This awesome video is from Sappi Fine Papers, the manufacturers of our HannoArt Gloss and Satin papers. Who knew scoring and folding could create such interesting results! Guest speakers Kit Hinrichs, founder of Studio Hinrichs, and Trish Witkowski, chief folding fanatic at the online community foldfactory.com, open our eyes to the scoring and folding possibilities.
A couple of months back we had a burst of inspiration after seeing some digital projects featuring white ink. We decided the only thing that could scratch our itch was some experimenting, so we trotted off to Bambra Press in Melbourne and spoke to Carbon8 in Sydney. As a result, here’s 12 short tips and observations on working with the white ink.
The fairly new ElectroInk white process, is currently only available for Indigo presses. It allows you to print opaque white ink on coloured or darker papers, providing a result that was traditionally only achieved through screen printing, matt pigment foiling, or through many passes on an offset press. And as the ink is opaque, it means you can print 4 colours straight over the top without it soaking back into the sheet.
So there you have it paper lovers. If you do any work with white ink in the future, please share your tips with us on our Facebook page or via Twitter (@KWDoggett) using the hashtag #whiteink – we’d love to hear about your experiences and see pictures of you work.
A big thanks to Brett and the team at Bambra Press for their hospitality! We conducted the trials on their HP Indigo 7600. And thank you to Ken from Carbon8 for your advice and time! Carbon8 run white ink on their HP Indigo 5500 and 3050 presses.
Title: Regal Rogue corporate identity and branding
Agency: Squad Ink (NSW)
Client: Regal Rogue
Stocks: Envirocare 100% Recycled
Printed by: Clarke Murphy Print (NSW)
“Regal Rogue is a unique Australian aromatic vermouth. Sourced with brawn and crafted with heart for all the world to savour.” Cheers to that! We love that whimsical sentence from the Regal Rogue website. You may be thinking: ‘Since when did Australia and vermouth appear in the same sentence?’. Well, they do now. A Hunter Valley style, classic cocktail mixer, exists. For real. And the wrap of the bottle is printed on our very own Envirocare 100% Recycled 70gsm.
Squad Ink in Sydney, run by twin brothers Terry and Matthew Squadrito are behind the identity for this innovative brand. They were brought into the mix by marketing entrepreneur and Regal Rogue founder, Mark Ward (Bureau Six), in collaboration with winemaker Lisa McGuigan and Yakusan’s Gilles Merry providing strategic brand insights.
The wrap on the bottle is really beautiful, printed 1 PMS. The quirky illustration is of a Knight in armour and an owl sporting a crown, nutty but we love it. Squad Ink wanted the packaging to lend itself to fitting in with today’s commitment to sustainability ie handmade v mass produced, small v gigantic, natural v artificial. In a world full of so many choices, it is often all about the packaging and this bottle is a stand-out in that respect.
Squad Ink further developed the rogue knight’s story by highlighting his roguish ways through a series of etiquette tips and serving suggestion cards. ‘The Etiquette of a Regal Rogue’, with clever copy from the peeps at Copy&Co (see pic on the Squad Ink website). They also called it ‘Batch No.1: ‘Fearlessley handcrafted’ which sounds superbly roguish to us!
One last thing, if you love this project and would like it to win some glory, go forth and vote for it in the Sydney Design Awards.
COMPETITION DETAILS: To enter, please send an email to communication@kwdoggett.com.au with your answer to this question:
If you win, where/when will you be drinking your Regal Rogue?
A. At your local park out of a brown paper bag.
B. At a cocktail party held in your friend’s pimped-out pad.
C. By yourself next Saturday night because everyone else has gone to the AGDA Awards.
Winner will be drawn on 30 November 2012 and be notified by email.
Hmmmm, let’s see. Your work printed on primo paper, delivered straight to your studio door. Does that sound like something that would float your boat? Arjowiggins Creative Papers, widely known as the makers of the world’s most fabulous creative papers, have produced an easy-to-use online service where you can generate a stunning printed portfolio. As the exclusive suppliers of their papers, we’re proud to bring this new service to you attention!
To use MyPrintFolio, upload your work, choose from a number of formats and bindings then select your paper from their global range. With more than 20 on offer, including bestsellers like Conqueror, Keaykolour, Pop’Set, Curious Collection and Rives, the choice is not so easy! Finished size can be A3 or A4, portrait or landscape and there are five different binding techniques on offer. The cover can be customised with your name/company/project. Pay some cash and then Arjowiggins Creative Papers’ dedicated printing partners do the rest. Your folio will arrive within approximately two weeks. We likey!
A killer portfolio makes a strong impression. Whether you need to clinch a job or commission, get an idea into the hands of a prospective client, employer or collaborator, there’s nothing like a tactile extension of your online gallery to showcase your talent and creative story. The digital print is really high quality and produces vivid, true-to-life colours on beautiful stock. You could even use this service for client presentations, photo albums and the like. Makes for a great Christmas gift too.
Check out the MyPrintFolio website for some inspiration and FAQ’s re how to get started. Put simply, the service is kind of like painting by numbers – 2012 style.
