We recently released an A5 sampler created by A Friend of Mine (AFOM) design studio in Melbourne, consisting of a set of seven cards wrapped in an origami folded B2 sheet. And we folded them all in-house. We owe a lot of people a big thanks for their help! Inspired by the shape formations found in paper, each card in the sampler showcases a variety of digital print techniques and a custom perforated shape. It’s been a doozy of a production project but worth it.
We wanted to share some important printing hints and tips around the Curious Collection Skin Red 270gsm card. The red card was printed on a HP Indigo press using CMYK, white AND fluoro pink ink. The checked pattern looks simple enough but delve deeper and there’s quite and few tricks we implemented to really make it pop. We did the hard yards so you don’t have to.
The artwork file is made up of seven layers. Getting the order of ink lay down is imperative. To get the tonal effect between the opaque and translucent areas of ink, the white gets laid down first, 3 hits to be exact. Then we follow up straight away (electro ink dries instantly) with the CMYK. On this piece CMYK shows up as the green, navy blue, magenta and maroon layers. To ensure they sit over the white, all CMYK areas need to be set to OVERPRINT. For a further explanation of what overprinting is click here. The ink that hits the white becomes opaque and has a bolded look. Ink printed directly onto the paper looks more transparent and subtly shows the stock colour underneath. Finally, the fluoro pink ink is laid down. Fluoro ink has a translucency so when it hits the white ink it pops as pink but when it hits the red stock it makes a slightly darker red shade.
Important to also mention that printer’s proofs are essential, especially when working with white ink. We went a few rounds with these before getting it right and consulted the printer regularly to achieve the desired result. Look out for registration too, with so many layers it’s important the edges of the pattern all line up. Finally there is a lot of ink coverage on this card, however AFOM has been mindful to keep some areas of the paper ink-free for all the paper lovers out there who want to feel Curious Collection Skin’s silky tactile goodness.
If you ever have any production questions, speak to your business development executive or call our marketing department on either 02 8863 1266 or 03 8794 3407.
Spec:
• Curious Collection Skin i-Tone Red 270gsm
• Printed HP Indigo
• Duplexed (1 sheet short grain, 1 sheet long grain- this minimises the curling that can happen with duplexing)
• CMYK, white ink (3 hits) and fluoro pink ink
In 2016, we got to be a part of something pretty spesh when it comes to the world of paper and print. The culmination was the limited edition book The Sub Divide. It’s part print, part art and a whole lot of beauty. A curated resource celebrating a selection of 30 highly regarded photographers – recommended by and for, the creative industry. The publication has been developed by a collective of specialists dedicated to their craft.
(Most of the content from this blog post first appeared in Issue 11 of GSM Magazine).
The Sub Divide is an exquisite printed resource developed through the pillars of inspiration, experimentation, collaboration and celebration. It also celebrates craftsmanship. With a unique collaborative approach to production, this resource came to life through the dedication and expertise of some very committed individuals. The project started with a simple conversation between John Wanless Director at Bambra Press and one of staff after they saw printed test sheets of photographic material lying on Bambra’s press room floor. Grosz Co. Lab’s Creative Directors, Ben Grosz and Laura Camilleri then became involved by developing the concept and curating the collection of photographic works which the book showcases. Their efforts were none other than extraordinary!
The collective behind this project comprised includes:
> Bambra Press for Initial concept and delivering exceptional print.
> Grosz Co. Lab for the development and curation of the publication through intelligent, articulated design.
> Huber Inks for the supply of the Pacifica Inks and also specialist guidance on technical advice during the process, supplied by Ball & Doggett.
> The Bindery for the development and production of the unique featured binding techniques.
> Avon Graphics for the production and expertise in embellishments and foiling.
> Foldercorp for the production of the sleeve.
> Cartonlux for laminating the stock for the sleeve.
> Nordale Graphics/Wibelin for the binding techniques.
And yours truly for the supply of paper (visit our existing websites until the Ball & Doggett one is live).
