We talk a lot about paper as a powerful platform for communication so we couldn’t go past this bright publication, the Alastair Swayn book* by Swell Design with its bold coloured pages and strong message.
The inspiration for the eye-popping publication was two-fold; to celebrate a much loved architect and friend of Swell and to promote the Alastair Swayn Foundation. A charity that supports young Australian architects.
We spoke to Swell Design about their experience working on the project, the creative process and their new Groundswell website, a charity to raise money for brain cancer.
Can you elaborate a little more on the creative direction for the book?
Alastair Swayn was an amazing architect, friend, mentor and supporter of Swell for close to two decades. He passed away on the 4th of August 2016 after a long battle with brain cancer. As part of his final project (planning his own memorial and party), Alastair engaged Swell to create a legacy book that would help to promote the Alastair Swayn Foundation.
Out of respect for Alastair, we undertook this 100pp challenge as a pro bono exercise and created an oversized publication with a case bound hard cover option and two different soft cover variations. Partly due to our exposure to Alastair’s illness, Swell has started a charity to raise $20,000 to help combat brain cancer — the Groundswell website will be available very soon.
Why did you choose to use Knight Smooth Digital – Indigo and what as the print result like?
We chose Knight Smooth Digital – Indigo 140gsm because of its smooth surface and crisp white colour which help the bold layouts and Alastair’s architecture to pop. Knight Smooth and the Indigo where a great combination — the colours jump from the page (as planned).
How is the Groundswell website going?
The groundswell for Groundswell has started. We’ve now had a couple of close encounters with this terrible disease. Back in 2010, Col’s (Swell Director) son had a (fortunately benign), brain tumour removed. We then sponsored Brainstorm for a Cure, a local charity event created by Sarah Mamalai, a stage 5 brain cancer survivor (one of few). Lastly, in 2016, Swell lost a strong friend and advocate in Alastair Swayn, one of Canberra’s most successful architects.
We’ve started slowly by producing water bottles and cycling jerseys and selling these for $5 and $50 respectively (bargain). Basically, we fund the production and all proceeds so 100% goes straight into our fund managed pro bono by Grant Alleyn, Director of Allegra Wealth. Further fund raising will centre around events (cycling and running), sales of GroundSwell branded coffee and corporate donations. A website is coming, so stay tuned and let’s help beat this thing! In the mean time check out Swell’s new site.
*Thanks to Swell Design for taking their time to answer our questions and allowing us to feature their work in the ‘Snippets’ section of Spot, our very first print publication about all things design, paper, people and dogs.
Two person design studio in Melbourne, Mildred & Duck, punch way above their small team weight. The team being Daniel Smith and Sigiriya Brown. Their branding job for Delores Butterball posted below, we recently featured in the ‘Snippets’ section of Spot, our first ever print publication. Speak to your paper specialist for a copy. And in the meantime, check out more of their awesome work on Instagram.
Stocks: Curious Collection Skin Stone 270gsm, Knight Smooth Digital – Indigo White 160gsm, and Grange Tinted Bond Pink 80gsm
Print specs: Black metallic foil + CMYK
Printed by: Ellikon
Photography: Mark Lobo of Foliolio
The ‘Unfurl’ publication showcases the work of RMIT’s Visual Arts graduates. The publication was designed to unify the diverse range of works created across different disciplines. Mildred & Duck used a consistent grid structure to create a cohesive experience, and allowing for easy navigation. Housed within an understated black-foil exterior, the publication reveals a playful pink section containing the text pages.
Delores Butterball is a small batch baked goods stall serving cakes and cookies across Melbourne. Mildred & Duck created a visual identity for Delores Butterball that is bold and confident and can be easily applied to boxes and bags as needed without losing legibility. The oversized business card doubles as a with comps slip, with raised verko printing that looks like the texture of icing. Yum!
An independent microbrewery in Sydney wanted to grow direct-to-consumer sales through their website as well as increase brand awareness of their boutique beers. To achieve this, a multi-channel campaign utilising personalised URLs and direct mail was created.
Outback brewery aimed to tap into direct mail’s ability to drive traffic both online and in stores by coupling relevant messaging with measurable response mechanisms.
Outback Brewery created 5,000 personalised postcards that were sent to select consumers that had a specific lifestyle, age, income and propensity to spend. Postcard recipients were asked to “name the lizard” on the beer’s logo and submit their answer to a personalised URL. Recipients were incentivised to participate by a chance to win free beer for a year, $10 off a mixed case of beer via their new online shop and a free bottle opener. Participants were brought to a personalised landing page that was an extension of the branding found on the postcard, maintaining the continuity and connection with the brand both offline and online.
