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When you’ve been designing direct-mail pieces for any length of time, it’s easy to think you have a good handle on what needs to be done in order to obtain the results your client is looking for. Yet every once in a while it’s a good idea More »
“Let Us Lighten the Load.” To convey this marketing message, Cacao Design created a truly unique corporate brochure that literally floats inside its white presentation box. Cutouts on either side of the box reveal a stripe of signature color (orange) and a feat of levitation More »
Have seven minutes? Then join us as all the steps begin to come together in this, the third installment of PaperSpecs’ look at the wonderfully intricate papermaking process. Discover how that oatmeal-like soup becomes the sleek and sexy sheets we More »
A borderline obsessive who won’t stop short of exceptional?
Do you agonize over typefaces, color swatches, paper samples and
the perfect printing concoction for your creation of graphic glory?
If so, then you’ve got the making of a PaperSpecs PRO.
What happens when uber-clever advertising agency OgilvyOne meets the uber-focused color-classifyer Pantone? A colorful bit of whimsy in the offices of the former, and major cool points for the latter. OgilvyOne’s design team transformed two structural columns in their workplace into colorful comedy-tragedy-like twin emoticons using “paper pixels” – 1-inch-square Pantone chips torn from more than 100 Pantone swatchbooks. (Not to worry: the books were supplied by After Sales Director for Pantone EMEA Paul Graham, so the carnage was all officially sanctioned by the Color Mothership.)
The two 10-foot-high emoticons, one smiling, the other frowning, were hand assembled by 12 people over 52 hours. You can watch the creation of these twin Pantone pillars below:
There’s nothing inherently funny about type. But illustrator Andy Smth, who’s put his skills to work for the likes of Sony, Penguin books and Cadbury, decided a melding of corny one-liners and type might make for some fine prints, books and coasters. Inspiration struck when he was creating the cover for a children’s joke book for MacMillan. The resulting work is the focus of a solo show at the Bristol Soma Gallery in England.
As he told Creative Review,
“Flicking through all these cheesy puns and one liners, it occurred to me that they’d make great prints – I really like the way they are very sharp and succinct in their delivery and how they play with words,” he says.
Most writers would be chuffed to bits simply to have their book chosen as the winner of a £40,000 (about $66,500) prize. But London’s Folio Society, publisher of the world’s great books in finely-designed collector’s editions, couldn’t just leave it at a check, a handshake, and a quick shove of the winner in the direction of the customary chicken dinner.
The Society enlisted British design heavy hitters Sir Kenneth Grange and Mike Dempsey to craft the prize itself, with the help of Consultancies Sunday and Planning Unit, which created the branding and look of the Prize. And really, what an amazing job they’ve done, as you can see below.
The prize consists of a letterpressed certificate crafted by Wyvern Bindery featuring “The Folio Prize 2014″ embossed vertically along the left-hand margin of the document, and a gold-foil seal at the bottom right. A calligrapher was used to fill in the particulars of this year’s prize winner: American George Saunders for his book of short stories, The Tenth of December.
The certificate was then rolled up, tied with red ribbon, and secured in a beautiful, gold blocked, red-leather-bound pentagon box with a marbled interior.
This, the very first Folio Prize, was awarded to Saunders back in December. He’s welcome to keep the $66.5 K, but we wouldn’t mind taking that gorgeous trophy package off his hands. (What a PaperSpecs PRO Golden Ticket item that would make!)
The Pepsi Generation may soon become the Paper Generation, according to a patent that recently came to light. The PepsiCo patent application – filed with the World Intellectual Property Organization – describes a process for making bottles from paper fibers, though an internal plastic liner would still be used on the inside, according to BeverageDaily.com.
Exactly how this would be accomplished remains unclear, as experts interviewed for the BeverageDaily.com piece suggest that the packaging would only be good for partially carbonated beverages such as draft beers, rather than fully carbonated ones like Pepsi’s flagship product. Of course Pepsi also sells a variety of non-carbonated drinks, including Naked and Tropicana juices and Aquafina bottled waters.
The world’s first paper wine bottle only recently hit the market last November with the appropriately named Paperboy wine, inside a bottle designed by the UK’s GreenBottle.
Over the last few years, Mohawk has gradually transformed itself from a paper company with a firm hand in the digital realm to a future-focused company that has a firm hand in the print and digital worlds. Continuing with that momentum, the company today announced the creation of the $1.5 million Mohawk Print Innovation Center in Albany.
The heart of the new center will be three new state-of-the art digital presses, the better to continue its digital-paper innovations. Those presses are:
In addition to aiding in the development of future digital papers, the presses will be used to produce marketing materials for Mohawk’s digital products, as well as a means to show designers just what kinds of results can be achieved using top-of-the-line digital presses and papers.
At a time when deadlines are shrinking faster than human attention spans, digital is clearly the future of print, and Mohawk is poised to be one of the trailblazers for digital-paper innovations.