paper
CHOOSING AND USING
FOR GREAT GRAPHIC DESIGN
INTRODUCTION 006
CHAPTER 1:
PUSHING THE BOUNDARIES 008
CHAPTER 2:
CORPORATE LITERATURE 028
CHAPTER 3:
MAILERS + PR 060
CHAPTER 4:
PAPER MANUFACTURERS’ PROMOTIONS 082
CHAPTER 5:
IDENTITY + SELF-PROMOTION 104
CHAPTER 6:
PACKAGING + PRODUCTS 132
CHAPTER 7:
ONE-OFF CREATIONS 160
CHAPTER 8:
LIMITED BUDGETS 176
CHAPTER 9:
SURFACE EFFECTS + THE POWER OF TOUCH 190
CHAPTER 10:
3D CONCEPTS 208
contents
CHAPTER 11:
MATERIALS, TECHNIQUES + SUPPLIERS 232
GLOSSARY 240
FEATURED DESIGNERS 248
FEATURED PAPERS 250
INDEX 252
ACKNOWLEDGMENTS 256
paper
CHOOSING AND USING
FOR GREAT GRAPHIC DESIGN
Notwithstanding the rise of digital media, paper and print PUSHING THE BOUNDARIES showcases projects that SURFACE EFFECTS + THE POWER OF TOUCH demonstrates Standard packaging nets feature in the packaging and products
techniques remain at the heart of many graphic-design projects. demonstrate the versatility of paper and breadth of materials paper’s tactile, often sensual, qualities. chapter. Other information—paper sizes, a glossary, and
From glossy corporate brochure to gritty fanzine, paper tends and paper-finishing techniques available to today’s designer. information on featured designers and papers—is grouped
to act as the default medium—often used in conjunction 3D CONCEPTS can be achieved through intricate paper together in the final chapter.
with electronic forms of communication. When approaching CORPORATE LITERATURE is one of the most common engineering, by folding, perforating, and die-cutting. Here we
the design of a piece of printed communication, inspiration applications of paper-based design. From annual report show some of the most adventurous and successful examples. Icons highlight specific finishes or techniques utilized in a project,
can come from the availability of a particular paper or the to brand building, this chapter covers diverse approaches to so offering a quick overview and helping you to cross-reference
development of an innovative printing or finishing technique. corporate communication. We have grouped information in chapters where it has work. Thus, if you have a particular interest in work on recycled
Some designers benefit from working in consultancies with most relevance to the showcased examples. So you will find stock, the recycled icon will help you to pinpoint those projects
the support of a dedicated production department—materials MAILERS + PR pieces require eye-catching solutions to diagrams of pocket folders and binding styles in the chapter of interest, however they have been categorized.
gurus who keep abreast of the latest innovations and can offer ensure distinctiveness. The examples here all use paper to on corporate literature, while folding styles, though having
solutions for every conceivable print project. For those who achieve arresting results. wide-ranging applications, are most appropriate in the Finally, we have given measurements in both metric and avoirdupois
do not enjoy this resource, we hope that this book will offer chapter on mailers and PR. (as per country of origin first), but paper weights are not converted,
inspiration for a diverse range of paper-focused design briefs. PAPER MANUFACTURERS’ PROMOTIONS offer inspiration, so we use lb weights for US and gsm for Europe.
not only because of the new and innovative materials they
Conceived as a comprehensive source book for any designer demonstrate, but also for the creative freedom with which
working with paper, the book comprises two key aspects: many designers approach these communication pieces.
inspiration and information. For inspiration, there are examples A GUIDE TO THE SYMBOLS USED IN THIS BOOK
of recent work in paper from designers around the world. IDENTITY + SELF-PROMOTION explores various approaches
Projects have been sourced based on the premise that the to branding. Many of the examples are from businesses and
choice of a specific paper, print, or finishing technique has individuals in creative fields, which is why they display a high
facilitated or enhanced the end result. Then there is information degree of innovation.
to help with the basics of planning and executing a project in
paper, from fold styles to paper sizes, binding techniques to PACKAGING + PRODUCTS are paper staples, so here we’ve
packaging nets. attempted to show a selected number of exciting, sometimes 3D ELEMENTS CUTTING BINDING INTERESTING
unexpected, uses of paper and card. TECHNIQUES SURFACE EFFECT,
Because the book is intended to focus on the practical aspects EITHER PRINT OR
of choosing and using paper, we have focused on materials and ONE-OFF CREATIONS pays homage to craft and fine art. UV VARNISHING
techniques. We have purposely avoided the rich and fascinating In this chapter we step outside the strict graphic-design
subject of the history of paper. We could not do it justice here, arena and view some exceptional examples of high-concept
and there is much source material for those who want to pursue creativity in paper.
