9 Proposals 9 Advertisements 9 Web Graphics

Trade Gothic No. 20 Condensed is best used for headline treatments. No. 20 is recommended for creating visual hierarchy. That helps the reader easily distinguish information. Hierarchy helps the eye maneuver across text heavy areas. Always show No. 20 as the dominate character. No. 20 should not be combined with any other font than No. 18. Trade Gothic Condensed No. 20 is ideal for headlines

HEADLINE EXAMPLES

HEADLINE SUBHEAD

HIERARCHY EXAMPLES

FIRM HISTORY Walsh has practiced general building construction since its foundation in 1898 by Matthew Myles Walsh; the firm has been a family held business since that time. Walsh Construction was incorporated in the State of Illinois. IN-HOUSE CAPABILITIES The Walsh Group is capable of performing all site survey, engineering and layout, demolition, site utility, yard piping, process equipment piping and installation, excavation, concrete work and carpentry work with its own forces. Body text should be 2 points sizes smaller than the divider text.

WHEN TO USE IT

9 Business Cards 9 Letterhead 9 Envelopes 9 Brochures 9 Write-ups 9 Body Copy

9 Handouts 9 Tradeshow Banners 9 Email Signatures 9 Proposals 9 Advertisements 9 Web Graphics

Aa TYPOGRAPHY TYPOGRAPHY Baskerville Regular FRANKLIN GOTHIC HEAVY ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Franklin Gothic Heavy is available in two weights, regular and italic. Franklin Gothic Heavy is reserved for display purposes and never used as body copy. It can be mixed with Trade Gothic to create points of emphasis. Heavy is more versatile, but needs to be used sparingly because the weight can be dominating, in other uses than creating hierarchy or headline treatments. If you work for Marketing and Communications, the font is available internally. If you are working outside of the Corporate Headquarters the font is available through the Corporate Communications Department. WHERE TO FIND IT FRANKLIN GOTHIC HEAVY REGULAR FRANKLIN GOTHIC HEAVY ITALIC 35

ARCHER

ARCHER LIGHT ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ARCHER MEDIUM ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890

Archer is available in a variety of weights from thin to black, but we only use a few weights in our materials. Even though this font comes in upper and lowercase, we also only use the uppercase letters, and it is reserved for display purposes and never used as body copy. It can be mixed with Trade Gothic to create points of emphasis, but we should be sensitive when applying it on certain materials like brochures and at small sizes. If you work for Marketing and Communications, the font is available internally. If you are working outside of the Corporate Headquarters the font is available through the Corporate Communications Department. WHERE TO FIND IT

ARCHER BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890

TYPOGRAPHY TYPOGRAPHY ALTERNATIVE FONTS In certain circumstances, due to the nature of the communication or constraints in the technique, Trade Gothic No. 18 Condensed or Trade Gothic No. 20 Condensed is not the ideal choice. Therefore, a set of alternative typefaces is available. Again, these typefaces are alternative and not meant replace Walsh’s core fonts.

ARCHER LIGHT ARCHER MEDIUM ARCHER BOLD

TO BE USED ON: Headline Advertising Printed Materials Subheadings

Bold and Medium can be used in combination with Trade Gothic No. 18 Condensed

Franklin Gothic Heavy Regular Franklin Gothic Heavy Italic

TO BE USED ON: Headline Advertising Printed Materials Can be used in combination with Trade Gothic No. 18 Condensed TO BE USED ON: Powerpoint Presentation Internal Documents Email Signatures

Helvetica Light Helvetica Regular Helvetica Bold

Baskerville Regular

FRANKLIN GOTHIC HEAVY ARCHER

TRADE GOTHIC

TYPOGRAPHY TYPOGRAPHY JUSTIFICATION Typography refers to the way the typeface is used in graphic compositions. Selected typefaces and unique typography are important identity carriers. It is important to be consistent not only with the typeface chosen but also in terms of how the typeface is used and how the text is treated. This is further described in detail in the following sections.

RAGGED LEFT JUSTIFICATION

The text should be left-aligned, with a ragged right (unjustified). This allows for a more visually pleasing appearance and is less difficult to read than centered or right justified text.

These regulations apply to all text, including headings, subheadings, body copy, etc.

The Walsh Group is capable of performing all site survey, engineering and layout, demolition, site utility, yard piping, process equipment piping, and installation, excavation, concrete work and carpentry work with its own forces.

At Walsh, text is never right-aligned, with an unjustified left.