The technical challenges
Such a complex print project presents many technical challenges. A key driver to the success of the publication was the extensive research and development phase. This included a series of mock-ups created by our Designline team in VIC that enabled dialogue with everyone involved. Creating a mock-up although it doesn’t have any print is a key step in any major print project and can save a lot of time and ensure the end product is exactly what you want.
One of the specific technical challenges presented, was the unique bind which creates both an interesting aesthetic experience and is also unusual in placing the index containing the details of the featured photographers in the middle of the book. The bind solution was developed by Ian Leckie, operations manager at The Bindery.
The slipcase (1) uses Colorplan Cool Grey 270gsm stock which has been custom diecut, folded and hand-glued, then duplex laminated to Colorplan Pristine White 270gsm. The embellishment across the slipcase features foiling by Avon Graphics with an API Foil (2004 / CL Clear Rainbow).
The bind design (2 + 3) uses a unique concertina fold to connect the two sections of the book together. The cover uses 350gsm Colorplan Cool Grey stock, on which a range of tactile embellishments have been employed including a multi-level emboss using a hand-carved sculpted die on the front cover (3), and on the back cover (4) a blind press using a foil stamping die without the counter die.
The inside front and back cover (5 & 6) use an API Foil (2004 / CL Clear Rainbow), and the spines and concertina fold (7) employ a blind deboss and foil. The index (8) is cleverly positioned at the centre of the book to make maximum use of the extra real-estate allowed by the open concertina fold, and was foiled using a blue metallic foil.
> The internal text pages of The Sub Divide were printed by the team at Bambra Press in CMYK, using Pacifica Inks throughout, on a Heidelberg XL75 12P
+ Aqueous Coater using Fuji Film CTP Processless Plates. Various screen rulings (specifically developed by Bambra Press) were selected to ensure the best possible result across each section of the book.
After 15 months of development from concept to production, The Sub Divide was officially launched in October 2016. A testament to the quality of the finished product, Grosz Co. Lab were recipients of a gold medal in the Print/Design Category at the recent 34th Annual National Print Awards.
The Sub Divide features the work of 30 highly regarded Australian photographers. Published together for the first time, the photographers responded to catergorisations divided into two groupings. The first, a commercial response to ‘people’, ‘place’ and ‘pieces’. And the second category was a response to ‘passion’, exploring the photographer’s personal connection, depicted through their lens.
MultiLoft™ Encore is made using Convertible Solutions cohesive glue technology and Mohawk’s Superfine range of papers, certified to run on the HP Indigo press.
Looking for a pimped-up business card, with comps, wedding invite or greeting card that takes thickness to the max? MultiLoft™ Encore is where it’s at. Colour is built into the sheet of paper. So it’s ultra white on one side and coloured on the other side. And we also sell insert colours so the options are endless.
To achieve double the thickness of what is an already pretty thick card, print on the white side of two different sheets of MultiLoft™ Encore and then stick them together. Each double thick finished piece is approximately 634gsm.
The MultiLoft™ Encore inserts have cohesives (sticky stuff) on both sides and can be placed between the sheets to create colourful, eye-catching projects. As an example, adding x1 insert sheet, the thickness goes up to approximately 904gsm. Keep adding inserts to achieve your desired thickness.
After your project is printed and constructed, you can then diecut your job into the desired shape.
The range MultiLoft™ Encore sheet colours: Ultra white/Kraft (brown), Ultra white/Black Licorice, Ultra white/Wild Cherry, Ultra white/Pacific Breeze, Ultra white/Orange Fizz, Ultra white/Blue Raspberry. Click here for the full sheets stock chart.
MultiLoft™ Encore insert colours: Kraft (brown), Black Licorice, Wild Cherry, Pacific Breeze, Orange Fizz, Blue Raspberry.
We love this marketing suite for OPUS on Hutt Apartments. Designed by Black Sheep Advertising in Adelaide for their client Proton Developments, the brochure emanates quality attention to detail and the business cards are just class.
