Logo. Design. Print. Promotion.
The Integration of Branding into Print based promotional design Jaimini Mistry.
Above: Identity design designed by me for Coffee Island and for the Nero Hair Salon
During the past 3 years i have learnt more and more
about myself as a designer, and at this point in time my passion lies within Corporate identity and Logo Design. I found that this became apparent from the briefs i was
choosing, the design studios i was looking at and the type of design they were producing.
I found myself quickly going to look at the identities these
companies had designed and how they had applied them onto print based media. Some studios work really well, applying their logoâ€™s onto innovative surfaces which
really gives the identity that something which is a bit more special.
This book will show the design studios which have really influenced me throughout my time at university and the
interviews which i have looked at which will help me in my future career as a Graphic Designer.
*Introduction *Successful campaigns through branding into print - B&W Studio - Pentagram - Design Project - Effektive -Experimental Jetset - Made Thought - RGB Studio - Sea Design - Studio Lauke -Un.Titled *Interview with David Airey *Interview with Armin Vit *The Useful Stuff -Paper sizes and Folds - Printing on Surfaces - Inks and Coatings - Binding - Finishes *Evaluation
Successful campaigns through branding into print.
The next part of this book will look at the ten companies that I have been following on a regular basis over the past three years. I have looked and researched into these companiesâ€™ logo designs and how they apply them to print based promotional design. Whilst researching these companies I have seen these design studios/companies deal with design problems and deliver them to a high professional standard ready to pitch to clients. I found this process very interesting as each company dealt with these problems differently. This has really given me an in depth insight into corporate identity design.
B&W Studio T +44 0 113 245 4200 E email@example.com
Seven. Brand identity, advertising, literature and website for international recruiment consultancy.
Castleton Mill Castleton Close Leeds LS12 2DS United Kingdom
This identity works really well in two colours and would have been cheap to produce. The identity is fresh using a sans serif typeface and contrasts well with the grey. The layouts within the design are simple and use a lot of negative space to let the design breathe. Overall a very effective identity which works over a range of media and at different scales.
Above: Business Cards, Mailshot and Booklet
Above: Layouts from booklet and Magazine
Pentagram T +44 (0)20 7229 3477 F +44 (0)20 7727 9932 E firstname.lastname@example.org 11 Needham Road London W11 2RP
The Mad Museum Michael Beirut and co. did a nice job with the identity for the newly renovated Museum of Arts & Design in NYC. The concept behind this design was to use geometric shapes to represented the shapes of the buildings on Columbus Circle. Pentagram wanted a way of writing the name that could embody the values of the Museum, something that seemed inventive and surprising, and that could appear in different ways on different occasions. The Museum, after all, is dedicated to artists who take typical forms of things found in everyday life and transform them over and over again. They hoped that the simple forms of the new logo would help in the transformation of the building. They also designed an entire alphabet and numbers, based on the basic MAD combination, made out of squares and circles.
“We call it MAD Face. It’s fun but, as one can imagine, Below: Beiruts sketches and final logo for MAD and Promotional postcards in MAD face. Right, From top to bottom: MAD jewelry boxes, MAD informational brochures, MAD shopping bags, The MADgic bus.
not the easiest thing to read. It doesn’t work too well on fire exit signs, for instance. But it definitely reflects the inventive spirit of MAD, and we use it in the advertising campaign and on special occasions.
‘We call it MAD Face’ Below: MAD details of spotgloss on the cover, MAD alternative shopping bag, MAD stationary
Design Project T +44 (0)113 234 1222 E email@example.com Design Project Second Floor 80A York Street Leeds LS9 8AA United Kingdom
P + HS Architects This was a new corporate identity designed by Design Project and the application to key communications for this established architectural practice specialising in healthcare, residential, commercial and education projects. The identity is simple and works on a range of media from print based to web. The stationary uses foil block and a fresh turquoise colour
Above: Identity, Business Cards, Data Storage packaging.
is used throughout the whole promotional drop. The type uses a lot of negative spacing which again like B&W’s design of ‘seven’ allows information to breathe. The layout on the letterhead design is also very interesting as information on the left alligned above the logo. The earthy stock used for the envelope also works really well with the fresh new identity.