At Walsh, body text is never center justified.

At Walsh, text can be left-aligned, with an unjustified right.

TYPOGRAPHY TYPOGRAPHY

FORCED LEFT JUSTIFICATION

Text can be forced left-aligned. However, there are specific settings that should be applied to control the gaps that forced text can cause. Those setting are further described below, along with instructions of their application. Forced text is only to be used on large paragraphs of copy.

Justification

Forced justify text can be beautiful if done correctly. The dialog box to the left has the optimal settings for creating forced left justified text without gaps in between the words. This option is found in the paragraph tab under options/justification. Change the settings to your already justified text to get clean forced text.

Minimum

Desired Maximum

Word Spacing: 80% -3% 97% Letter Spacing: Glyph Spacing:

0% 3% 100% 100% 103% 133%

Cancel

Full Justify Adobe Paragraph Composer 120%

Auto Leading:

Composer: Single Word Justification:

At Walsh, text is never forced right-aligned.

At Walsh, body text is never forced center justified.

Walsh, forced

text

never

full

alignment.

At Walsh, text can be forced left-aligned.

TYPOGRAPHY TYPOGRAPHY CENTER JUSTIFICATION

Center justification is needed when a layout doesn’t lend itself to left alignment. Centered text must always be ragged and never forced. There are a few instances when centered text is acceptable for headline and subhead is for advertisements, brochure covers, and internal marketing. There is never a reason to center body copy. Body copy can only be left ragged or forced left.

Below are some examples of how we use Centered Text on our brochure covers. Keep it simple and easy to read.

CENTER JUSTIFICATION When working with centered text, actually center the text manually by clicking on the paragraph tab and selected center. Do not align by using the space bar by creating the illusion of centered text. Do not leave the text left justified by nudging it into place. Simply center it. To the left is an example of how to use centered text in an advertisement. The Headline and Subhead are totally aligned and body copy is separated by the large photo so we can successfully left align the body copy without the copy being attached to the headline and subhead. That helps let us use multiple alignments without them being on top of each other.

TYPOGRAPHY TYPOGRAPHY KERNING (LETTER SPACING)

Kerning (letter spacing) is the space between individual letters. Walsh uses the default (0) kerning.

Setting letters too tight or too wide will make the text difficult to read.

These regulations apply for all text, including headings, subheadings, body copy, etc.

At Walsh, text is easy to read, never tootightor t o o w i d e .

Foundedin1898,TheWalshGroupisafourth-generationfamily-ownedcompanyprovidingdesign,build, finance,operationandoutfittingservices. Wearethe11thlargestcontractor intheUnitedStates,operatingoutof19strategically locatedregionalofficesacrossNorthAmerica.Our three companiesareunitedbyashareddedicationtodeliverexceptionalcustomerservice,whileupholdingthehigheststandardsofethics,qualityand safety. TOO TIGHT F o u n d e d i n 1 8 9 8 , T h e W a l s h G r o u p i s a f o u r t h - g e n e r a t i o n f a m i l y - o w n e d c o m p a n y p r o v i d i n g d e s i g n , b u i l d , f i n a n c e , o p e r a t i o n a n d o u t f i t t i n g s e r v i c e s . W e a r e t h e 1 1 t h l a r g e s t c o n t r a c t o r i n t h e U n i t e d S t a t e s , o p e r a t i n g o u t o f 1 9 s t r a t e g i c a l l y l o c a t e d r e g i o n a l o f f i c e s a c r o s s N o r t h A m e r i c a . O u r t h r e e c o m p a n i e s a r e u n i t e d b y a s h a r e d d e d i c a t i o n t o d e l i v e r e x c e p t i o n a l c u s t o m e r s e r v i c e , w h i l e u p h o l d i n g t h e h i g h e s t s t a n d a r d s o f e t h i c s , q u a l i t y a n d s a f e t y . TOO WIDE

TYPOGRAPHY TYPOGRAPHY KERNING (LETTER SPACING)

When type is set in larger sizes, due to the fact that the default setting is primarily for body copy, type may need to be adjusted (tightened) to make it pleasing to the eye. This should be done with caution and only in large sizes. The bottom block of text is set to (-20), in order to tighten the space between the letters. In large sizes, kerning may need to be adjusted. In large sizes, kerning may need to be adjusted (like this).

LEADING (LINE SPACING) Leading (line spacing) is the space between horizontal lines of type. Leading should be set from 2pts to 4pts larger than the text. If the body copy is 10pt then use 12pt or 14pt for your line spacing. The same setting is to be used in body copy and headline text. This example is set too tightly, causing letters to collide. This is better, providing enough space for ascending and descending letters.