OPUS (which means masterpiece), is a premium apartment development in the Adelaide CBD offering larger than usual apartments. Most places currently on the property market are substantially smaller in comparison. Plus, OPUS boasts all the dreamy bells and whistles like innovative integrated technology, premium finishings and fittings and a modern layout. Yes, we want to move in too. Get in line!
Creating a printed piece that stands out from the crowd is no mean feat. It practically has to yell your name and buy you a coffee to get your attention. Black Sheep Advertising have designed a clever marketing suite that is next level and reflects OPUS’s unique inner city living offering.
The burst bound brochure, printed on Knight Smooth, is over-sized and has a deliberate coffee table book feel. Black Sheep Advertising shares: “It was important to have print as part of our execution. Firstly, a functional reason – when people are looking to buy into a development it is important to be able to provide them with something to take home and return to multiple times.” The brochure’s dust jacket is treated with an all over soft touch Plasticoate laminate (it literally feels like it sounds) and a swish copper foil for the logo to add extra wow. The textures and colours throughout the brochure pick up on the architectural colour palette of the build.
The stationery and business cards are also printed on Knight Smooth. Again, the soft touch Plasticoate laminate and copper foil feature on the business card. Black Sheep mentioned to us: “When you hold the business card or the brochure in your hand, you can tell the project is one of quality and that sense is left with you after you put it down again.”
Find out more about the project which seeks to provide a quality of apartment living never seen in Adelaide before at www.opusonhutt.com.au.
Brochure: 24pp + 4pp cover
Finished size: 416 x 306mm
Cover: PMS 425 (Grey) + Black + o/all matt sealer varnish (outer) + PMS 425 (Grey) + PMS 876 (metallic) + Black + o/all matt sealer varnish (inner)
Text: CMYK + o/all matt sealer varnish t/out
Dust jacket: PMS 425 Grey + Black + soft touch cello + copper foil / matt sealer varnish to inner
Stock: Cover: Knight Smooth 350gsm, Text: Knight Smooth 170gsm, Dust Jacket: 140gsm Knight Smooth
Business cards: Finished size: 90 x 55mm
Front: Black + PMS 425 (Grey) + PMS 876 + metallic copper foil + soft touch cello
Back: Black + o/all matt sealer varnish
All four corners forme-cut round
Stock: Knight Smooth White 400gsm
Letterhead and with comps: Letterhead finished size: 210 x 297mm
With comps finished size: 100 x 210mm
Front: Black + PMS 876 + o/all matt sealer varnish
Back: PMS 876
All four corners forme-cut round
Stock: Knight Smooth White 120gsm
We all love a bit of bling on paper, especially the gold variety, or silver, or bronze…we’re not fussy! Matt Murcott, Director at Matte Gold sure knows how to make paper sparkle. Being in the business of embellishments, they specialise in foil stamping, embossing, forme cutting, holographics and even highly secure hologram foils.
Family owned and operated, Matt first sighted a foil-stamping machine as a child in the Moorabbin factory where his father worked. After countless school holidays cutting his printing teeth on the Milford Astor hand foil stamping press, at 17 years of age, Matt began his foilstamping apprenticeship. The rest is history. Matt shares: “Matte Gold was always going to be realised – it was just a matter of when…”
Now a Foilmaster in his own right, Matt and his team work on some seriously cool projects from shimmering candle labels to stickers for tattooists, specialised business cards with coloured foils and specialty applications like Perspex and leather. For the last five years Murcott has worked closely with the RMIT Design Management and students, sharing his knowledge of the trade and is also on their Program Advisory Committee.
The embellishment industry has come a long way in recent years and business is constant for Matte Gold. The biggest challenge has always been about education, for designers and consumers. Matt says: “Offshore options for consumers are slowly being reigned in thanks to poor quality and slow turnarounds but what remains is the ‘I want it now and I want it cheap’ issue… Designers are more inclined to ask questions before pushing the boundaries.”
