Generate the Office theme per brand and publish the print values and swatches

Context and Problem Statement

Documents, presentations and print are first-class surfaces (criterion 5). The delivered palette was a CSV with no CMYK, no swatch files and no Office values; every presentation picked its colours and fonts by hand. The typefaces are decided (ADR-0020) and installable; the colours are decided (ADR-0013 to 0016). What does Office receive, and what does a printer receive?

Decision Drivers

Criteria 2 (one family), 5 (works beyond the screen), 8 (open licences) and 9 (generated and tested) of ADR-0009.

Considered Options

• The Office theme per brand generated from the tokens as DrawingML and JSON, the print values as data, ASE swatches; templates later, once the theme is ratified
• Hand-made .potx and .dotx templates per brand, with the colours typed in
• Office values only, no print values until a printer asks

Decision Outcome

Proposed: the first option. brand/src/office.ts writes, per brand, theme1.xml (the DrawingML colour and font scheme a template embeds) and a JSON of the same values; a colours.json with the print values and an ASE swatch file per brand and for the family.

• The theme’s twelve colours, in Office’s names, from the brand’s ramp and the neutrals: dk1 the ink, lt1 the paper, dk2 the deep tone (800), lt2 neutral 100; accents 1 to 6, which feed the charts, 600, 400, 800, neutral 600, 200 and neutral 400; hyperlink 600, followed 800. The parent and AKRIBIS One use the AKRIBIS ramp they borrow.
• The theme’s fonts are the Plex families under the names Windows registers from the TTF files, read from the font files themselves: the SemiBold family as the heading face, Regular as the text face, Plex Mono for code. The fonts install from the package of ADR-0020.
• Print values per brand: sRGB as the reference, OKLCH and CIELAB (D65) as device-independent values, and a CMYK marked uncalibrated: a conversion without an ICC profile, a starting point the printer’s profile replaces. No Pantone references until a printer asks with its profile; a matched Pantone is a measurement, not a conversion.
• Swatches. One ASE file per brand (signature, text colour and the eleven steps) and one for the family (the nine signatures and the neutrals), readable by Illustrator, InDesign and Photoshop. The tests write and read the files back.
• Templates (.potx, .dotx) are built with the theme once it is ratified: one master per brand’s theme, the mark from the published files, the shape tokens as margins and radii, no effects or shadows. An installable .thmx is listed open until it is verified in PowerPoint.

Consequences

• Good, because a document’s colours and fonts come from the same tokens as a site’s, and a brand change is a rebuild.
• Good, because a printer receives device-independent values and a labelled starting point instead of a hex alone.
• Open: the templates; the .thmx; the chart palette, which the accents will follow when the Colour topic decides it.