TYPOGRAPHY TYPOGRAPHY LEADING (LINE SPACING)

In larger sizes, such as headlines, leading (line spacing) may need to be adjusted to make the headline pleasing to the eye. This should be done with caution and only in large sizes. The same care should be taken when laying out body copy. Leading should be set from 2pts to 4pts larger than the text. If the headline text is 48pt then use 50pt or 52pt for your line spacing. Note that these adjustments should not be performed to make a text fit into a layout, but for readability and visual clarity. These regulations apply to all text, including headings, subheadings, body copy, etc. In large sizes, leading may need to be adjusted. In large sizes, leading may need to be adjusted (like this).

TYPOGRAPHY TYPOGRAPHY TRACKING (LETTER SPACING)

Kerning adjusts the space between individual letter forms while tracking (letter-spacing) adjusts spacing uniformly over a range of characters. In a well-kerned font, the two-dimensional blank spaces between each pair of characters all have a visually similar area. Be mindful of letter spacing. Proper tracking helps the reader through the document and eases large gaps that can be distracting. Trade Gothic No. 18 Condensed and Trade Gothic No. 20 Condensed Bold are both best viewed at -20. Please adjust accordingly. The top example is set to 0 and the lower example is set to -20. Please go no tighter than -20. In large sizes, tracking may need to be adjusted. In large sizes, tracking may need to be adjusted (like this).

UPPER AND LOWERCASE At Walsh, we set text with upper and lowercase letters. We only use upper-case letters for headlines.

These regulations apply for all text, including headings, subheadings, body copy, etc.

At Walsh, we set text with upper and lowercase letters. WE ONLY USE UPPERCASE LETTERS FOR HEADLINES.

STATIONERY

Stationery for communications builds our brand. Every time a customer views our materials, they immediately see our colors, logo or other imagery that identifies The Walsh Group. Having consistent business stationery expresses our legitimacy and establishes a sense of pride in brand recognition.

STATIONERY STATIONERY LETTERHEAD C

The design and wording of the Walsh letterhead include the following: Only our logo is featured in the header and we have an explanatory line which reads “An Equal Opportunity Employer, Disability/Veteran”. The words “The Walsh Group” or “Walsh Construction” can only be included in the signature line and not under the logo. The font in the address line is: Trade Gothic No.18 Condensed and are available by contacting the Corporate Communications Department.

A. Upper Margins:

U.S. Letter: 0.39 inches

B. Left Margins:

U.S. Letter: 0.5 inches

C. Green Stripe U.S. Letter: 0.25 inches wide

D. Logo

1 inch wide 0.435 inches high

All letterhead can be ordered at the following website: https://walshgroup.quantumgroup.com

929 West Adams Street, Chicago, Illinois 60607 P: 312.563.5400 F: 312.563.5420 www.walshgroup.com An Equal Opportunity Employer, Disability/Veteran

LETTERHEAD The design and wording of the Archer Western letterhead include the following: Only our logo is featured in the header and we have an explanatory line which reads “An Equal Opportunity Employer, Disability/ Veteran”. The words “Archer Western” can only be included in the signature line and not under the logo. The font in the address line is: Trade Gothic No.18 Condensed and are available by contacting the Corporate Communications Department.

A. Upper Margins:

U.S. Letter: 0.39 inches

B. Left Margins:

U.S. Letter: 0.5 inches

C. Green Stripe U.S. Letter: 0.25 inches wide

D. Logo

1 inch wide 0.435 inches high

All letterhead can be ordered at the following website: https://walshgroup.quantumgroup.com

2410 Paces Ferry Road, Suite 600, Atlanta Georgia, 30339 P: 404.495.8700 F: 404.495.8701 www.walshgroup.com An Equal Opportunity Employer, Disability/Veteran

STATIONERY STATIONERY STATIONERY - ENVELOPE

929 West Adams Street Chicago, Illinois 60607

A. Upper Margins:

B. Left Margins:

C. Green Stripe

D. Logo

U.S. Letter: 0.2944 inches

U.S. Letter: 0.2639 inches

U.S. Letter: 0.25 inches wide

1 inch wide 0.435 inches high

All envelopes can be ordered at the following website: https://walshgroup.quantumgroup.com

Note that the logo should be in EPS format to ensure correct size and quality. No jpeg, gif, png, or pdf files should be used.