The campaign proved to be a huge success for the company, increasing consumer engagement and driving sales. Outback Brewery received over 120 online orders and more than 2,300 unique web visitors. A 10% response rate was achieved within 72 hours, growing to 20% within two weeks and eventually reaching 33%.
Outback brewery was able to reinforce their brand identity and stand out from the competition by adopting a personalised and colourful direct mail campaign. The personalised mail was able to capture attention and drive traffic to Outback Brewery’s online platform where recipients could enter the competition and make purchases. Direct mail was vital in this campaign, and exemplifies how it can be used as part of a multi-channel campaign to engage consumers and drive sales.
Thanks goes to Kellie Northwood, Executive Director of VoPP/Two Sides Australia for allowing us to republish this case study, made available to us as Foundation Sponsors of TSA Limited, the publishers of the VoPP (Value of Paper and Print) report. Find out more via www.valueofpaperandprint.com.au.
Our 2017 calendar ‘A Cut Above’ is a shout-out to Henry Matisse who, in his later years, created amazing artworks in his ‘cut-outs’ series using just scissors and paper. A collaboration with Spencer Harrison (who project managed and designed the calendar) and two workshops later and we have the super colourful 2017 K.W.Doggett Fine Paper calendar!
This is traditionally a student only project but this time, we opened it up to industry folk too. We put it out to ballot and chose the participants from there. Equipped with paper (including some awesome custom designed sheets by Spencer), heaps of glue and scissors, pizza and tunes, we ran two workshops in SA and VIC with Spencer at the helm sharing his expertise and guiding the participants through the creative process. Choosing the final 12 pieces was tough (so many fabulous pooches!) and the wonderful Mark Lobo shot the masterpieces.
Thanks to everyone that entered, those that attended the workshops, the artists who made it to the final 12 and the pizza guy. A big shout-out to UniSA and CATC/Billy Blue College of Design for giving us their digs to use. And of course the one and only Spencer Harrison. Wooooo hoo!
Check out our YouTube channel soon for behind the scenes videos! bit.ly
The calendar was printed offset by Adams Print in VIC. Clear gloss foil on cover over the title by Avon Graphics in VIC.
- Cover: CMYK plus PMS orange* and clear gloss over the title on Strathmore Super Smooth Ultimate white 176gsm. Artist: Spencer Harrison.
- Credits: CMYK plus PMS orange* on Sovereign Offset 160gsm.
- January ‘Grandpa soda pop’: CMYK plus PMS orange* on Maine Recycled – Silk 200gsm. Artist: Beth MacDonald.
- February ‘Sausage roll’: White ink (2 hits wet on 2 hits dry) plus CMYK on Kaskad – Bullfinch Pink 160gsm. Artist: Jack Stobart, UniSA.
- March ‘Jeff Sniffs’: CMYK plus PMS orange* on Rives Design Bright White 250gsm. Artist: Yan Yan Candy Ng from Thoughts Come True.
- April ‘Space dog’: CMYK on Sovereign Offset 160gsm. Artist: Panhavuth Kret, Holmesglen Institute.
- May ‘Get ’em’: CMYK on Knight Vellum 140gsm. Artist: Nana Utsugi, RMIT University.
- June ‘Field day’: CMYK plus PMS orange* on Sovereign Offset 160gsm. Artist: Lauren Conti, Monash University.
- July ‘That happy dog’: CMYK plus PMS orange* on Maine Recycled – Silk 200gsm. Artist: Duncan Crawford, UniSA.
- August ‘Dog & bone’: CMYK plus PMS orange* on Sovereign Offset 160gsm. Artist: Liam Kenny, Torrens University Australia.
- September ‘It’s a dog’s life’: CMYK plus PMS orange* on Knight Vellum 140gsm. Artist: Spencer Harrison.
- October ‘Walkies’: CMYK plus PMS orange* on Maine Recycled – Silk 200gsm. Artist: Alex Seret from Alex Seret Design and Illustration.
- November ‘Sleeping dog’s lie’: CMYK on Rives Design Bright White 250gsm. Artist: Phil Koo, Torrens University Australia.