the subject. We have, however, tried to source projects from
beyond the strict discipline of graphic design. So, art, fashion, LIMITED BUDGETS can sometimes govern the direction of a
and product design all feature, demonstrating the warmth design brief. Here we show how paper choice can be the key to EMBOSSING, RECYCLED STOCK FOLDING HAND-FINISHING PERFORATIONS
and versatility of the medium. Projects are grouped by type, overcoming financial constraints without creative compromise. DEBOSSING, TECHNIQUES
technique, or theme. HAMMERPRESS,
OR LETTERPRESS
introduction
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chapter 1 pushing the boundaries
paper
CHOOSING AND USING
FOR GREAT GRAPHIC DESIGN
PUSHING THE
BOUNDARIES Hyperkit
PROJECT LIFE SIZE BY HYPERKIT PRINTER PERFECT ART PRINTING CO. Created to change perceptions of how a book is used and The book’s dimensions dictate how objects are displayed,
DESIGNER HYPERKIT BINDING SEWN bound how it behaves, Life Size is a collection of investigations whether on one page or across a series of pages. By
CLIENT VICTIONARY into and fascinations with the scale of objects. It questions showing these objects at life size within the format of
SPECIAL CONSIDERATIONS: how the shape and size of a book governs the way its the book, the reader is encouraged to engage with them
PAPER FACTS: “Our aim was to produce a book that could be used in everyday life. contents are presented. The book takes as inspiration in a different way. Readers also encounter a number of
STOCK GENERAL PAPER STOCK: UNCOATED PAPER Throughout you will find items such as a penpot, a photo album, home-improvement and homecraft manuals. Cutting objects that can be used within real-life situations, such
140lb; POSTCARD, STENCIL, POP-UP Desk-tidy: a stencil, and place settings. There are areas that the reader and folding techniques are employed throughout in as a place setting at a dining table. By incorporating such
CHROMOLUX 300lb can change and adapt to suit them. Life Size uses a number of the highly creative presentation of a host of disparate objects, the designers question the function of the book
SIZE 210 × 275mm (8 1⁄ 4 × 10 13⁄ 16in) different paper stocks that work to help bring these ideas to life.” objects—buttons, a die-cut mug, a set of perforated and push the boundaries of what a book can be.
PRINT TECHNIQUES four-COLOR OFFSET litho, pull-out postcards—all presented at their actual size.
SILKSCREEN Tim Balaam, Hyperkit, UK
ADDITIONAL TECHNIQUE DIE-CUT
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CHOOSING AND USING
FOR GREAT GRAPHIC DESIGN
PUSHING THE
BOUNDARIES Henry Hobson
PROJECT ABOLISH THE FOREST BOOK SPECIAL CONSIDERATIONS: To accompany Abolish the Forest, a movie he produced in The innovative technique was key to the project. By printing
DESIGNER HENRY HOBSON “The fine Portland cement was mixed with a textile base conjunction with illustrator Adam Hayes, Henry Hobson with such a destructive medium, Hobson felt he was able to
CLIENT SELF-INITIATED and printed with standard mesh screens. The textile base reflected the provocative title with an equally radical convey perfectly the inherent tension in the title. In this way,
gave it the flexibility that paper demands yet cement does solution. Screenprinting with cement on virgin paper stock medium and message are cleverly combined.
PAPER FACTS: not traditionally allow.” was the perfect metaphor for concreting over virgin forests.
STOCK GF SMITH COLORPLAN Printing the piece himself, Hobson’s diligent research
FOREST GREEN 135gsm Henry Hobson, UK The promotional material comprises a book and poster. into the optimum silkscreen method to achieve flexibility,
SIZE 148.5 × 210mm (5 7⁄ 8 × 8 1⁄ 4in) The book catalogs the travel journal, research material, superfine image reproduction, and color matching paid
PRINT TECHNIQUE COVER: SilkSCREEN WITH and background to the movie and the poem it animates. off with an Innovations in Concrete award, sponsored
CEMENT—INK REPLACED WITH CONCRETE by the British Cement Association.
PRINTER SELF-PRINTED
BINDING FRENCH FOLD, PERFECT BOUND
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paper
CHOOSING AND USING
FOR GREAT GRAPHIC DESIGN
PUSHING THE
BOUNDARIES GUM
PROJECT GUM 2 PRINT TECHNIQUES COVER: four-COLOR PRINT WITH GUM is an award-winning art and design collectible, After printing, the paper was too thick for the size of the
DESIGNERS KEVIN GRADY, COLIN METCALF OVERALL SATIN AQUEOUS; PAGES 1–132: four-COLOR published occasionally by design duo Kevin Grady and signatures that were to be used in the book, making the
CLIENT SELF-initiated PRINT + PMS 504 WITH OVERALL GLOSS AQUEOUS; PAGES Colin Metcalf. Intended to appeal to the creative inner folding and binding very difficult. The team overcame this
133–184: four-COLOR PRINT + PMS 504 WITH OVERALL child in its readers, it is described by its creators as production issue with advice from an experienced binder.