Above: Stationary Range, Architects Notebook, Website
Effektive T +44 (0)141 221 5070 M +44 (0)7590 928 187 E firstname.lastname@example.org Suite 1/1 6 Dixon Street Glasgow G1 4AX The studio blog www.effektiveblog.com
Right: Horizontal identity, Infomation booklet, Business Cards
Iglis&Rock This was a new identity created for a new Property Finance Partnership based in Sydney and Melbourne. The design includes a horizontal and stacked version of the design, promotional materials and website. The identity was created for two female partners Alicia Inglis and Marrissa Rock provided the business name with a bespoke ampersand ligature indicating the feminine bond of the two partners.
The design is very clean and simple and works well on all of the printed material created for this brief. The ampersand really gives a feminine look to the identity as when it is enlarged on the A4 information booklet, it looks curly and girly. The spotgloss on the business cards gives this a p rofessional finish and the execution on all stationary works realy well together as a set.
Left: Stacked identity, Stationary, Close up of logo
Experimental Jetset T +31 (0)20 4686036 F +31 (0)20 4686037 E email@example.com Marieke Stolk Danny van den Dungen Erwin Brinkers Jan Hanzenstraat 37/1 1053 SK Amsterdam The Netherlands
Coming Soon Experimental Jetset were asked to design the graphic identity of a fashion store which was Situated in Arnhem in The Netherlands. The architects’ concept for the interior revolved around a very geometric, almost Superstudio-like grid, a grid that would divide the store in modular blocks. Experimental Jetsets’ idea was to design a logo that would explicitly refer to this grid-like interior. They wanted to to come up with a graphic identity that would function as an interpretation of the architecture. They designed the typeface in two weights, bold and (very) light.
“The light version actually didn’t work very well in an
online situation (i.e., on the website), but in print it looks really sharp, take it from us.
Left: Posters, corporate identity, flyers. Below: Invitation Design
Using the logo system, they created a huge collection of prints including postcards, invitations, business cards, flyers, badges, stickers, receipts, envelopes, labels, hang tags, bookmarks, packing paper, tote bags, even bus tickets. (left) They also designed the lettering of the window. This was actually quite an important part of the graphic identity. Since the windows cover a large part of the store, the lettering would be very visible from the inside, structurally affecting (and emphasizing) the inside interior too. Personally i think this identity is very clever, the blocks used are probably the selling point of the identity. It had a strong concept behind it and when it is applied on print based material like the postcards, invites etc. it works really well as the design is purely driven by type. The geometric blocks also form hierachy on the design which instantly catches attention.
Right: CS BETA typeface in bold and light, Middle:Identity for Coming Soon Bottom: Window Display
Made Thought T +44 (0)20 7378 0099 F +44 (0)20 73780173 E firstname.lastname@example.org Studio 6 Jamacia Wharf 2, Shad Thames London SE1 2YU UK
James Brown The Barber Blog were very pleased to report that James Brown London have been listed in the definitive Cool Brands List for 2009/2010. Inspired by Kate Moss, Made Thought designed this identity working together with Barber Design to create this classic and modern identity which offers a pleasing glimpse into James Brownsâ€™ enviably eclectic and stylish world. Working with a sophisticated script font, they mixed this with a contemporary sans serif font to give the identity a more contemporary feel which complimented the interior of the salon which Barber Design had transformed using typical fixtures and fittings you would expect to see in a hair salon with unique pieces of modern and antique furniture. Overall i think this is a very strong and eyecatching identity. It works over a range of print based products and meets the clients expectations of how he would like people to see him by seeing their logo.
Above: James Brown packaging and brochure.