- December ‘Shut up!’: CMYK plus PMS orange* on Knight Vellum 140gsm. Artist: Tanya Bickers, graphic designer and illustrator.
- Backing: Doggett Boxboard 310gsm/520ums.
Designer: Studio Constantine (VIC).
Card Stock: Duplexed Curious Collection Metallics – Super Gold 250gsm and Virtual Pearl 120gsm.
Envelope Stock: Curious Collection Matter – Desiree Red 135gsm*.
Printed by:Blue Print (VIC).
Duplexed by: Cartonlux (VIC).
Envelopes by: Direct Envelopes (VIC).
Finished by:Blue Print (VIC). Scored, trimmed and folded.
Our 2016 Christmas card is so bright that we reckon it could probably give you a sunnies tan line. Which is why we love it.
We asked David of Studio Constantine to get creative so the card would bring merriment to our rather broad client base (graphic designers to corporates). When looking for inspiration, we like to imagine that after a few eggnogs staring up at the overcast summer sky, David had a lightbulb moment. He would create a card featuring the bright Aussie sun we’ve all been waiting for.
What we have is a duplexed card on Curious Collection Metallics – Super Gold 250gsm and Virtual Pearl 120gsm. It was printed HP Indigo black with white ink overprint (2 hits @ 50%) on the front ala the setting sun. We also had envelopes custom made in Curious Collection Matter – Desiree Red 135gsm* and printed Doggett Labels circular (C45 & C60) stickers in-house for postage and closure labels.
The combo of the red and the gold is very Christmas and a little bit Chinese New Year too. All in all – party time.
*Grammage not stocked by KWD – available on request from Arjowiggins.
1. Perform ‘Under Colour Removal’ (UCR) on your files.
Under Colour removal (UCR) is a process whereby you eliminate overlapping yellow, magenta and cyan that would normally add to a dark neutral (black) and replace it with black ink only ie a ‘Full Black’. This is done during the colour separation process. Replace the coloured inks with black in shadowy or neutral areas to reduce the risk of mottling or a muddy look which can happen with excessive ink coverage.
2. Use the right colour profile.
Start with your images in RGB then convert to CMYK uncoated profile. Domestic printers work with CMYK and are therefore able to create a narrower range of colours.
3. Choose the right paper to match your imagery.
We know, we know, it seems so obvious but sometimes it’s still not considered. When reviewing your proofs, keep the shade of paper you’re actually printing on in mind eg if using a creamy white paper you may want to reduce the yellow (especially with skin tones). With a blue white paper you might want to take out some cyan. Proofs are often on a coated paper so consider this too. Best papers to use if printing lots of photography with skin tones is all papers really, but these kinds of images really lend themselves to blue-white uncoated papers.
4. Ask to see samples.
We have loads of samples on-hand. Some with specials, embellishments, specialty covers etc and if we don’t have it, we’ll find it! Let your paper specialist know the desired result you want and they’ll work backwards with you to find the best paper and print method. They really know their stuff when it comes to matching paper with imagery.
5. Print production is key.
This involves preparing the files as mentioned, checking the proof and also making sure that when on press, you consider some things eg you can make minor adjustments to colour and density but mostly this should be done in the pre press stage. And most importantly, allow for dry back. When on press, approve the sheet that comes off and then ensure you allow for dry back, so increase the ink pressure by about 10%.
CASE STUDY 1:
Ogilvy Brazil & Life Support Group: ‘This Poster is HIV Positive’
Agency Ogilvy Brazil partnered with organisation Life Support Group to deliver a consumer education and awareness campaign in São Paulo, Brazil.
The campaign set out to break down the stigma and confusion surrounding HIV/AIDS and how the virus is transmitted.
Posters were created that contained 1 drop of blood from an HIV positive individual and distributed throughout São Paulo. The text on the posters read, “My measurements are 40 by 60 centimetres. I was printed on high brightness paper. And my weight is 250 grams. I’m just like any other poster. Except for one thing: I’m HIV positive.. I’m living with the virus. At this point you may be taking a step back, wondering if I offer any danger.”
The campaign was effective at educating readers that HIV can’t survive for more than an hour outside the human body, so like the poster, HIV positive individuals are completely harmless. The campaign provided highly emotional responses from the public, with some touching and even kissing the poster after reading it, proving that the message was received and the misinformation was corrected.
“The poster humanizes the problem and brings people together for the cause, showing that it’s possible to live in a prejudice-free society.”
