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Packaging design is definitely not for the faint of heart, especially when we’re talking about coffee packaging. It’s not just the visual aspects that matter, packaging design needs to take a multi-sensory approach. While creatives labor over aspects like color palettes, typography and logo design – it’s the production that brings these elements to life. Thoughtful consideration should be given to every production detail – with function, format and structure driving design. From there, designers can take advantage of the supporting role that substrates and production techniques play in the overall design. This was the case with the coffee packaging for roaster Caffé Pagani created by Eskimo Design.
When it comes to finding just the right color, creatives are a fickle bunch. Myself included. And while it’s never been easier to find beautiful paper options for print projects, the one thing I hear repeatedly from the design community is that finding that “perfect” color can be challenging. Especially when it comes to on-trend color palettes like teal, blush and those dusty shades of blue, pink and green. Add to that the frustration creatives experience after finding the perfect color only to learn it’s not available in both cover and text weights, which is essential for projects like invitations and announcements. Well, I’ve got some good news. Dreamy color palettes await designers, as Mohawk launches Keaykolour in North America!
In case you missed my previous post, this is part two of our post about the making of our topography inspired journal and pencil box set. I’m sharing all the details of the project – the good, the bad and the ugly. Part one was about the concept and design phase of the project. I thought narrowing down paper selections was going to be the difficult part, boy was I wrong. This post is where the production process begins and so do the hurdles.
Did you ever have an idea for a project you were saving for something really special? You know, the one you keep tucked away for just the right circumstances. For me it was the pencil box. Looking back, I definitely under estimated a few things about the project. My timeline was way off. And honestly, the production skills required for a packaging project are different than four-color offset printing. But if there’s one thing I know for sure, the only way you grow is by challenging yourself. So I dove in, head first. This post is all about the process for producing the Topography Inspired Journal & Pencil Box Set – the good, the bad and the ugly.
When it comes to developing a retail brand, most designers will tell you the devil is in the details. Making sure brand identity and messaging connect with its audience involves many elements that require thoughtful attention to detail – especially print collateral. In fact, it is scientifically proven that consumers form powerful, emotional connections through touch. It’s called haptics, and when thoughtfully incorporated into a retail brand’s print collateral, it has the ability to turn customers into brand loyalists. And Neenah is leading the charge, inspiring a revolution of sorts with its newest promotion. CLASSIC® Retail Revolution is a resource for designers working with retail clients to help them see new and unique ways to use printed pieces as a tangible element of today’s retail experiences.
I’m half-way through my midday americano, when I suddenly remembered today’s the day. I pack up my planner and search for the nearest post office. Two minutes later I’m standing in front of Mrs. Pacindo at the USPS in Independence, Ohio, gleefully asking for the new Love stamp. By the look on her face, I could tell she thought I was a little too excited about a stamp. But today is the day that love flourishes for stationery enthusiasts, as the new USPS Love Stamp designed by Anna Rifle Bond (of Rifle Paper) debuts.
There’s this idea that in order to produce high-quality print, one must have clients with deep pockets. I was a paper rep for many years and I can tell you some of the best print projects I worked on didn’t have huge budgets. In fact, it’s often just the opposite. Producing great print is not about having a great budget, it’s about having great relationships. You can tell a lot about the relationship between a designer and print rep by the quality of the project’s print production. When production details are so well executed they blend synergistically with the design, that’s the tell-tale sign of a strong relationship between designer and printer. And this was the case with the NewBridge 2017 Annual Report.
The fun thing about what we do at Parse & Parcel, is getting to see glimpses of projects as we consult on paper and production. And rebranding projects are some of our favorites – especially those that take special consideration of the details. Our friends at the Studio of Christine Wisnieski share some insights into their process, and beautiful details, for the Harness Cycle rebrand.