Established&Sons Made Thought were comissioned to design a brand identity for a new British contemporary furnature design and manufacturing company in 2006 called Established & Sons. Their challenge was to show an excellent level of branding to reflect on Established & Sons commitment to design. Their concept behind this identity was to create a brand vocabularly that reflected the solid and traditional British manufacturing of cutting-edge contemporary design. They applied a strong type led idea which could be applied onto a range of material such as literature, product branding, packaging and exhibition design. A very successful and dominant brand personality designed by Made Thought, which is fresh, new and really compliments the work of Established & Sons to give their company that extra boost.
Above: Established & Sons identity, Signage, Wall Graphics and stationary.
RGB Studio. Rob Brearley E email@example.com
ADI The Advanced Digital Institute is an independent research and development institute based in West Yorkshire focused on becoming an international centre of excellence. The optical nature of the ADI logo reflects their work, in contrast the spacious photography brings a human element to the brand. The dot matrix grid is carried through the stationery range and printed materials, underpinning everything they do.
DigitalMill DigitalMill, a web production company which promises to deliver a direct digital production service, cutting out the middle man. The combing lines are an integral part of the identity, illustrating the fluidity, speed and accuracy of their internal workflow. The patterns change in complexity and scale, running through all printed material and accross the interior design of their new premises.
RGB Studio is Rob Brearley, a graphic designer & art director based in Leeds UK. He continues to develop a diverse portfolio of work, for a contrasting client base including; PlayStation速, Harvey Nichols, Creamfields, The Advanced Digital Institute as well as smaller personal projects. Using texture, typography, image and composition, he aims to develop relevant and memorable graphic design for environmental graphics, crafted print matter and broadcast animation.
Richard Moran Richard Moran is a professional photographer who Rob has worked with for years. He developed his existing identity and typographic treatment.
The information system has become a replicated device which is now common across all his communications, using a clear foil stamp on an uncoated surface (wherever possible), creating a lens which you are forced to read through. The
The SubCulture The SubCulture is a club and live performance space for diverse underground musical tastes. This simple typographic route uses a triangle as a positioning device, creating several cost effective fly posting opportunities.
Sea Design T +44 (0)20 7566 3100 Bryan Edmonson E firstname.lastname@example.org John Simpson E email@example.com Employment/Placement E firstname.lastname@example.org Matthew Williamson Sea Design created this luxury fashion brand for Matthew Williamson. The brand has expanded globally with stores in London, New York and Dubai. Its interesting to see a mans name in pink and the flick on the â€˜Mâ€™ to show sophistication as he is a high end fashion designer. As you can see the identity works well over a range of media. Including the perspex invites which are a very innovative idea. The colours are also very bright which in my opinion shows the reflection on different cultures brought into his collections, as his company is now Global.
Left: Matthew Williamson identity, Shopping Bags and invitation design. Below: Matthew Williamson Summer LookBook
K2 K2 are the UK’s exclusive ‘Art’ silkscreen printers. Sea designed this identity for the unique pool of craftsmen. I think this identity is fun, fresh and new. As silkscreen printing or screenprinting is a very traditional method of printing, this identity may encourage new designers today to use this method as another printing option when they are looking for a production method. Screen printing is an affordable way of customising garments and is particularly effective for larger designs. It produces a much better quality results than digital, vinyl and transfer printing methods. This type of printing also allows you to produce large quantaties of design quickly and efectiveley. However, as a separate screen is required for each c olour applied, screen printing is less economical for designs comprising of several colours if you order quantity is low.
Left: K2 identity variations and promtional material including stationary, flyers, posters etc. Above: Close up shots of design
Studio Laucke Amsterdam: T 0031 (0)20 673 04 51 Dirk Laucke E email@example.com Studio Laucke Siebein Zeeburgerpad 75 1019 AD Amsterdam Berlin: Johanna Siebein E firstname.lastname@example.org Applications to: E email@example.com Studio Laucke Siebein KlosterstraĂ&#x;e 44 10179 Berlin
Above: Tampopo identity Below: Window graphics
Tampopo This was the corporate identity for an Asian grocery shop called Tampopo. I think from the colours in resemblance to the japanese flag you get an instant idea of what kind of produce they sell there. The identity is interesting as it has oriental factor to it but still can be read. The single coloured identity means, when it comes to printing more money could be spent on a range of material the identity could be printed on.
