Spring is my favorite season. Partly because I live in Cleveland, where it’s gray from October until April. And while I like gray, that is a long time to go with out any sign of life or color to be seen. So when those first shoots of spring bulbs poke their heads through the earth, I get all the feels. That’s a sure sign it won’t be long before the raucous color of spring takes over the landscape. The fresh, vibrant shade of spring green is among my favorite colors of all time. So imagine my delight when I saw Greenery was announced at the Pantone Color of the Year.
Part Two –Plus a GIVEAWAY!
Fresh Takes on Classic Type on CLASSIC® Papers by Neenah is a bold, interactive new promotion designed by Kansas City-based Willoughby Design. Combining the beauty of type, design and production, the book merges contemporary typefaces and design with the textures of legendary CLASSIC Papers. The 9.5″ x 12″ book features six French-fold spreads featuring an interactive story crafted specifically for each typeface. Each spread contains a pull out, pop up, or put-it-together piece to help tell the story, and a quote from each typeface creator. In our previous post, we shared details an overview of the piece and its debut at our celebration – A Toast to Type. In part two of our series, we take a deep dive into some sweet type, design and production.
Part 1 – Plus a GIVEAWAY!
It’s a given in design that trends are part of the landscape. Something gets hot and suddenly it’s everywhere (um, rose gold foil). To me the interesting thing about trends is how they build on themselves. And type design is no different. Trends come and go but true classics always inspire. And inspired is exactly how one feels after experiencing Neenah Paper’s newest promotion, Fresh Takes on Classic Type.
At first look, I knew P&P had to do something fun to share it with our audience. So we invited a group of local designers to join us in the sample studio for a Toast to Type! A celebration of type, design and paper.
Trying to find the perfect kraft paper can make any graphic designer feel a bit like Goldilocks. This one’s too light, this one’s too dark – you get the picture. Before you know it, you’ve spent hours looking at paper samples and you’re still haven’t found the perfect one. Sound familiar? At Parse & Parcel, we get more questions about kraft paper than other type of paper out there. So we dove dive deep into The Swatchbox and put together this guide to help designers find the perfect kraft paper.
Image via Studio of Christine Wisnieski
Starting a business is hard. Really hard. I can’t tell you the countless hours I’ve spent developing the concept behind Parse & Parcel. There are so many details and a ton of planning involved. And no matter how much you plan, things are always changing. The tough part is how to plan for change without knowing exactly how things will change. This is a problem every business faces, but it’s especially difficult when you’ve got a physical product and you’re trying to find the perfect packaging solution – and you’re a start-up.
I first learned about the talented creative team of Oat when I was writing about their work for a feature on Oh So Beautiful Paper. The brand identity work I profiled was such a great example of the kind of print results that can be achieved when combining different paper stocks and production techniques. Jennifer Lucey-Brzoza and Rory Keohane are the principles of Oat, a multi-disciplinary design studio in Massachusetts. It was during this process they shared they were getting ready to launch their new stationery line, NOAT. Turns out I was already a fan of NOAT and didn’t even realize it.
Get the Free Guide with our Top Tips for Creating Memorable Packaging
I have a thing for little blue boxes.
Of course, the ubiquitous blue box of Tiffany & Co. makes me swoon. I’ve saved every one I’ve ever gotten. Every. Single. One. (Which is currently four, btw).
Every once in a while I’ll peek inside the drawer I stash them in for safe keeping. Just looking at them makes me feel all fuzzy inside.
But this isn’t anything unusual.
When it comes to commercial printing, coated paper is used on the majority of projects. It is considered the workhorse of the print industry. When used thoughtfully, it can be an amazing conduit for beautiful design and production. Printers love running it, and with good reason. It provides a bright, consistently even surface allowing for minimal dot gain, great ink gloss and produces crisp, fine results. Plus it’s fairly easy to run on press. Sounds like a dream, right?
But all too often it’s because of these very reasons that designers do not bother to specify coated papers. Most tend to rely on the printer’s house sheet when printing on coated paper with budget driving that decision or give vague specs like a “No.2 coated.” I’ve seen this happen a thousand times. And the big lie about coated paper most designers don’t know is that they’re giving up way too much for little to no real impact on the budget.
So I’m going through the new promotion from Domtar, Mark Your Mark, when I saw something that stopped me mid flip. While the piece itself is about identifying different market segments, what really caught my attention was the design for the restaurant segment. This particular sample set contained a menu, coaster, order pad and business card. I immediately noticed its elegant simplicity – black and white illustration with a pop of gold ink. I flipped to the production notes and read two words that stopped me in my tracks. Digital Gold. Wait, what? Yes, gold digital metallic ink. Now my print peeps are going to tell me this technology has been available for a while. And yes, gold digital metallic inks have been available for a few years. But the print results I saw in this piece looked so much better than anything I had ever seen done before. What I saw was true digital metallic inks – gold flecks and all.
The artwork of illustrator and hand letterer Nate Williams is the subject of the second print in the Lustig Elements series for The Beauty of Letterpress by Neenah. Titled Nature is the Answer, the whimsical 11 x 14, letterpressed print pays homage to nature, William’s belief in the importance of staying connected to the simple things, and the Lustig Elements font.