Patch property brochure by Studio Hi Ho

Agency: Studio Hi Ho (VIC).
Stocks: Sovereign Offset with custom “vellum’ emboss (cover) + Knight Vellum (text).
Printed by: Adams Print (VIC).
Printing specs: CMYK plus fluoro green.

Take a look at ‘Patch’ designed by Studio Hi Ho in Melbourne. It’s a job that really stood out as one of the simplest but coolest property brochures of 2015. There’s a quote inside the brochure that states: “Patch provides a sharp and striking interior for those with a penchant for punchy.” What a great quote. And we think the brochure more than lives up to the rhetoric.

The print piece starts off with a Sovereign Offset 100gsm cover that features a killer 4 colour red logo on a custom ‘vellum’ emboss pattern from Tafeda. The inside pages showcase full bleed blacks, bold reds and knock out 4 colour images on the Knight Vellum 100gsm text. The reproduction by Adams Print is truly outstanding. We were amazed it wasn’t a special red PMS.

Our favourite bit though is ‘Patch People’ with the quirky and truly spot on illustrations of locals by Jeff the Peff. One of our marketing team staff lives right near the development (ok it’s Catherine), and she is sure Jeff has drawn one of her neighbours. A spot on interpretation of ‘Tim’ (you know who you are). Tim, you’re famous!

Jokes aside, it’s a job that really made us want to pick it up and have a good look. That’s a big deal among the masses of excellent property brochures we’ve seen this year. We did a property week feature on Facebook and Instagram back in August and that was just a snap shot of the great pieces we’ve seen in 2015. Check it out for some more property work inspiration.

 

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Our 2016 ‘Best in show’ calendar low down

Agency: Seesaw (VIC).
Stocks: Finesse Cast Coated 250gsm, Wild 150gsm, HannoArt Plus Gloss 200gsm, Knight – Smooth 140gsm, SKIN Curious Collection – Pink 270gsm, Curious Metallics – Virtual Pearl 240gsm, Envirocare 100% Recycled 250gsm, Cambric – Colonial White 270gsm, Tablex – Textures Wrinkles 280gsm, Kaskad – Peacock Blue 160gsm, Sovereign A2 – Silk 250gsm, Barry Bleach Board 170gsm, Rives Design – Brilliant White 250gsm, Sovereign Offset 160gsm and Sovereign A2 – Digital Gloss 200gsm.
Printed by: Rawsons Graphics. Spot UV Gloss by Horizon Graphics, emboss by Goldcraft. All in NSW
Printing specs: UV offset and Indigo digitally printed.

Bring on the 2016 Doggett calendar, as voted by YOU! Featuring many of our favourite papers and a few bells and whistles, ‘Best in Show’ is a celebration, a paper and poochie bonanza showcasing the most popular images dating back to 2000. The fate of the calendar was put in the hands of our customers, paper lovers and social family and over 1000 people submitted a vote. So a huge thank you, to everyone, who participated.

The cover and December artwork is by paper genius and friend Benja Harney. That man can fold paper like nobody’s business and also happens to be the loveliest guy. Benja also made the paper rosette worn by 100 pooches from around Australia that took part in the ‘Pimp my Pooch’ campaign.

What is this you speak of?! Pimped pooches?! We offered all our customers the opportunity to have their pooch feature as the January star in a custom Indigo printed calendar. Some of the stars are shown below and you can check out others on our Insta page.

To all of our lucky customers that receive a calendar, your rep is coming around in the weeks before Christmas with your copy. Enjoy!