Right: Tampopo take away bag Bottom Left: Signage Bottom Right: Food packaging and label
Un.Titled T +44 (0)116 247 1111 E firstname.lastname@example.org Factory 21 Wellington Street Leicester LE1 6HH
Un.Titled is a creative agency. they are a group of concept developers, designers, programmers and artists. Their passion is to engage an audience; tease, tempt, entertain and compel an elusive mix of big ideas and bold design. They like to work online and offline and take brand experiences to another level.
Their ability to create typographic driven work and deliver them with high professional standards is something which i think makes this company stand out. By applying things such as foilings, using the correct and appropriate paper stocks to execute design just shows that this company really knows what they are talking about.
Above, From Top to Bottom: Branding for GAGA; the Galvanizers Association Galvanizing Awards 2009, Complete re-branding for construction and facade specialists Left: Identity for a catering business,
The layouts of all print based stuff this company has produced are all very accurate and pleasing to the eye. Their design is fresh, new, contemporary and to a very high professional standard.
An interview with David Airey.
Right: David Aireyâ€™s identity for Berthier and finished business cards
David Airey, a graphic designer from Northern Ireland, has been intrigued by brand identity since the 1990s, when he enrolled in his first graphic design course. Having honed his skills working in the United Kingdom and the United States, he then made a conscious choice to specialize in brand identity design, where his passion lies. Self-employed since 2005, David has amassed an impressive global client-list, including the likes of Yellow Pages (Canada), Giacom (England), and Berthier Associates (Japan). David Airey, a graphic designer from Northern Ireland, has been intrigued by brand identity since the 1990s, when he enrolled in his first graphic design course. He writes two of the most popular graphic design blogs on the Internet, logodesignlove.com and davidairey.com, attracting more than 250,000 online visitors per month and approximately 1 million monthly page views.
Personal Branding Interview with
weren’t presented differently from one another,
it would take us longer to visually recall our
By: Dan Schawbel on February 9th, 2010 at
6:27 pm Dan Schawbel spoke to David Airey, who is the author of Logo Design Love, and a very popular blogger with over 17,000 subscribers. David is a famous graphic designer from Northern Ireland, who knows a lot about branding from creating logos for many successful companies. In this interview, he talks about why a logo is so important to a brand, how a bad logo can hurt
your image, the process of creating a logo, and much more.
How important is a logo for a personal or corporate brand? Can a bad logo ruin everything for you? A logo’s main purpose is to identify a brand. Logos help people to quickly remember their experiences with different companies. For instance, if we like a food product we’ve had in the past, we’ll be looking for the logo when we’re next out grocery shopping. Look around you. How many logos do you see? If they
Right: Initial sketches by David Airey for the Berthier identity. Next Page: More sketches from Airey
Can a bad logo ruin everything?
the client plays an important role in the success
of the outcome. Communication is interspersed
Can a bad product or service ruin
by in-depth research of the client’s industry,
competition, stakeholders, history, and goals.
Yes. If a company has been using a certain design for many years, building a strong
Do you feel that people should have their
amount of brand equity, it needs to be very
own personal logo’s for their brands?
careful if changing the appearance (think Tropi-
I believe that every brand can be helped with
cana’s failed packaging redesign), but the high-
the consistent use of a simple, distinctive,
est level of importance will always be placed on
appropriate, and emotive logo.
the product or service that’s offered. While writing your book, how much did your Iconic logos, such as Apple and Coca Cola
blog help you? How did the book come
can’t be missed. How can someone create a
logo that’s this memorable?
