Packaging Worries

I'm having a few issues with getting the packaging printed - i've decided to go with screen printing as the packaging requires A1 printing and litho just wouldn't be economical. I'm hoping to get some response from the various screen printing workshops in London who i've been contacting. Seeing as it's a bank holiday weekend it's probably going to be Tuesday at the earliest that I hear from anyone...

I do have a contingency plan if all else fails but i'm hopeful!

Reflecting

I've just spoken to Chris again on the phone and have arranged to be in Dorset at all day on tuesday 1st at 9am to oversee the printing. He's arranged it so that I will be able to take it all away with me that day which is fantastic. I have been looking at the first few posts I made on this blog and it has pleased me to see that I have stuck to my original intentions and have continued with the project, and have collaborated with professionals along the way who feel this project is worthwhile.

I wrote this earlier on in this blog: "The level of craftsmanship is also very important and the excellence of it's production through collaboration with manufacturers should ensure that it is not only designed well but is evocative and beautiful". - This is now completely achievable with thanks to all the brilliant advice and help from both Dayfold & GF Smith.

Also a fairly fitting quote I came across:

Coco Chanel pioneered the concept of giving away free samples, realising that consumers were far more likely to build a relationship with the brand and its product when they held the product in their hand.

More Boxes

I'm on a roll with this box making. This latest one known as a 'display carton' seems to be far more workable than the last attempt. The skillet carton has an extended lid which opens to reveal a display recess. This would be die cut from a single sheet, and provides a specific compartment for my product. The internal flaps that form the frame also add to the rigidity of the structure as well as helping to protect the product. This design only requires one side of the board to be printed which is an important factor due to cost effectiveness.

Excuse the dingy photos, the light is fading.

Packaging Trial Run

I did a quick trial run of the box below. I haven't ruled it out as a possibility but I've come across some flaws in the design which could possibly be remedied, but I have a few other possible boxes to trial run...more to come.

More Packaging Considerations

Melissa suggested a really helpful book which has given me some more ideas regarding the packaging of the book. I still think it is necessary to have the product packaged due to the delicate nature of the papers.

This book cover carton would act as a good piece of packaging for the outcome. The design incorporates a large flap fixed to the left edge of the carton's main face that acts as a front cover. The internal faces provide an excellent platform for product information and graphic design.

Designs All Together

The quote from Dan Mason will be UV Spot Varnished onto colorlux ebony matt stock - It will act as a title page/front cover. The rest as mentioned below in previous posts.

This is the sequence in which the designs will appear within the outcome.

Documentation

Chris at Dayfold has arranged for me to spend the day there this coming tuesday to document the printing process in situ. I will be able to photograph and document the various processes which will be brilliant. Despite photographs and documentation not being necessary or included in the final product, I think it will be an invaluable experience. Hopefully it will all be completed by the end of the day and I will be able to take it all home with me.

Endorsement

GF Smith have now supplied me with their logo as an illustrator file to include in my project. I am putting together a piece of literature to accompany the samples which will include their logo.

I'm very excited to have such a well established and respected company backing this project, and I really couldn't have asked for a more welcome response from them. I look forward to them seeing the final outcome.

The Last Adjustments To Print & Stock

Due to a few minor details I hadn't taken into consideration the spreadsheet detailing which process will be printed on which weight has had a final tweak...

It's all pretty much the same as before just one alteration really:

Embossing - 175gsm all colours

Die Cutting - 270gsm all colours

Foiling - 350gsm all colours + Colorlux gloss)

De bossing - 540gsm all colours

UV Spot: Colorlux Matt

The blocks are all being made up at the moment and will be ready for this Thursday (27th May). Very excited!

Carton Container

I recently purchased an iPod as a present for my Dad's 60th and had it gift wrapped by Apple (for an extortionate £3). I really love the carton that they gift wrapped it in and am seriously considering adapting the design to use as a carton container for my outcome.

The net is very simple, I will be making a mock-up to fit my A5 product asap.

Another aspect of this and a design consideration is the vast amount of printing space there will be on the inside of the unfolded carton - this space could act as the holder for the copy which will accompany the product.

Binding Considerations...

Now that I know what processes are being printed on what stock etc I can get my head around how to present it. I am starting to think that categorising it all by weight won't be very successful - due to there being less processes on one weight etc. Therefore I have been contemplating the notion of it working as a perfect bound handbook in a self containing slip case of sorts.

Perfect binding would allow for the sheets (all A5 single sheets of differing stock) to be compiled together without any need for adjusting the designs due to creep, guttering etc.

In total there will be approx. 53 sheets measuring approx. 340mm width when all compiled (rough estimate)

The method of perfect binding would allow the handbook to be more of a desirable object, less ephemeral and rules out any lost pages. There is also the consideration of the aesthetics - the colour of the stock will look very impressive when perfect bound.

Initial Copy Ideas...