When asked what the ultimate job would be, Matt said: “We do a bit of work with musicians and tried to get a spot producing some items for Midnight Oil’s tour this year, this would have been my personal dream project if we had pulled it off. Other than this, a lot of our work is so much fun and some days what we are doing right now, is dreamy enough.”
You can check out more of Matte Gold’s flashy creations here.
Project name: Planned Parenthood mural Partner-in-Charge/Designer: Paula Scher Associate Designer: Courtney Gooch Project Manager: Sarah McKeen Photos: Peter Mauss/Esto
We spotted this excellent example of wide format (commonly known as outdoor media), on the Pentagram blog. What we love about this project is the use of a not often spoken about product that we stock – wide format media eg billboards, point of sale, window and floor graphics, banner vinyls, light boxes and indoor/outdoor advertising. A big thanks to the Pentagram team for allowing us to post their story, a snapshot of which appears in the ‘Snippets’ section of our first edition of Spot. Speak to your paper specialist for a copy.
Planned Parenthood is America’s most trusted non profit provider of reproductive healthcare (an estimated one in five American women have chosen Planned Parenthood for healthcare at least once in her life and the organisation is currently powered b 9.5 million activists, supporters and donors nationwide). Paula Scher and her team designed a large-scale installation for the company’s new national headquarters in Lower Manhattan. The main mural goes up three staircases and was timed to coincide with the company’s centennial in October 2016.
Paula Scher and the team researched historic images, settling on about 30 in the end. They used a century of ephemera – a mix of newspaper ads, instructional posters from clinics, protest posters, pins, photos of protests, and other historical material (created by Planned Parenthood) for the mural.
To enhance image quality, they digitised them, then applied the Planned Parenthood colour palette (with the addition of bright yellow to tie in the environmental graphics into the existing brand identity). The design team worked closely with the architect and leadership team at Planned Parenthood to develop the installation. And other than the main installation, smaller murals appear on walls throughout large conference rooms and other meeting spaces.
As it states on the Pentagram blog: “The installation acknowledges the important role that activism and posters, placards, symbols and other graphics have played in garnering support. Many of the designs were originally created by grassroots activists, and the mural is a tribute to their impact in the movement for reproductive rights.”
To bring the mural to life, vinyl wall-covering built in layers for a dimensional effect, was installed. Acrylic forms were cut-out and mounted over the surface. The murals were a hit and now other Planned Parenthood offices want in on the action to. So do we Paula and the team, so do we. Fancy a trip to Australia??
If you’re one of our customers, visit the wide format section of our website for the products we carry that are similar to what Pentagram have used for the Planned Parenthood installation. If it all gets a bit much, call your paper specialist or account manager and they’ll be able to guide you in the right direction.
We tell our reps time and time again if you’re going to bring in samples of food packaging, INCLUDE the food. Sheesh.
We love this branding job by Hue Studio for The Crux & Co. in Melbourne. We liked it so much we featured it as a case study in Spot, a recently released print publication that includes lots of rad design projects from local and international studios. Ask your paper specialist for a copy and in the meantime, check out more of Hue Studio’s work on their Instagram page @huestudio.
The Crux & Co. is a 110-seat café and patisserie in South Melbourne. The interior colour palette is baby blue and navy and the tables and cabinets have beautiful rounded edges that reference 1960s styling. The ethos behind The Crux & Co.’s menu is what we all strive for in life – balance. It boasts a delicious selection of macarons, eclairs, pastries and buttery house-made croissants, along with Korean influenced savoury dishes. Perfecto.
We interviewed Vian about his experience working on this rad project.
How did you articulate the brand identity of balance in a visual sense?
To bring the concept of balance to life we created all elements of The Crux & Co.’s branding with this concept in mind – everything from the monogram logo, which resembles a percentage symbol, to a series of cheeky C/C taglines like (50% Chit 50% Chat and 30% Cheese 70% Cheers). The taglines appear along with the custom pattern and typeface.
Did you work closely with the client to create the branding?