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Printing specs:

  • Cover: CMYK plus emboss on Finesse Cast Coated 250gsm.
  • Credits page: CMYK on Wild 150gsm.
  • January: CMYK on HannoArt Plus Gloss 200gsm.
  • February: CMYK on Knight – Smooth 140gsm.
  • March: CMYK plus 4 hits white ink (title of month) and 2 hits white ink (dates and image) on SKIN Curious Collection – Pink 270gsm.
  • April: CMYK on Curious Metallics – Virtual Pearl 240gsm.
  • May: CMYK on Envirocare 100% Recycled 250gsm.
  • June: CMYK on Cambric – Colonial White 270gsm.
  • July: CMYK on Tablex – Textures Wrinkles 280gsm.
  • August: CMYK on plus 4 hits white ink (title of month) and 2 hits white ink (dates and image) on Kaskad – Peacock Blue 160gsm.
  • September: CMYK on Sovereign A2 – Silk 250gsm.
  • October: CMYK plus Spot Gloss UV on Barry Bleach Board 170gsm.
  • November: CMYK on Rives Design – Brilliant White 250gsm.
  • December: CMYK on Sovereign Offset 160gsm. ‘Pimp my pooch’
  • Custom January month: Indigo CMYK on Sovereign A2 – Digital Gloss 200gsm. Please read the contents page and blurb of calendar.

Check out some of the ‘Pimp my Pooch’ entries. Woof!

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Dot Georgoulas’ pooch Diego

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Helen McGeachin’s pooch Finn

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Renee Stead’s pooch Snoop

A little about us, a little about the calendar:
Dogs for Doggett seems a logical connection. But it wasn’t always the case. In the early 90s (hello purple, green and orange corporate colours!), David Lancashire suggested we should incorporate dogs into our marketing material. It took a fair bit of persuading to get Ken and John across the line. Who would have thought a funny name like Doggett would turn out to be such an asset! Fast forward to 2016 and ‘Best in Show’ is a celebration of doggie themed calendars from the last 15 years. It’s worth mentioning that over the years, the calendar has been just as much about the students/emerging talent that create it, as it is about dogs. Each year we brief in the doggie theme and are blown away by the creative ideas we get back. We’d like to say thanks to the students, lecturers and creatives that have helped us make the Doggett calendar such a success.

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Les Mason: remembering the father of Australian graphic design

Author: Tara Watson
Publication: desktop magazine online
Published: 20 November 2015

Before the days of Photoshop, undo’s and quick fixes, one artist using a hands-on approach revolutionised the graphic art industry through shifting attitudes to Australian design. Graphic art pioneer Les Mason was one of the first to establish the profession of graphic design in Australia and to mark the opening of the new National Gallery of Victoria (NGV) Design Studio, the NGV presents a retrospective of the artist’s prolific and durable design portfolio.

Les Mason: Solo highlights Mason’s significant body of work spanning over 30 years and his maverick attitude towards design and unstoppable quest for artistic perfection. Known to many as the father of graphic design in Australia, Les Mason: Solo exhibition showcases more than 200 designs and photographs, revealing design process and methods. “This exhibition celebrates Mason’s pioneering spirit and pervasive influence, highlighting his role as a seminal figure in graphic design, both as a practitioner and a provocateur,” said director of the NGV, Tony Ellwood.

The retrospective offers visitors a categorised timeline, tracking Mason’s move from California to Melbourne in 1961, drawing from archives of his evolving work contribution until his death 2009.

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The exhibition presents Mason’s diverse scope of designs accomplished across packaging, corporate identity, advertising, architectural graphics and magazine. Highlights include the now classic Tarax Solo lemon soft drink packaging from 1975, the brand identity of Bowater Scott, Glo-weave visual merchandising material, Trusty Dog Food Packaging and more involved work with the State Bank of Victoria and the Salvation Army.

Wife, widower and artistic collaborator Gail Devine worked with the NGV in the curation of the exhibit and said she was thrilled seeing the final design space. Devine drew from her personal collection of Mason’s history of works from packaging, wine labels, architectural graphics, advertising and corporate design.

“I had all this work of Les’ and since he passed away it had been my task to make his memory alive again because he had done so much,” Devine reflects.

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Mason outlook on design was diversified and informed by his background in fine art and interior design, drawing on these formative techniques when working on advertising, company identity works and developing processes. Devine adds that Mason started in the industry when “graphic design was just beginning. It was like the days of Mad Men. It was just starting to snowball in the States,” said Devine.

Bringing his unique vision to Australia, Mason opened his first studio in South Melbourne, producing commercial designs and establishing an unheard-of business model where design was in the hands of artists rather than the printers and agencies.