Below is an extract from the copy I am putting together to accompany the 'handbook'...I think I like the tone it is taking but suggestions would be more than welcome.

This handbook acts as both a visual reference and a tactile guide to achieving effective print results on GF Smith colorplan & colorlux, using a selection of commonly available printing processes. It's aimed at designers tasked with commissioned design work or with an interest in print finish.

A designer armed with as much information as possible to present to both client and supplier will quash the fears surrounding print outcome. One of the aims of this handbook is to help the designer be deliberate and conscientious in their print practise.

Final Specs For Print

I've now sent my final spread sheet detailing which process' will apply to which weighs & colours. Initially I found it really difficult to make a decision as I really would have loved to have every process on every colour & every weight. I did ask Chris if this was possible (wishfull thinking) but as I expected it would take far too much time and more stock than I have. The individual weights for each process need to be 'set up' which is time consuming. Luckily I had a contingency plan in the event that this was the case. This is what Chris said:

"To give you an idea how much work it is . . . every weight and foil colour will need to be 'set up'. the Colorlux will need a separate set up again!!

The same applies to all the other processes. Its not just a case of setting up one and then they all work; the different thicknesses need different pressures etc "

At the moment, seeing as this is a prototype I am happy with the process' being limited to one weight of stock each.

175gsm - de boss all colours

270gsm - emboss all colours

350gsm - foil all colours & all foils (+ colorlux gloss)

540gsm - die cut all colours

Colorlux Ebony Matt & Gloss - UV Spot

Delivering

I've spent the day on the M3 driving the paper to Dayfold (based in Dorset) - it's a relief to have it there now rather than collecting dust at home. I also left my artwork with them so the blocks can be made up.

Now to start with the copy & packaging...

Redesign

After talking about my designs yesterday, I have chosen to use this one as the Foiling Design. It will work far better and is a much better demonstration of line weights and intricacy possible with foiling.

Die Cutting is pretty much the same - simple to be implemented as a window.

I've had to increase the spacing between the lines on the embossing design to avoid errors when printing.

De-bossing design below...

Museum of Brands

I'm going to take a trip to The Museum of Brands in Notting Hill in the next couple of days. I think it might be handy now that I am fully focussed on designing the packaging for the final outcome. I'm aware that it is all brand related but it'll be full of packaging- plus i just want to go!

http://www.museumofbrands.com/index.html

Progress & Finalising...

I met with Chris from Dayfold this afternoon and showed him my designs. A couple of them need a little bit of adjusting but not too much work will have to be done. I will be sending him the final InDesign documents tomorrow so that the blocks can be made up. There is a far quicker turn around for the blocks than I'd expected so I'm feeling far less stressed about the time allowance for printing.

I've also devised a rather ugly spread sheet (my first ever one) so I can negotiate which colours are having which process' on each weight. It makes life much easier for me and Chris has said it will be very useful...

More

The original foil blocking design but slightly modified, embossing (below) and die cutting (bottom)

Designs

These are the designs for de-bossing and varnishing (underneath)

Final

These are probably three of the final designs for the blocks (i say probably as i still have 24hrs before i hand them over for print). The designs are simple, using lines and crossovers in most of them. The die cut block is very simple, acting more as a window design element within the final outcome.

Blind Embossing/Embossing:

Foil Blocking:

Die Cutting:

Foil Blocking Design?

I'm really starting to question my own judgement at the moment with regards to my designs. I'm unsure about the text. Is it necessary? The purpose of the solid block is to demonstrate how a dense area of foiling would look, the lines demonstrate the intricacy possible.

Then I did this one - prefer it without the type.

Scrap That...

In regards to pascal lines (below) i've done a few trial runs on illustrator and have decided against. Using pascal lines doesn't allow for much flexibility with bending lines etc and i just didn't like the way they looked. Today i really have to have the 5 designs for the 5 process' completed so i can get them approved by my printer and sent to print! Really feeling the pressure now - 3 weeks to go.

Pascal Lines

I am now thinking of creating a series of designs with more of a theme to tie them together using pascal lines. The lines containing the three points of the intersection of the three pairs of opposite sides of a (not necessarily regular) hexagon. For example:

And More...

I know i said in earlier posts that i wasn't too keen on the circular linear designs but i just keep doing them...not so sure.

For My Own Sanity

I'm a bit of a list maker so therefore this post may not be completely necessary, but I like to have things in an ordered fashion and clear in my head before undertaking any work...

* I have decided to go ahead with the notion that there is no overwhelming necessity to have too much of a stringent theme within the design - it will be purely graphic and influenced by the necessity to demonstrate line weight, point size & density within each process. Have received information from my printer r.e minimum line weights etc so can get on with adjusting designs.

* Copy within the outcome must have a marketing type tone, taking an informative stance. No "in my project blah blah blah..", more "This collection of stock & process aims to inform an alternative and innovative reference point for print outcome" (to be edited and tweaked majorly).