Both of my blogs were a huge help, in no small
A vast marketing budget is needed to reach
part due to the fantastic contributions my
the recognition rates of Apple and Coca Cola.
readers make with their comments. It was
A good logo alone won’t get you there, and
October 2006 when I began publishing my first
your brand identity design needs to be part of a
blog. Since then, I’ve learned a great deal from
the input of my readers. I owe them a lot.
Before you create a logo, what work needs to be done? The process begins with a Q&A session. It’s vital that a designer asks the right questions of his/her client from the outset — questions that set the tone for the duration of the design project. Answers often generate more questions, and
designing logos) is ha
ultimate decision make
you will always be bat
aving buy-in from the
er, if you canâ€™t get that,
ttling an uphill battle.â€™
Identity Designer, Armin Vit
An Interview with Armin Vit.
Armin has worked for a number of notable identity design firms including Norman Design in Chicago, Decker Design in New York and Pentagram Design in New York. He now runs UnderConsiderationâ€™s Department of Design.
Right: Work by Armin Vit
What are the common criticisms of identity
for a pair of shoes you get crappy shoes. You
design and is there any
pay $50 for a logo, you get a crappy logo. It’s
validity to them?
about investing in your image, and a good
There are a few recurring themes:
professional logo with a fee of at least four
- The client is a douchebag: This is when the
figures is well worth the investment.
client does not allow the designer to do anything and instead enforced his or her poor
What constitutes a good identity mark?
taste on the unsuspecting designer.
The answer is different for many designers, for
- The designer is a douchebag: Most identity
me it’s something that is individually crafted for
design projects for large corporations or popular
the client, something that no other
consumer products or services are
organization or service could use. If it’s an icon
excruciatingly complex and there are so many
it should be clear and memorable, if it’s a word-
decisions that determine the final logo or
mark it should be superbly crafted if custom or
identity that the result can rarely be pegged to
carefully chosen. It’s about creating a mark that
the designer or the client. It’s a mutual
stands strong in its context and can serve as
relationship and when things turn out well, it’s
an identifier for the corporation or product in the
the result of a visionary client and his or her
eyes of its intended audience.
committee and an engaged designer or design firm able to listen to the client. In the
What are some common mistakes which
end, it’s 25% design and 75% seeing that
identity designers make?
Not listening to clients and thinking their
-Another common criticism is that a logo looks
feedback is useless. Clients know their
like another logo. Although there may be some
audience, and designers need to interpret that
similarities it’s not the end of the world for two
feedback into something useful for the project.
designers to arrive at a similar idea twice. What are common challenges which identity Business owners often pay to have
everything taken care of by professionals
The biggest challenge is having buy-in from the
except their identity mark. Why should a
ultimate decision maker, if you can’t get that,
business care about its logo?
you will always be battling an uphill battle. This
It’s as important as the shoes that the
is especially important in large projects, but
receptionist is wearing. It’s really all about the
even if you are doing work for a five- or seven-
appearance one wants to portray. You pay $50
person organization, if you don’t have access to
the CEO or founder or principal you are kind of
infinite cultural impact. But none of that has
anything to do with the logo. The logo says absolutely nothing at all. It’s a check mark. Is
How do you account for the great
the logo one wing of Nike, the greek goddess of
disagreement over the quality of
victory? Maybe. Is it a positive
identity marks even among identity
reinforcement? Maybe. Is it cool or pretty?
Maybe. But it doesn’t
It comes down to subjective opinions. What’s
matter, because the logo takes on the mean-
good for me is not good for someone else. And
ing of what Nike stands for: the athletes, the
it’s about the standards that one judges the
Just do It tagline, the amazing commercials, the
designs against, some might have lower
prospect of victory through hard work. The logo
standards, other higher.
represents that and nothing more. I like to
remind clients that the logo will only have as In your opinion who are the top five identity
much meaning as they put behind it through
companies in the world?