Mason catalysed studio based design practice and incorporated influences such as Dada, Op art and Surrealism into his designs, while establishing typography as a professional craft and breaking convention utilizing mediums such as sculpture in his works.

“I think Les showed what the profession of graphic design could be for all that came after him. How it stood in its own right. How it was as powerful as architecture. It’s a communication. It can connect with a person and be empathetic,” Devine remarked.

“It has got to be powerful and the best that it can be and that’s Les’ legacy: he couldn’t stand crap.”

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Mason was a pioneering force behind artists thoughtfully examining the psychology of packaging and design in conceptual process, researching the psychology of gender and colour in consumer-decision making. Mason visited over 500 supermarkets in the US photographing food packaging to compile an advanced research library for reference.

Mason’s most pivotal contribution came from his work on the Epicurean magazine covers from 1966 to 1979. The 77 covers created by Mason remain as relevant and cutting edge as ever, appreciated for pushing the envelope of design norms and presenting graphic design as art; embracing in his work movements such as Arte Povera, Surrealism, Pop Art, geometric abstraction, colour field painting and Op Art.

“Epicurean was a unique process. It was a very select audience, the top food and wine writers. But they had little money to spend so he couldn’t spend the money on photographing food looking gorgeous with luscious photography, so he used his knowledge of fine art in his depictions of food, his knowledge of sculpture, photography and man-made construction,” said Devine.

“For each cover and issue he would develop a theme and go for it. It didn’t have anything to do with anything, usually some relationship to food but more or less it was a fine art depiction.”

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Mason’s Salvation Army collaborations displayed at the end of the exhibition would go on to become some of his more controversial designs. Taking an emotive and evocative stance to raise the public profile of their annual Red Shield Appeal fundraiser, positioning confronting imagery, iconography and language as a platform for depicting the harsh realities of exclusion, social disadvantage and as Devine puts it the publics increasing “indifference to man”.

Les Mason: Solo final exhibit features Mason’s last work ‘Unplugged Faces AGI Conference Istanbul Poster’ created just before his death in 2009, inspired by his visit to the conference in Turkey with Devine, offering visitors a personal glimpse of Mason’s final days.

Devine said she was immensely grateful to the NGV for bringing Mason’s life’s work to new audiences, to learn more about the early days of graphic design in Australia and the people that paved the way for the industry that thrives today.

“It was a lot of work and it was very emotional,” said Devine. “People say to me it would have been cathartic, but for me it was more than that. I wanted Les to have the recognition that he deserved because he did so much for graphic design in Australia and he loved Australia. He never looked back when he came here. It was his home.”

Thanks to desktop for the approval to re-post this story.

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Les Mason: Solo will be exhibited at the National Gallery of Victoria at the Ian Potter Centre from Friday, 6 November 2015 – 21 February 2016. Open daily, 10am-5pm. Free entry.

Case study: how Queensland Uni wooed new students with paper goggles

BACKGROUND:
To reinforce QUT’s positioning as a forward-thinking and innovative tertiary institution, they utilised Google Cardboard to deliver a truly sensory experience to prospective students.

Google Cardboard is a virtual reality (VR) platform that uses a fold-out cardboard mount for a smartphone. Once mounted with the relevant app installed, it becomes a VR Viewer and replicates an environment that simulates physical presence through sensing movement and rotating the image accordingly. It is a highly immersive and engaging platform, already utilised by numerous brands. Due to its low-cost, sustainable and environmentally-friendly design, Google Cardboard has proven itself to be a very effective application to grab an audience’s attention – and keep it.

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QUT is a highly successful and globally positioned Australian university based in Brisbane and is consistently ranked as one of the best performing in the country and the world. With school leavers showing a growing awareness and genuine interest in the importance of global opportunities, QUT wanted to emphasise that their graduates were widely recognised as ‘global ready’. Google Cardboard enabled QUT to encapsulate the message of ‘global ready’ within an engaging and memorable multimedia channel.

“By embracing VR technology, instead of taking QUT students to the world, we brought the world to them.”
(Tony Wilson, Director of marketing, QUT).