* It's been suggested that the typography for the copy should mimic the designs within - sans serif slick fonts will be considered & implemented soon.

* The outcome format should be as exquisite as the internal content. Colours? Process used on it? Weight?

* A name/title for it - have had some rubbish ideas along the lines of set, matter, to press etc. Pretty lame - will get onto this soon. Does it need a name even?

* GF Smith sponsorship - to include a logo or not. GF Smith haven't stipulated that they want me to use their logo, however using it will give it a certain professionalism and commercialism. Will discuss with GF Smith.

Arrival

Yesterday i drove to GF Smith's warehouse in London to collect my papers. The warehouse in itself was amazing. Floor to ceiling pristine white packaged reams of paper! Below are a few rubbish photos of my stock - the colours look so good all together plus they have given me way more than i asked for - I asked for one large sheet of each colour in all 4 weights but they have been very nice and given me 2/3 sheets of each colour in each weight. This leaves room for error when it comes to printing. Also I am so happy with the Amethyst stock - i was concerned initially that i was lacking a colour in my stock choice (mainly blacks, greys and white) so selected Amethyst to break them up - very happy with it. The ColorLux gloss and matt stocks in Ebony are gorgeous, especially gloss.

More

Some more linear designs most probably for the foil blocking sheets. I'm starting to dislike the spirograph feel of these, they feel a little generic and boring. If anything i am starting to prefer the simple linear non circular designs from yesterday (here).

Format

I've been thinking a lot more about the format over the last two days. The issue of the individual pages being loose is slightly bothering me. I have come to the conclusion that i will use a slip case folder similar to that below with a strap to contain the loose pages. There will also be a printed insert on the inside cover with a brief explanation of the stock & process'.

Summary To Date

I feel that there is no overwhelming necessity to have too much of a stringent theme within the designs that will bind my concept, the intended designs are appropriate for my audience in a sense that they are purely graphic and non-influencial - the idea is that the interaction between the printed matter and the recipient is communicative in a very simplistic and aesthetic way. The product will promote further action and add to the viewers knowledge base by referencing printed outcomes & stock. It is not there to promote a stylistic way of working, nor a colour pallet, nor consequential to an outcome; it's intention is to enlighten and inform designers to various process', their abilities and limitations, their necessity and their aesthetic value.

By no means should this explanation be misconstrued as me saying the designs will be lacklustre or irrelevant. They won't. I am certain that the designs should work in collaboration with the paper, process, weight and colours to produce a printed reference catalogue suitable for designers to make informed finishing/print decisions from. Important elements such as line weight, point size and density will be the most important themes within the designs.

A Start...

A few quick ideas of some line weight based designs most probably to use with foil blocking. Imagine the lines in a glossy black foil on a dark grey stock. It's a starting point...

Collecting Stock

My paper will be delivered to GF Smith at 7am tomorrow morning, I'm going to drive over there early so i can collect it in person to avoid damage in the post. The 540gsm's will take a few days to produce as they are duplexed so i'll be making a couple of trips there over the next few days. Due to them not having one of the colours in all of the weights i have selected, i have had to substitute Smoke for Real Grey...not really a problem. I'm just so excited to actually have the paper in my possession.

I'm spending today doing some design work for the process'...initial designs to be posted soon(ish)!

Stock Selection: ColorPlan

I have been pretty much set on using GF Smith ColorPlan for a few weeks now, talking to GF Smith has assured me that i have made the right decision. This is the selection i have made regarding stock type, colour and weight. While making the decision I was keen to keep in mind the original statement i had made regarding selection. "Selection (for both stock & print) should avoid anything too wayward or unusual - this is due to supply being highly fragmented & costs beyond budget".

ColorPlan Plain Finish:

Ebony: in 175gsm, 270gsm, 350gsm, 540gsm

Dark Grey: in 175gsm, 270gsm, 350gsm, 540gsm

Smoke: in 175gsm, 270gsm, 350gsm, 540gsm

Pale Grey: in 175gsm, 270gsm, 350gsm, 540gsm

Bright White: in 175gsm, 270gsm, 350gsm, 540gsm

Amethyst: in 175gsm, 270gsm, 350gsm, 540gsm

ColorLux:

Ebony Gloss 306gsm

Ebony Matt 306gsm

ColorPlan Is a brilliant stock to showcase the process' I will be using, the varying weights will add the element of reference and the colours will add to the dimensions and possibilities the process' have. Meanwhile, the two Colorlux stocks add a gloss and matt variation to the outcome.

Outcome Format

It has been bought to my attention that my proposed outcome is rather traditional. I blame my lack of attention to the outcome at this point as the reason for producing something which could be seen as too traditional.

At this moment in time all my attention is focussed on stock and designs - outcome has taken rather a back seat. I will rectify this over the next few days. I am putting my GF Smith order in today so all is moving in the right direction.

Below are a few things i've been looking into for the proposed outcome.