Aricio Fortes, Ogilvy Brazil’s Chief Creative Officer
CASE STUDY 2:
New Zealand Rugby Union & Adidas: ‘Bonded by Blood’
All Blacks players each donated a sample of blood that was combined with ink to produce 8000 special edition posters. The digitally imposed posters featured the All Blacks team performing the haka in Fiordland National Park. Slogans such as “Stand in black. It’s in our blood” and “Rugby. It runs through your veins” were used in the campaign. These ‘Bonded by Blood’ edition posters came with a certificate of authentication and given to those fans who purchased an All Blacks jersey.
The posters were very well received within the community, achieving the goal of enhancing national pride and connection with the All Blacks team. This campaign allowed the All Blacks to acknowledge the depth of support received by fans over the years, and cultivate a strong sense of community.
“Adidas believes rugby is an essential part of New Zealand’s DNA and we wanted to show how the players and their supporters are inextricably linked – how supporting the All Blacks is in our blood.”
Craig Waugh, Adidas New Zealand’s Marketing Manager
Both of these campaigns are excellent examples of how companies are pushing the limits with print, yielding results. Incorporating blood into the posters ink created a strong tangible and sensory experience, forging a deeper emotional response to the campaigns. Thus generating both a memorable and impactful experience. Using print media to appeal and relate to consumer’s senses proves much more effective than just using images and text to get the message across. Print allows brands to communicate their values and message in a highly engaging and emotional manner.
Thanks to Kellie Northwood, Executive Director of VoPP/Two Sides Australia for allowing us to republish this case study, made available to us as Foundation Sponsors of TSA Limited, the publishers of the VoPP (Value of Paper and Print) report. Find out more via www.valueofpaperandprint.com.au.
A raised or multi level emboss means the image or type area is raised to multiple levels to create a 3D type effect and in this case, with different depths.
What other kinds of embossing are there?
There is also blind embossing where you emboss the paper and leave it ‘as is’. The other option is to fill the indentation with ink or foil. You can also sculpt the die to have a bevelled edge which looks really good.
So it’s not a deboss?
That’s right, it’s not. A deboss means the surface is depressed instead of a raised impression which is what happens with embossing. So you inprint the image or type by pushing it into the paper (with embossing the impression is made from underneath).
Is it an expensive embellishment technique?
It can be pricey, depending on the area you want to embellish. The money is in the block that is made. So sometimes, if it suits the project, you’d get one block made and use it across different stationery items.
Is there anything I should avoid?
Make sure you allow for space in your design and also type, particularly with type because when your design is pressed into the paper, it will naturally appear closer together. For multi-level embossing use colour codes in your artwork to indicate various levels. Always best to speak to your printer before you deliver the files and find out how best to set them up. Also let them know what paper you are using.
Does it work better on some papers compared to others?
Long fibred papers don’t lend themselves too well to embossing but really, you can do it on both coated and uncoated paper with different results depending on the gsm, whether it’s textured etc. For example, an emboss may not turn out as deep on an coated paper due to a few things like the coating, but it still looks good. We used Knight Smooth Cream 250gsm in our promo and it worked a treat.
Do most printers do this type of work?
Some printers offer this service and usually, it’s the services of an embellisher you would seek. We used Avon in VIC in the case of the Knight promo. Call your paper specialist for the heads up on embellishers in your area.
Knight Smooth Cream 250gsm
• Foil produced by Avon
• Multilevel emboss with foil. 2 passes.
• Matt Gold 25
A coated polyester (PET) that offers excellent colour reproduction, stiffness and trouble free feeding. This product is suitable for both Dry Toner and HP Indigo presses.
A high white paper laminate reinforced with a polypropylene (PP) or polyester (PET) film. Comes in ICE (PET – transparent) or Classic (PP – paper face). The ideal combination of paper feel, with the strength and printability of a synthetic. It’s easy to convert, has great printability and is easy to fold. Suitable for Dry Toner and HP Indigo presses.
A polyester based, non adhesive paper with a white satin finish. Tacky Dry Super Tuff Poly has a soft tactile quality and comes in adhesive options too. Suitable for Dry Toner printing only.
There are so many uses for these products including point-of-sale, overlays, envelopes and protective jackets, maps, golf/membership cards, tags, entrance tickets, numbered bibs for sporting events, use-by dates for food, menus, personalised certificates, training manuals, blue prints, parking tickets, horticulture tags, boating maps and hotel door handle tags. Those and many more.