OBJECTIVE:
QUT worked with Brisbane based agency BCM to develop the Global Goggles campaign which created a virtual reality experience for prospective students. It showed a 360-degree rendering of the Brisbane skyline with landmarks from all over the globe, such as the Eiffel Tower and Big Ben popping into view. It was designed to visualise the university’s claims that its students are ‘global ready’ whilst demonstrating its credentials of being a forward-thinking and innovative institution.

METHODOLOGY:
15,000 prospective students and their families who visited the QUT Open Day at the Garden Point campus were given a pair of Global Goggles.

The Google Cardboard device had been branded with the Global Goggles and QUT logos and was constructed by the users from flat pack form. The Global Goggles could be used again and again and for a multitude of different apps freely available to download. This ensured that they would remain with their users for a long time serving as a physical reminder of the positive brand experience they had whilst at the Open Day.

RESULTS: Feedback from prospective students who tried the Global Goggles was extremely positive with a high proportion of users stating that it was the first time they had experienced virtual reality. Global Goggles was a highly effective branding opportunity for QUT and reinforced their brand positioning of being at the forefront of innovation and global technology.

“That was insane. I really felt like I was there. I didn’t expect it to be like that. It was like nothing I’ve ever experienced.”
(Prospective QUT student, 2015)

CONCLUSION:
Virtual Reality has the potential to become one of the big trends for marketers to embrace within their multimedia channel campaigns. Because Google Cardboard is a cost effective, accessible and portable adoption of VR, it enables brands to create immersive experiences for consumers and get them to market quickly.

Like all print, Google Cardboard can be easily customised, through shape, colour and branding allowing marketers to maximise impact with their own VR campaigns.

QUT is not the only university utilising Goggle Cardboard to attract prospective students. University of Tasmania was keen to engage students with a tour of their campus locations with an immersive panoramic experience. This proved to be a great attraction to visitors of Open Days who took the virtual tour.

The ability to send a Google Cardboard pack to potential students nationwide, or even worldwide, who cannot feasibly visit before applying to study, offers a novel approach to making remote students feel included and aids the explorative phase students go through before choosing their university.

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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.

Our top five packaging picks of 2015

We love a good package here. Yes siree. Paper, label, texture, colour, it’s all part of our love.

We recently read-up on Landor’s predicted trends for 2016. There’s more on consumers craving authentic interaction, but we feel that one’s been thrown around for a while. One of the big and interesting trends however is the return of bricks and mortar stores, experiencing brands though multichannel/multi sensory experiences, a heightened focus on storytelling and incorporating products into peoples lives more than ever before. Product packaging could be even more important now than it ever has before.

Our top packaging job picks for 2015 are here for your eyes to feast on.

1. Snoop Dogg’s ‘Leafs by Snoop’, designed by Pentagram. We love this colourful and somehow sophisticated, California cool (to reflect Snoops roots) packaging that is promoting his cannabis range. Who are we to judge? It’s legal in Colorado! Everything from the beautifully designed logo to the colourways and use of interesting dies for the paper packaging makes the range a winner. We like the quotes below, written in Snoop’s own handwriting.

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2. Hey Studio’s packaging for Arrels, Barcelona. 
Buy, buy, buy me now! If only the packaging could talk for sure this is what it would be saying. Colourful, bright graphics that perfectly complement the goods, mmmm m. The pattern created for the boxes extends into the printed brochure and is meant to represent the natural surface of the earth. Read the whole story here.

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3. Loving Earth rebrand by Studio Round. 
We’ve got a bit of a soft spot for Loving Earth. The range speaks our language: Australian, chocolate, organic. This latest re-brand is beautiful. With the colourful identity system, illustrations and bold type, it’s a stand-out on the shelves. Read more about the project here.

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4. Archie Rose Distilling Co. branding by Squadink.
This is one of our overall fave projects from 2015 which includes the packaging design, bar and venue branding. There are now two rounds of packaging. The first round saw Original Vodka, Signature Dry Gin and White Rye designed with a creamy white textured label. The second round of spirits are the tailored Vodka, Gin and Whisky. This time on a black label with silver, gun mental and gold foils. And when we say tailored, we mean tailored. You can customise your own bottle from your phone and even get your name on it.