Yes, very close, but not intimately, because the one thing we know about the food industry is that sometimes people can’t respond to our queries until after business hours! And we totally understand that. The clients input and involvement is always paramount for the project’s success. It’s their business and their passion we’re bringing to life and at the same time, we want to create a space where we can be creative too. Approaching the project in this way creates a healthy designer-client relationship. It’s also good for us because the project doesn’t stop, even after the shop opens.
The marketing collateral, packaging and interior design complement each other perfectly. Did you also work closely with the architects?
We did work closely with Architects EAT (in particular Eid Goh), before and during the design process. We’ve collaborated on other projects together so the process was very smooth. It’s satisfying when you establish a good relationship with collaborators because, more often than not, they’ll give their honest opinion and this allows us to push ourselves even harder. I also don’t want to undermine the importance of the architect’s perspective on branding, which I think is crucial.
What’s involved in your process when designing a packaging job?
Firstly, we always do a lot of research. We ask the client a lot of questions and most importantly, determine who the competitors are and what’s already out there. For this project, we came up with a lot of concepts, made a lot of Barry Bleach Board mock-ups and used heaps of scalpels and cutting boards! With The Crux & Co. packaging we had to make size and design adjustments to the pastry boxes to make them more versatile. Working closely with the printers is really important too – for example for one box, we worked out how to get two-up on the printing press. This resulted in the box being smaller and now it takes up less space in the shop.
How crucial do you think packaging and branding is to eateries like The Crux & Co.?
I think the packaging design is just as important as the product itself because it allows the customer to revel in its beauty. They can appreciate the time and effort put into the design of the packaging as much as they can appreciate what’s inside. Also, good packaging can make you smile, even before you open it. The fact there are similar establishments opening up in practically every corner of Melbourne, means cafes like The Crux & Co. face stiff competition. So we have to be creative and come up with fresh ideas.
Why did you use the uncoated side of Barry Bleach Board for the pastry boxes?
To match the stationery set finish. The collateral is printed on uncoated Keaykolour Original, so we decided early on that the packaging needed to be uncoated too. Because it’s flipped, which means the coated side is in contact with the cakes and macarons. Barry Bleach Board is food safe and FDA approved – the biggest selling point for us – and is designed for high quality packaging materials. Along with the copper foil logo on each box, the overall design is ‘Chic and Classy’.
How important is branding to the overall customer experience?
Very. It’s about the whole experience, which starts before the customer walks in the front door and ends when they leave the shop with a beautifully designed cake or macaron box in a nice paper bag. Creating a brand identity is more than just abut a logo – it’s about the colour, typography, all the printed materials and how everything relates to the interior and in this case the food, which has to be amazing otherwise the customer won’t come back! Good branding and a complementary interior helps you get noticed and recognised faster and really completes the whole experience.
Now you be the judge…is the crogle balance or madness? A croissant pastry baked in the shape of a bagel with traditional bagel flavours like poppy seed and blueberry. Is it enough to get you down to The Crux & Co.? We think YES!
Boxes: Barry Bleach Board
Business cards:
– Print: Front: copper foil logo (35 mm x 35 mm) on Keaykolour Original Navy Blue 250gsm, (back) + 250gsm Keaykolour Pure White
– Back: 2 spot colours on Keaykolour Original Pure White
– Finishing: Mount back-to-back, Formecut round corners
– Size: 55 mm x 90 mm
Menu:
– Print: 2 spot colours one side only.
– Size: 414 mm x 297 mm.
– Stock: 225 gsm Kaskad Skylark Violet
Gift card holder:
– Print: 2 spot colours one side only.
– Size: 198 mm x 207 mm.
– Stock: 250 gsm Grange Offset
– Quantity: 500
Sticker:
– Print: 2 spot colours one side.