STATIONERY - ENVELOPE

2410 Paces Ferry Road, Suite 600 Atlanta, Georgia 30339

A. Upper Margins:

B. Left Margins:

C. Green Stripe

D. Logo

U.S. Letter: 0.2944 inches

U.S. Letter: 0.2639 inches

U.S. Letter: 0.25 inches wide

1 inch wide 0.435 inches high

All envelopes can be ordered at the following website: http://walshgroups.quantumgroup.com

Note that the logo should be in EPS format to ensure correct size and quality. No jpeg, gif, png, or pdf files should be used.

STATIONERY STATIONERY STATIONERY - BUSINESS CARDS The name is set in Trade Gothic No. 20 Bold Condensed. The contact information is set in Trade Gothic No.18 Condensed. The format of the business card is 3.5 inches x 2 inches.

A. Upper Margins: 2”x 3.5”: 0.1814 inches B. Left Margins: 2”x 3.5”: 0.1021 inches C. Green Stripe 2”x 3.5”:

0.2035 inches wide

D. Logo

0.75” wide 0.33” inches high

Note that the logo should be in EPS format to ensure correct size and quality. No jpeg, gif, png, or pdf files should be used.

All business cards can be ordered at the following website: http://walshgroup.quantumgroup.com

STATIONERY - BUSINESS CARDS

The name is set in Trade Gothic No. 20 Bold Condensed. The contact information is set in Trade Gothic No.18 Condensed. The format of the business card is 3.5 inches x 2 inches.

A. Upper Margins: 2”x 3.5”: 0.1814 inches B. Left Margins: 2”x 3.5”: 0.1021 inches C. Green Stripe 2”x 3.5”:

0.2035 inches wide

D. Logo

0.75” wide 0.33” inches high

Note that the logo should be in EPS format to ensure correct size and quality. No jpeg, gif, png, or pdf files should be used.

All business cards can be ordered at the following website: http://walshgroup.quantumgroup.com

EMAIL SIGNATURE

The Walsh Group email signature is as important as any other part of your corporate identity. Using a badly designed email signature is akin to writing your details on a scrap of paper and handing it to a client or prospect. Too many companies often let their employees create their own email signatures, without any thoughts as to how they might appear to others. It might look interesting for an employee to create a signature with animations and colorful fonts, but it’s simply not appropriate when it comes to conveying a professional image. It is more beneficial to have a simple, clean signature. Not only does this communicate a higher level of legitimacy and professionalism, but it also provides instant brand recognition for our company.

EMAIL SIGNATURE EMAIL SIGNATURE EMAIL SIGNATURE A standard, consistent, and clean e-mail signature will present a more professional appearance for The Walsh Group. The signature is designed to maximize contact information while promoting external websites to those who receive the messages. E-mail signatures should reflect a professional and consistent appearance for conducting business through e-mail. This email signature is the one and only. Logos are pixelated for the end user. No additional graphics or animations are allowed to be used.

SOCIAL MEDIA LINKS www.facebook.com/TheBigGreenW/ www.linkedin.com/company/walsh-construction www.twitter.com/thebiggreenw www.instagram.com/thebiggreenw/

1. On the Outlook menu , click file 2. Click Options 3. Select Mail 4. Click the Signatures Button 5. Copy the Email Signature provided by the Corporate Communications Team 6. C opy and paste into the Edit Signature Box , then update with your information. 7. Once complete, select OK . 8. Close the Signatures dialog box.

Your signature should look like the example on the right. (The font is Helvetica Bold and Regular)

Dan Walsh, Jr. President

The Walsh Group 929 West Adams Street Chicago, Illinois 60607

Walsh Construction 929 West Adams Street Chicago, Illinois 60607

P: 312.492.1523 C: 312.492.1523

C D

www.walshgroup.com

Facebook | LinkedIn | Twitter | Instagram

David Casey President - Heavy Civil Archer Western 2410 Paces Ferry Road Suite 600

Craig LeSurf Business Group Leader Walsh Canada 2700 Steeles Avenue Vaughan, Ontario L4K 3C8

P: 404.495.8700 C: 312.492.1523

P: 905.532.0662 C: 905.532.0051

C D

www.walshgroup.com

Facebook | LinkedIn | Twitter | Instagram

A. Name and Title

B. Contact Information

C. Website in Green

D. External Website Links Stay in order shown

12pt in Helvetica Bold

10pt in Helvetica Regular

10pt Helvetica Bold

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