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5. Limited edition collection of Varvaglione wines by Idem Design.
Inspired by the fashion world, these unique wine labels are dressed to impress. Created by Idem Design in Italy, the three textured patterns represent iconic brands in the fashion world, designed to be collected and admired. And of course to be enjoyed with a delicious Italian meal, preferably in Italy (let’s say Positano for the sake of it).

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Technology advances for smoother ordering

As we enhance our ecommerce platform, our focus is to make ordering paper from us even more streamlined. The latest addition to our offering is digital price books. As in, our purple ‘paper’ price book is now also available electronically. The digital version reflects your most up-to-date pricing information and is just a mouse click away.

Features of the digital price book are:

  • Familiar format (looks identical to our printed purple price book).
  • Accurate and up-to-date custom pricing ie net pricing for each customer.
  • Comes as a downloadable PDF.
  • Printable: print the digital price book to our ‘folder’ size and have it in hard copy format (we can provide this for you).
  • Soon it will be accessible for download via your ecommerce online ordering account.
  • Wide format pricing will be included by early 2016.

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Future improvements planned include:

  • Enhanced navigation: hyperlinked bookmarks in the index for each product category which take you directly to the correct page.
  • New format: being able to view the price book on your iPhone (currently it’s built for larger screens only).

Finally, we’re also offering you the option to receive customised price data feeds, suitable for automatic upload into your MIS system. We created this to save you time in having to double handle the pricing. Ea-sy. Just ask your account manager about it.

David Lancashire x Doggett

Designer: David Lancashire VIC. 
Stock: 
Wild 450gsm (invite) and Wild 150gsm (envelope).
Printing specs: Blind emboss, foil and letterpress.
Printed by: Watermarx Graphics (blind emboss, foil and letterpress). Envelope printed by Social Printing. Both in NSW.

This story comes in two parts and is really, mainly, about the great man himself David Lancashire. Not only can we thank David for the doggie branding he created in the 90s waaaay back when MC Hammer pants were cool and bum bags were an accessory of choice, he also custom illustrated our Christmas card this year. Being our 40th year in the paper biz, we thought it fitting David designed our Christmas card.

Each pooch represents one of the Doggett’s that work in the business today. Ken (Director), John (Director), Simon (Managing Director), Nathan (National Sales Manager), Heath (Sales Manager, Victoria) and Catherine (National Marketing and Sustainability Manager) holding the star.

We used Wild for the card, a 35% cotton paper combining softness with strength, a luxurious feel and very high bulk. The 450gsm card is printed with a blind emboss and foil on the front, letterpress on the inside. The 150gsm envelope features a blind emboss of ‘poodle and fatty’ (more of our doggie branding). Embellishments and Wild go together like brandy sauce and Christmas pudding (cue tummy grumbling).

 

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A conversation with David:
We wanted to celebrate David’s history and career too, so we sat down and had a bit of a chin wag. Here’s how it all started…

A young David Lancashire came to Australia as an 18 year old 10£ pom in search of sun and adventure. At first he found work on the factory floor and production line of Weyland Motors. Hardly adventurous for him! David soon realised that he was not cut out for such a repetitive job and after two long weeks quit in search of something ‘creative and stimulating’. He found his way to Claret St Studio, in Vogue House in Sydney. He stayed there for a few years before a driving trip back from Adelaide saw him pass through Melbourne. He decided Melbourne was a pretty good place to try. He drove in his Land Rover straight from Sydney to the doors of Art Associates, brushed off his folio and walked in and asked for a job. He started that day.

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Flash forward 10 years and David started his own studio and began working for lots of big names including Spicers and Daltons paper. Ken Doggett saw the great work David had been doing and approached him to revamp the Doggett branding. At first David said no due to a conflict of interest! But Ken persisted and David eventually came around to see the potential.