Wolff Olins Pentagram Turner Duckworth johnson banks Studio Dumbar Can you list a few of the best well known identity marks and what makes them good? I’ll just do one, because I could spend weeks alone in this question: Nike. It may seem obvious, but I like this mark for some non-obvious reasons. Most clients will tell you they want something on par to the Nike swoosh for their logo. The swoosh represents some sort of ideal in logo design: It’s memorable, it’s simple, it’s successful, it’s the visual epitome of a profitable business with
The Useful Stuff.
The next section will include things which will become very useful to me as my future career as a graphic designer. >Paper Sizes >Folds >Inks and Coatings
>Unique Binding, fastening and closures >Embossing, de-bossing, letterpress and engraving >Cut work; die-cut, perforations and kiss cuts.
1. 4-Page Standard/Single/Half 2. 4-Page Standard/C-Fold/Business Letter 3. 6-Page Standard/Gate 4. 6-Page Accordion/ 2-Fold 5. 8-Page Parallel Map 6. 8-Page Reverse Map
7. 8-Page Parallel/Roll 8. 8-Page Accordion 9. Double Fold or Double Parallel Fold 10. 10 Page Accordion 11. 16-Page Parallel Booklet
Printing on Surfaces.
Printing or imaging on an unusual surface means sincerely executing to supplying a precise conception. The substrate should say a lot about the concept behind the design. Design printed on glass, cloth, plastic, metal, or on unusual paper is impossible to examine without wondering whats going on. The medium turns into a strong part of the message. Almost anything a designer can lay his hand on can be imaged – even eggs and other edibles, if he uses foodsafe inkjet printing. In order to do this the designer has to make contact with the right seller, define the product ambiguously, and recognise and identify the restrictions of the surface. Specifying an alternative printing surface is a challenge that requires special handling, forethought, additional cost, and, unquestionably, extra time in the schedule as most designers will agree. One more thing to take into account when specifying something other than good old paper is that the new substrate will not behave like paper. Procedures such as punching, proofing, scoring, trimming, and even mailing won’t proceed as usual. The application and dying time of ink will be different. Working with a specialist is well worth the extra effort because they will have plenty of experience working with new materials. If not, ask a trusted printer to try something new on press. He or she may welcome the challenge – a deviation from the everyday – and partner with you in unexpected ways for exceptional results.
‘Almost anything a designer can lay his hand on can be imaged – even eggs and other edibles, if he uses food-safe inkjet printing.’
Paper Hundreds of paper-based or paper-related products are available for printing today. Designers are repurposing products such as gift wrap, kraft paper, newsprint, artistâ€™s stock, secrity paper, and even wallpaper for their work.
It is crucial to provide the printer with a sample of an alternative stock before you commit to a final product. Example: If offset printing is all your budget will allow, but wonâ€™t work the project will be comprimised from the start so have a back up plan on how design could be printed on an alternative stock. Dealing with excessive curl in te stock or waiting extensivley for special care on the drying end - all possibilites with alternative paper stocks - while on press will add to the budget.
Plastic Synthetics are an excellent choice for designers. Some are made for use on offset presses, but designers need not limit themselves to these; plenty of other plastic and even rubber surfaces can be imaged. Almost any print process will produce images on synthetics, althogh care must be taken with the inks used; the wrong ink will never dry once laid on the top of an impervious plastic surface.
When designing for plastic or synthetic stock think about: - What performace factors are needed in the design -Does it need to be flexible? foldable? waterproof? -Does it need to be punched? Die-cut? Trimmed? Folded? Taped? Glued? Riveted? Embossed? Foil Stamped? or need another finishing process? -How much ink will be applied to the stock? How long will it take to dry? Ask an experienced printed about printing on plastic as he will be able to tell you if the stock is suitable for what you want to do.