Title: Filter business card
Agency: Filter (QLD)
Client: Self-promotion
Stocks: Keaykolour Original
Printed by: Potato Press (QLD)
Today, first impressions count more than ever and these striking cards from Filter were designed not to be forgotten. Filter, a recently reinvented communication design studio that replaces Hamilton Creative, went through a relaunch which meant that Filter needed their business cards to tell a story. By showcasing a specific idea with an interesting print technique, it allowed the opportunity to open conversations about Filter’s values and creative experience.
Claire Hamilton, Director and Communication Designer from Filter ultimately wanted the recipient of the card to become part of the design outcome. Claire explains: “The client can interpret and choose how the card will look. Some tear the perforated logotype completely off and create a stencil, some make the prop stand and others allow the logotype to sit alone standing upwards.” Claire continues: “This is also true for the client/designer relationship – it’s a collaborative process and to make it work involves interpretation and creativity.”
Paper is a key part of Filter’s offering, so this love of paper needed to be obvious on the initial touch point. Keaykolour Original Jet Black 450gsm was chosen for its bulky properties and ability to hold the bended logotype. Claire says: “The texture of Keaykolour Original is extremely even without being too smooth. When cut, it is sharp and precise. Plus, Jet Black is just plain sexy.” We agree 100%! The cards are white foil stamped with the logotype laser cut and laser perforated at the base of each letter. Through testing, Claire found that laser perforation was far more successful on the heavier weights.
For Claire, an integral part of achieving the best result was taking advice and collaborating with our very own paper specialist, Corinne Lloyd from the QLD team, as well as Potato Press and Michael McAteer from Printcraft (QLD) as well as Mike Fritz, Art Director/boyfriend. Claire adds: “I wish more designers would use the expertise available, because it makes great jobs even better with that kind of support. Absolutely appreciate the effort made by all for such a pedantic project. Thank you.”
This project has been entered into BADC Awards and was listed as a finalist (which is the highest level of achievement for the Branding/Stationery Range category), additionally the project will be printed in the Design and Design International Book of the Year Vol 5, to be released in December 2012.
Awareness: a·ware·ness / [uh-wair-nis].
Noun: the state or condition of being aware; having knowledge; consciousness: The object of the information drive is to raise awareness of the facts.
Awareness, is fundamental to helping our customers better understand the benefits of printed communications. Most of the population believe print is ‘bad’ for the environment and that printed communication isn’t effective. Widespread confusion and misconceptions on what is/isn’t the ‘right’ thing to do is rife.
Recently, I attended a meeting with a major corporate. I handed over my business card only to be told: “Sorry I’m business card free” by the person I was meeting with. “Why?” I ask. “I’m doing my bit,” she replied. I was taken aback to say the least. Is it really this bad? Another corporate contact I have who works in sustainability said they may cut a third of their print work and swap their marketing collateral to interactive PDFs. Excited to join the sustainability path and believing this would be better for their ‘footprint’ wasn’t a decision made based on cost. This means we could lose approximately $2M worth of print material out of the Australian market every year, all based on a misconception.
One business card is actually the equivalent to 0.12grams of CO2 v one Google search which is 0.36grams. One e-mail, with a 400k PDF attachment, sent to 20 people, is equivalent to burning a 100w light bulb for 30 minutes and growing every time that file is distributed. A printed brochure’s footprint is static, measurable, recyclable and renewable.
Two Sides Global Consumer Survey of 2011 findings (consistent with the Nielsen ‘The Future of Mailing’ and BPost Business surveys completed over the past 12 months) found that 80% of people prefer reading from paper with 83% in the 18-24 year old age group. Other stats: 16-24 year olds prefer and place a higher value on paper based communication than digital and 50% of respondents believe that addressed and unaddressed communication is more credible, useful and trustworthy than digital communications.
Awareness is critical. Challenging the misleading environmental claims through communication vehicles such as the ‘Myths and Facts’ booklet is one small step. Two Sides Australia is committed to continuing this journey. Hop onto the twosides.org.au website and get the facts, the extended version of this article, or even better, join Two Sides Australia and we’ll help you communicate with your customers.
A big thanks to Kellie Northwood, National Manager of Two Sides Australia for her guest blog entry. We are big supporters of the amazing work Two Sides is doing for the print communications industry in Australia.
Title: Maya Sunny Honey identity and branding
Agency: Zé Studio (NSW)
Client: Maya Sunny Honey
Stocks: Doggett Labels – Precut / Envirocare 100% Recycled
Printed by: Carbon8 (NSW)
Bees produce honey but have you ever seen it done like this?? The Maya Sunny Honey (you can also visit their Facebook page) product range literally involves bees crafting the honey INSIDE the jar! Zé Studio in Sydney designed the identity and branding and used Envirocare 100% Recycled labels for the jars.