He pitched the idea that our funny name should be highlighted to create a memorable campaign. Ken and now John were NOT keen. Names like dogs body, dogs s**t were commonly thrown around at school and they didn’t plan to bring more attention to it. But David presented the concept of ‘Doggett’s take the lead’ and illustrated our first dog. It was a big hit with the staff and customers and from there the concept took off.

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The purple, green and orange corporate colours came next. “The other merchants all had very traditional branding, Doggett’s were the new kid on the block and we needed to stand out. Purple certainly did that!” said David.

“The swatch kit came next, based around the theme of ‘the dog ate my shoe’ with each one representing the different papers. We sourced some great old shoes from the powerhouse museum and included even some of my families old shoe.”

And of course there’s the 266 PMS purple iconic doggie trucks. We thank our lucky stars that David pitched the idea to wrap our trucks and often when we tell people where we work they say: “Oh you work at that place with the purple trucks.” They’re hard to miss!

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That’s a wrap. Thanks to everyone for your continued support in 2015 and we wish you a joyful and festive summer.

Ho, ho, ho and woof!
Love us.

Product updates you might have missed in 2015

It’s been a busy year with lots of new products, promotions and events. Here’s the low down on key updates to some of our core ranges in 2015, plus the new swatches we produced HannoArt Plus, King Kong Hi-Bulk and the big kahuna, Curious Collection.

New product lines and key changes:

  • NEW! Sovereign Offset Indigo B2.
  • NEW! Knight Vellum Digital – Indigo SRA3.
  • Saxton discontinued.
  • Grange Offset and Board shade change to a brighter 160CIE whiteness.
  • Grange Tinted Board (replaced tablex boards) plus new colours added.
  • NEW! Sun Offset range extended to include 140gsm.
  • NEW! Wausau Double Sided Tape (replaced JAC double sided kraft).
  • NEW! Doggett Label facesheets: Buffalo Kraft, Estate #9 Laid, Bright Gold, Dull Gold and Bright Silver.

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Swatches released in 2015:

HannoArt Plus Gloss and Silk
The new range launched at the start of 2015 and has grown to be a firm printer favourite. It offers exceptional value and great printability. It’s FSC certified, dry toner suitable and HP Indigo compatible, optional carbon neutral and food contact approved to ISEGA standards like its predecessor. Benefits of the new range include:

  • Bulkier sheet than previous HannoArt.
  • More in line with style of an A2 coated paper.
  • Significantly less cracking than Traditional European sheets.
  • Less reflection and therefore better readability.
  • Less curl after varnishing.
  • Improved surface in particular in the board weights.

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The recent Seafolly brochure featuring Gigi Hadid, is printed on the new HannoArt range.

King Kong Hi-Bulk
Like its name, King Kong Hi-Bulk is a formidable new player in our coated product range. This bright white double-sided art board with gloss finish delivers on ink lay down, scoring, folding, laminating and spot varnishing. It’s also economical and highly reliable so you can feel confident about great press performance. AND it requires minimum drying time.

Curious Collection
This swatch now combines four of our specialty range products: Skin, Metallics, Translucents and Matter. We call it the big kahuna and it was created to give you, our customers, an easy and simple way of comparing some of our primo products under one ‘roof’.

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Brief history of the swatch
The swatch is pretty much our primary selling tool, showcasing each product range’s features and technical info. The shoes on the front represent the range/name, like the hairy slipper that represents King Kong Hi-Bulk. Ha!! The theme of using shoes was originally developed by David Lancashire (the same guy behind our doggie branding). The thinking behind it was a dog’s cheeky habit of chewing on their owner’s much loved footwear. Fast forward 15 plus years and the shoes are still a hit!

If your swatch kits hasn’t been updated already, please get in touch with your account manager for the latest swatches. Head to our website for more information about the products.

McKellar X Doggett for #themakeproject

We always say it’s not about our paper, it’s what you do with it. And you’ve got to admit, this is a pretty rad example of taking paper and making it pop. The project concept itself is also pretty damn rad. McKellar Renown Press have been running The Make Project for a while now, each month releasing a new print piece that showcases design, print/embellishments and paper, direct to people’s mail box. Yes, that’s right. a DM piece. Who would have thunk it in this ‘digital age’.