Things to consider
Printing on Metal
Static is also a problem when the job is off press,
particularly with thin vinyls. Keep this in mind when
Method of printing based on stencilling. It can be used to
you get a job for particular finishing processes after
print on most surfaces, including paper, plastic,
printing as it may require more care in your office.
fabric, and wood. A fine mesh (originally silk) is stretched across a wooden frame to form the screen. An
Finally scoring, trimming, or punching can be a
impermeable stencil (either paper or a photosensitized
problem if the punches, striking rules, or trimming
coating) is applied to it, so that the ink passes through to
knives are not angled properly or arenâ€™t sharp
the area beneath only where an image is required. The
enough. Plastic can crack, or ink can chip or fall off.
design can also be painted directly on to the screen with varnish. Once the stencil is attached, the screen is placed
When paper is folded, it will simply look folded.
on top of fabric. Printing ink or dye is then drawn across,
When fabric is folded, especially for mailshots it may
transferring the design to the fabric. A series of screens
look wrinkled or unattractivley creased.
can be used to add successive layers of colour to the design.
Test folds of similar folds may help to help you understand which stock is going to work best for your
The process was developed in the early 20th century for
commercial use and adopted by many artists from the 1930s onwards, most notably US artist Andy Warhol.
Left to Right 1. Screenprint 2. Metal Etching 3. Lazer Engraving 4. Pad Printing 5. Wooden Business Card
Printing on Wood
Photochemical metal etching is a technique most often
Wooden business cards have quickly come around in
used to produce things for electronics, medical and
recent years. Even if a wooden business plan is
something you havenâ€™t considered when designing, specialist wood printers could would be a good place to
The process is:
stat thinking about what kind of inks could print on. It
really just depends on the type of wood you decide to
-Low-Cost way to transfer graphics onto flat metal or
produce new shapes -The acid protects the image areas and other sections are removed -It does not ruin original properties or strength of metal, and no rough edges are left.
Lazer engraving This process uses a beam of focused light, driven by a computer, cuts or otherwise burns and marks a surface to produce an image. This will give you a crisp image, permanent mark and a quick process. Hoever it may be a bit expensive but worth it!
Pad Printing This process is used for small areas. A thick, soft silicone pad picks up an inked image from a photo etched plate and is pressed against the item to be printed.
Inks and Coatings.
The skill to print on everything from paper and plastic to eggshells and drywall, is made feasible mainly by the colossal number of speciality inks and varnishes which are available today. It is almost impossible to find a surface exempt from imaging because of all the tools which are accessible. These range from liquid inks to dry toners. However, although the designers use plenty of ink, they don’t buy it outright which means that they are not likely to subscribe to the magazines or belong to the organisations printers do. Therefore it’s essential to have a close working relationship with a knowledgeable printer when it comes to researching what inks and coatings are available, as well as how to get and use them. Every now and then it may also be crucial to search out print vendors in other industries, such as sign and textile manufacturers to reach precise goals. Then again, go directly to the source – whoever makes or preps the substrate on which you want to work, whether it is metal, plastic or wood. These people understand the chemical structure of the substrates to which more chemicals – inks, toners or other coatings – will be added. Correct chemistry makes everything work.
‘These people understand the chemical structure of the substrates to which more chemicals – inks, toners or other coatings – will be added. Correct chemistry makes everything work. ’
Colours available: Silver and Gold usually available and other colours when requested
Colours available: Green emitting-yellow,orange yellow, orange, rose, green and blue
Opacity: Transparent to semi-opaque
Standard print applications: all but silkscreening
Standard print applications: flexography, silkscreen, offset, rotograuve
Consideratons: - May require extra time for drying - Best effects achieved on smooth or coated paper - Unless its topcoated with varnish ink may scuff, or show fingerprints overtime. -Not ideal for outdoor applications - Ideal to prevent fraud as when photocopied it shows as a dark mark.