– Size: 60 mm diameter
– Stock: Cast Gloss White Permanent
Many of you may not know this but in 2005, the Mohawk Paper Mills in Cohoes, New York, acquired the Strathmore brand. At the time they had no idea they had acquired an incredible documentary of American graphic design – now referred to as the Strathmore Archive. You should see it!! The collection of illustrates Strathmore’s sustained commitment to design, spanning more than 100 years. And up until 2013 it was virtually hidden in a Mohawk warehouse. The Archive was brought back to life by Mohawk creative director Chris Harrold. It’s hard to believe that up until then, this hugely rich resource remained largely unseen and unknown.
The Archive
The carefully preserved collection contains extremely rare and historic printed materials which beautifully communicate a century of graphic design, type, print production and paper making. The collection celebrates and showcases the collaboration between the paper maker and many of the 20th centuries most influential graphic designers. It literally reads like a who’s who of American graphic design including including William Dwiggins, Will Bradley, Helen Dryden, Oz Cooper, Lester Beall, Adolf Treidler, Walter Dorwin Teague, Pushpin Studios to name just a few of the many design greats. Not bad hey? Over that time, the Strathmore brand was able to engage with design luminaries, who created a series of inspirational campaigns that showcased the power of paper as a critical element in the design process, on par with illustration, colour and typography. So the collection includes rarely seen work from the graphic design leaders.
Heritage and legacy
Founded in 1892, the Strathmore name has been synonymous with quality, beauty and design. Inspired by the flora of Scotland’s Strathmore glen, company founder Horace Moses adopted both the glen’s name and the icon flower – the thistles – growing there as the symbols to convey the beauty and quality for his paper.
Breathing new life into drinks’ is what Alquimie is all about. Part magazine, part collector’s item, this publication shares the culture and stories behind drinks, from whisky to craft beers. We sat down with one of Alquimie’s owners and designers Nicholas Cary, who was putting the finishing touches on issue eight.*
Can you tell us a little bit about your background and how you became a magazine publisher?
After graduating from a degree in Visual Communication and Design from Monash University, I worked in a couple of smaller boutique design studios before branching out on my own. I landed a couple of big projects and slugged away with freelance stuff for a number of years, while also being the co-owner and creative director of Process Journal. After working on that title for eight editions it was time for a change and I decided to focus on my studio work for a year or so before the publishing itch struck again.
Luckily, this itch coincided with meeting Josh Elias, who’s the editor of Alquimie and James Morgan, the magazine’s photographer, through work. We started sharing glasses of wine after hours and it struck us that while there’s a number of great food titles around, there’s nothing about the world of drinks. Considering our skills killed all of the overheads (apart from printing and paper) we figured there was a gap in the market and so Alquimie was born.
Any favourite drinks you’ve profiled?
It would have to be a very special Japanese Single Malt Whisky by Suntory called the ‘Yamazaki’ Single Cask, which was distilled in 1998 and bottled in 2013 after being in a single sherry cask. As far as I know, Julian from Whisky and Alement in Melbourne had the only bottle in Australia. When I tried it I was blown away. Apart from that, I’m a big fan of lighter reds and we’ve featured a lot of great Pinot and Beaujolais in past editions.
How important is the relationship between branding and packaging in the beverage sector?
It is incredibly important! The majority of people are often overwhelmed and intimidated by the number of drinks on offer, whether it be wine, whisky or craft beer. It’s a very flooded market. It’s a mess! So considering we digest bottles with our eyes first, branding and packaging is very important.
Are there any wine labels you love and why do you dig them so much?
There are a plethora of amazingly intelligent and aesthetically pleasing labels out there – too many to name and choose. I think among the smaller Australian labels in particular there are some really well considered and executed designs. Outside of wine, I think The Company You Keep did a great job with The Everleigh pre-mixed cocktail packaging. On a side note, the bottles Alt Group previously sent out as Christmas presents were brilliant. Do they count?
Have you experimented with the design and paper?