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The offset printed combo is Knight Smooth White 400gsm on the outer with Pop’Set Cosmo Pink 320gsm in the middle. We love the Kate Pullen Draws illustration and the hint of gold foil bling. It doesn’t take a lot to just print something, but it does take the attention and skills of a printer who cares, to make a piece look this good. We’re loving the installments of #themakeproject so keep em coming McKellar Renown!

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Australian Printer covers a story on our wide format expansion

This article has been re-published, courtesy of Australian PrinterArticle appeared in their November 2015 edition in their ‘Buyers Guide: Consumables’ section.

“KW Doggett covers wide format media”

EXPANDING its Doggett Digital range to include wide format media, which also includes small format media, KW Doggett Fine Paper is continuing to help its customers adapt to an ever changing business environment.

Jon Roberts, national business development manager for Digital at KW Doggett, sees the wide format digital market in Australia as an exciting space. He says, “More of our customers are moving into the wide format space and creating demand for products so it makes sense to start providing them with what they need.”

The company already has the distribution and warehouse capabilities, so moving to cover wide format doesn’t present major logistical issues. Roberts says, “Our customers’ need for reliability means we always carry large inventory and as an added benefit, we operate our own fleet of trucks as well as employ local drivers that deliver twice daily to metro areas.”

The KW Doggett wide format range includes self-adhesives, banner vinyls, rigid media, paper and boards, synthetics and backlit products that will suit most wide format print systems and applications, for both indoor and outdoor use. He says, “The products in our range were chosen by a team with experience and proven industry knowledge, to specifically match the printing requirements of our customers.”

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On side with Avery Dennison
THE push to move into wide format has seen KW Doggett team up with Avery Dennison.

Roberts says, “Key to our emergence into the wide format arena is our partnership with Avery Dennison. This positions us as the only paper merchant selling a large portfolio of the Avery Dennison wide format products in Australia.”

The company also distributes Avery Dennison’s self-adhesive sheets range for the offset and screen printing markets.

He says, “We have Avery monomeric and polymeric media/flexible banners/film series, Tacky wall/floor graphics and electrostatic, Sovereign foam/screen board and others. Printers can see the full range on our web site and we also offer converting services for media that comes in rolls.”

The company has also developed tools to assist its customers to better choose items from its wide format media range. This includes a wide format media guide – a handy reference tool that fits into customers kits that lists all of its range; a dedicated section on the KW Doggett web site listing full technical specifications, including tips for application and installation; internal training and training docs for the reps; and early next year KW Doggett will release a swatch for its customers dedicated to wide format media.

Roberts adds, “In the meantime, if anyone wants to request one of our wide format media guides, they should speak to their account manager or me via email at jroberts@kwdoggett.com.au.

“Since launching into wide format, the customer response has been fantastic. The service model we have, alongside the products that we have chosen, have worked out as the right ones so we will definitely expand further. Of course, that depends on what our customers need and want.”

“K W Doggett has brought its brand of business to the wide format market, and says it is offering the same reliable service, delivery standards and inventory levels its customers have come to expect.”

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Pictured above: Jon Roberts, national business development manager for Digital at KW Doggett Fine Paper.

Doggett attitude means customer satisfaction
FROM a small start, KW Doggett has developed into a major player in the print industry. Ken Doggett started the business in 1975, using a borrowed desk in the office of TT Eadie. From that single desk, the company has grown into the biggest independent paper merchant in Australia.

KW Doggett has moved into wide format with eyes wide open and it brings a strong team to the game. Alongside Roberts there are around 25 account managers and paper specialists that work in Melbourne, Brisbane, Sydney and Adelaide.

Jon Roberts says, “Being new to this space, KW Doggett came in with the same high level of customer service it is known for in the industry.

“Our business was built on a solid foundation of family values by Ken and John Doggett. “You can still see that today, particularly with the second generation of the Doggett family now leading this customer focused business.

“KW Doggett understands that it is about putting customers at the heart of what it does. The company employs a passionate bunch of people, the best in the business.”