Considerations: -Cost increase as glowing power and longer lasting ink is required. -White undercoat may improve performace
Colours available: Low and High activation levels available
Colours available: Clear overprint
Opacity: Room Temperature colour changes at specific temperature activation level Standard print applications: flexography, silkscreen, offset Considerations: -Cost is roughly 10 times more than of normal inks -Can be treated like spot colour on press
Opacity: Transparent Standard print applications: All Considerations: -Prints clear and doesnâ€™t effect graphics underneath -Lots of differents scents available-may have additonal costing depending on what you choose -Longer lasting smells can me improved my multiple layers
The belief that books and other multisheet or multipart compilations should be bound is so strong that even the internet - which is meant to be the future â€“ is built from websites that have a frequent binding principle: a cover sheet or home page that holds everything together. It seems that our brains want things to be organized and fastened together as easily as they are in technology. Binding is a useful and sometimes an essential factor of a design, and it also plays an important theoretical role. This is a lesson that designers learn well and early. Student designers are often charged with binding an assignment or creating an exceptionally short-run-project, and the binding is almost always a chief part of the concept. The trick-post school- is to be able to use the same creative approach on much longer runs and to achieve the task on budget and on time.
â€˜Binding is a useful and sometimes an essential factor of a design, and it also plays an important theoretical role. â€™
1. Saddle Stitch 2. Loop Stitch 3. Side Stitch
4. Perfect Bind 5. Japanese Bind 6. Case Bind
Special Finishing Changing the surface of a sheet of paper – a material our brains tell us should be flat and smooth – catches the attention of people. The outcome may be as stylish as engraving or as rough as actual tearing, but each triggers a response that says, “This is different – look again.” Not only do people look twice, they are likely to feel the design numerous times as well. Today, with proper advice
‘This is different – look again.’
from a practised pressperson, nearly any impressionable surface, whether it be cloth, metal or plastic, can be embossed, debossed, letterpressed, or engraved.
Cut Work Perhaps it’s that magic a child feels from unfolding a complicated snowflake cut from a flat sheet of paper. Maybe it’s because scissors are such a widespread, easy-to-master tool. The skill to control paper – and for professional designers, just about any other substrate – in such an original way is certainly magic. One piece of paper becomes two, or shapes materialize from its surface, or it becomes able to link to something else. Cutting is such an effortless action, but it yields insightful results, whether they are visual or practical.
‘One piece of paper becomes two, or shapes materialize from its surface, or it becomes able to link to something else.’
1. Embossing 2. De-bossing
3. Letterpress 4. Foil Block
5. Die-Cut 6. Lazer-Cut
7. Kiss-Cut 8. Vinyl-Cut
To evaluate, the first thing i have learnt about brand
Learning about printing processes and the things you can
identity is that the client is the most important person in
do with print was a real eye-opener for me. All the things
the whole design process. After all, they’re the ones who
above are now going to be things which i will consider
are going to be paying us! So i think when i get a identity
when working on design briefs. I can now use my spe-
job next, i will design to my clients requirements and offer
cialist knowledge from this point in time and research
them an alternative design which i think works better and
further if i have to, to give my clients something which
try to sell to them why i think the should go with my idea.
they had never considered. From Thermochromatic ink to a japanese bind. The results are endless and i feel that i
Simplicity, is something else which i have learnt. With a
will carry on learning for the rest of my life as a Graphic
simple, yet bold idea, people are more likely to remember
an identity more than a heavily illustrated one. Working with a good brand name, which is bold and catchy is also something i need to take into consideration as this is something people are going to walk away remembering. I feel that bold and simple logo design is the key to successful branding into print. This also makes applying the logo onto a range os scales a lot easier and makes the identity a bit more flexable. After reading the interviews by identity designers who have worked in the design work for a number of years, including some well-known ones, i feel their advice they give to people reading is very valuable and i will definately take what they said into consideraton. Armin vit said, “individually crafted for the client, something that no other organization or service could use.” I think this is very important. Getting inspired by another companys logo is one thing, but to come up with something completely new would mean tha some clients may be interested straight away, which is a bonus.
‘I feel that bold and simple logo design is the key to successful branding into print.’ - Jaimini Mistry