The design has been a constant evolution in regards to both layout and typography. One of my issues with Process was how constricting the design felt after a number of editions. While the brief was to let the design do the talking, I really wanted Alquimie to be more flexible. There are certain elements that have stayed the same, like grids, body copy and the general flow of the design, but I’ve made sure each edition is a definite evolution from the previous one, while being relevant to the content.
Likewise with the paper, this has been a subtle evolution which has included editions with gloss sections for photographic essays and experimenting with different production techniques for the cover. All of these changes shouldn’t be jarring to the reader and it keeps it even more enjoyable for us.
Why a printed magazine and not a digital one?
You can’t taste or smell drinks from a screen. For Josh, James and myself a digital magazine seems like a backward step for our readership. And it’s a self-indulgence – I love print.
What’s the most challenging aspect of designing a magazine like Alquimie?
Getting content from drinks journalists! That’s only a half-joke. As any small business owner knows, you have to put on different hats and do things outside of your comfort zone and for me personally, selling advertising is just that. In saying that, we’ve developed fantastic relationships with our advertisers and look forward to our catch-ups. Possibly because they always involve good wine too.
Designing a magazine must keep you pretty busy and we know you have other projects on the cook too. What else are you up to these days?
I’ve recently stepped into a new role as Creative Director for an appliance company, Residentia Group, a relatively new business dealing in appliances from Italy, Spain and China. After some very exciting growth, they made me an offer to come on board full-time and oversee the strategy and direction of the business and the five brands they own and/or distribute. Apart from this, I’m still undertaking freelance design commissions, including work for Bureaux coffee roasting collective, as well as a new Armadale wine bar called Wine 1160 and a new bistro pub in Fitzroy called The Recreation.
Do you have a dream project you’d love to work on?
Can it include moving to Switzerland? If so, watch design. From the mechanics through to the face, typography and packaging. One can dream.
Out of interest, what is your favourite watch design?
From a design perspective, my favourite watch company would be A. Lange & Söhne or vintage chronographs from any of the main Swiss houses.
*Interview first appeared in Spot, our first print publication about all things paper, people, design and dogs. Ask your paper specialist for a copy today
>Thanks to Mohawk for contributing this blog post! And if you don’t feel like reading, watch this video about the The Mohawk Maker’s Field Guide.<
Audiences today are simply overwhelmed by the volume of communication they receive. A direct consequence of this ‘noise’ is that many communications fail to land their message and deliver with minimal impact. To be effective we need to create communication devices which slow people down, command attention, stimulate the senses and promote interaction.
The Mohawk Maker’s Field Guide seeks to achieve these physical and emotional outcomes through highlighting the values and benefits of using uncoated textured and coloured paper to inform, inspire and engage.
Materials matter
Evidence has indicated that the combination of visual and tactile stimuli creates a deeper and more lasting impression on the brain. Paper and print is the perfect vehicle for creating this visual and tactile experience – it can help to establish a physical interaction and relationship between you and your customer. Paper and print stir the emotions and engage the senses while textured and tinted papers can further enhance the physical and emotional experience
Textured paper
Touch supports the communication process – we read with our fingers and our eyes – evoking emotion and challenging expectation. The choice of material can directly impact on communication effectiveness. The correct materials can amplify the message while the wrong material can seriously compromise the message.
Marry texture with content to reinforce physical characteristics. Contrast textures to create interest, engage the senses and stimulate interaction and unify texture across the brand palette and experience to establish and reinforce brand consistency, personality and understanding.
Coloured paper
Colour adds interest. Consider coloured paper to increase the impact – and change the perception – of the printed piece. Integrate paper fully into the design process – adopt paper as the fifth colour – and make paper part of the picture. Or use coloured paper to change the meaning and influence the reading of a photograph. Or dial down the ink and emphasise the personality of the paper, the product or organisation, through a simple and classic emboss, de-boss or foil treatment…or go to town and manage the mood, pace and energy of a design and document by combining a variety of tinted and coloured papers.
The MAKERS FIELD GUIDE provides a wonderfully engaging and questioning insight into the power of paper, colour and texture to ensure your good communications are great communications!
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