The unique and innovative 100% raw honey range is brought to you by Andrew Wyszynski. It’s such a great concept with a stylish and beautiful design to match. The upside down jars are awesome, reflecting the process taken to make the sweet nectar. For the most part, the process is a well-kept secret. But we can give you a sneak peek at how it all happens because you take the time to read our blog and we love you.
Enclosed within each individual jar is a mini beehive, with about 450-500 bees crafting an exceptional and unique honeycomb. The making of this honeycomb is an incredible system, where a set of 30 empty jars are placed upside down on top of a beehive. The bees travel from the hive into each jar creating the honeycomb from scratch with no foundation (amazing right?). Around one month later a whole jar is complete.
Joe Tarzia from Zé Studio mentions: “A sustainable and handcrafted approach was reflected in the design execution – matching the natural process of production from beehive to jar as well as the pure nature of the honey itself. Understanding Andrew’s delicate and precise process was the most honest approach in handling all aspects of packaging, from material selection through to hand application methods.”
A locally sourced vine wire was selected to hand seal the neck of each jar as well as the Envirocare 100% Recycled labels, printed using an HP Indigo press and pre-cut for hand application. Andrew believes that: “Honey should be enjoyed in its most pure form, allowing full benefit of its nutritional properties.” This innovative design does the trick by complementing the process of production from beehive to jar and looking great at the same time. Yum on both counts!
Well done to Thomas and Nic for their awesome win in the 2012 Mohawk Show. Their entry of Process Journal issue #3, printed on Expression Super Smooth was voted Best in Show. We were tickled pink to take the boys to lunch (France-soir, no less) and hand over the $5000 cheque. Yes, that’s right $5000!
But it’s very well deserved not only is the magazine beautifully designed but the content is highly curated to show only the best work. Making each issue something to really look forward to and keep on the shelf. Well done to Process Journal. We love reading your Mag and encourage those of you who haven’t read it to start now. http://www.publishedbyprocess.com
P.S. Please bring back the printing of the magazine to Australia!
P.P.S. The Mohawk show will be traveling to Australia in 2013. Look out for it. They will bring all the international winners work including a beautiful digital piece designed by Paul Garbett at Naughty Fish (NSW). Well done to Paul for being a Mohawk winner.
The Biennale awards night is almost here – in less than two weeks the design community will descend upon Melbourne’s iconic Forum Theatre to dance the night away and celebrate all that is good about Australian Graphic Design. We’ll be there and hope you can make it too.
As part of the celebrations AGDA has released ‘Twenty Years of Glass Mountains’. An Exhibition of AGDA Pinnacle Award Winning work. For those of you that are seasoned AGDA members it would have been obvious what a glass mountain was but it did take me a few minutes to compute that it was the award, the winner’s trophy. I have held one, just once, at the awards after party, they are quite beautiful, very heavy and definitely not that easy to swing around the dance floor.
Trophies aside, the exhibition features all the winning work. It’s amazing to look back at the pieces from the early 90s (when the awards began). Most of it is still beautiful today, we especially love the packaging design (1992) by David Lancashire (although we’ve always been partial to Mr Lancashire talents!) and the winning illustrations from 3 Deep (2002).
Accompanying the show is great little paper program, designed and curated by Dom Forde from Famous Visual Services. It showcases all the work plus photos of the original AGDA awards team and judging panel. Rita Siow, what’s your secret? Twenty years on and you still look the same! We might point out the program was printed on some pretty nice paper. But then we’re biased. We supplied the stock and Gunn & Taylor supplied the print.
Hope to see you at the awards ceremony next Saturday!
Catherine Doggett
National Marketing Manager
Cover: Conqueror Laid Diamond White, 100gsm.
Text: Conqueror CX22 Diamond White, 100gsm / Conqueror Contour Brilliant White, 120gsm/Conqueror CX22 Cream 100gsm.
Title: 7 Days in Hong Kong- James Braund
Agency: Clear Design (VIC)
Client: James Braund (VIC)
Stocks: Conqueror Contour / Conqueror CX22 / Conqueror Laid
Printed by: Bambra Press (VIC)
For seven days, James Braund explored the streets of Hong Kong, looking down the lane ways, discovering characters on the street and finding vantage points to absorb the metropolis. These are his observations from the trip, capturing the energy of Hong Kong and the ideas of Ted X.
His collection of images have been beautifully reproduced on Conqueror CX22, a super smooth specialty paper made by Arjowiggins Creative Papers. Presented as a collection of loose A4 sheets means there is no binding to interrupt your view and favourite images can be easily pulled out for display. The A5 booklet features pages of solid colour, including a solid flood of gold ink on the Conqueror Contour – giving you the unusual effect of beaten metal.
A collaboration between the photographer, the designers and us has resulted in what we think is a beautiful little show piece. Something we’re really excited to be taking to market. CX22 is a paper often forgotten in the Conqueror paper suite but we think this book shows just how good the paper really is. It knocks the full colour off the page and the solids look dense and even. Definitely a paper to consider when looking for a premium print result.
Thank you to James for allowing us to print his beautiful images and a big thank you to Russell and Matthew from Clear. You guys always deliver the goods!
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