PAPER FACTS: SATIN AQUEOUS “a piñata filled with Pop-Art goodies.” The materials
STOCK COVER: SMART PAPERS, CARNIVAL HOPSACK ADDITIONAL TECHNIQUES CARDBOARD DIE-CUT, used and the print and finishing techniques employed all On their release, GUM and its follow-up GUM2 were both
STELLAR WHITE 90lb; TEXT: PORCELAIN GLOSS TEXT PERFORATED, AND FOLDED TO MAKE AN OUTER BOX work together to achieve the playful effect. The outer box met with fanatical praise, being described by Anthem
100lb AND COUGAR OPAQUE SMOOTH TEXT 100lb WITH A GUMBALL DISPENSER AT THE BOTTOM holds a gumball dispenser at the bottom. Open up the box Magazine as “perhaps the most innovative product to
SIZE 5 × 7in (127 × 178mm) PRINTER THE POND-EKBERG COMPANY and a wealth of goodies is revealed—including the GUM hit the street market in years.”
BINDING PERFECT BOUND book, an activity book, a View-Master reel, ten trading
cards, Puma candy gummies, and three gumballs.
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PUSHING THE
BOUNDARIES Volume Inc.
PROJECT ReadyMade: HOW TO MAKE PAPER FACTS: SPECIAL CONSIDERATIONS: Written by the cofounders of US magazine ReadyMade ,
(ALMOST) EVERYTHING STOCK COVER: EXPOSED CHIPBOARD; INSIDE: JAPANESE “Since the book’s content was structured much more like this book bears a family resemblance to the magazine,
DESIGNER VOLUME INC. WHITE A PAPER MATTE 140gsm a magazine, we had to free ourselves from the trappings but with a distinct visual identity. Based on the reuse
CREATIVE DIRECTORS ADAM BRODSLEY, SIZE 7 1⁄ 2 × 9in (191 × 229mm) of traditional book design, including how we considered of six key building materials, the design nonetheless
ERIC HEIMAN, ELIZABETH FITZGIBBONS, PRINT TECHNIQUE Four-COLOR OFFSET litho the packaging. We put a lot of our money into the cover stays away from the usual brown recycled-paper look of
AKIKO ITO ADDITIONAL TECHNIQUES COVER: FOIL STAMPING, BLIND packaging, which uses foil stamping, blind debossing, environmentalism. The book itself is reusable: the spine
ILLUSTRATOR KATE FRANCIS DEBOSSING, ADHESIVE STICKERS (PRINTED OFFSET), adhesive stickers, silkscreened tape binding, and exposed doubles as a ruler and a perforated back panel becomes
PHOTOGRAPHER JEFFERY CROSS SilkSCREENED TAPE BINDING chipboard, so we had to settle for simple white matte a picture frame. Readers are invited to interact by signing
CLIENTS ReadyMade/SHOSHANA BERGER, PUBLISHER CLARKSON POTTER paper and four-color offset printing on the inside.” the ReadyMade manifesto, proposing their own projects,
GRACE HAWTHORNE PRINTER ASIA PACIFIC OFFSET and suggesting alternative uses for the book.
BINDING SECTION-SEWN, Three-PIECE CASE WITH EXPOSED Eric Heiman, Volume Inc., US
FRONT AND BACK BOARD; SPINE IS IMITATION CLOTH
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CHOOSING AND USING
FOR GREAT GRAPHIC DESIGN
PUSHING THE
BOUNDARIES Yang Rutherford
PROJECT CECIL GEE LOOKBOOK ADDITIONAL TECHNIQUES ALL BOOK PAGES Achieving standout requires out-of-the-box thinking if you The unconventional approach started with the choice of
SPRING/SUMMER 2007 MATTe-LAMINATED ONE SIDE AND DIE-CUT TO GIVE don’t want your mailer filed in the circular filing-cabinet— paper. The book uses 350gsm Incada Silk, a boxboard
DESIGNERS JIMMY YANG, TOM RAPACIOLI ROUND CORNERS; FRONT PAGE SILVER-FOIL BLOCKED in this case, “out-of-the-book” thinking. International usually used for packaging. Coated one side with a matte
at YANG RUTHERFORD PRINTER PEARL PRINT creative consultants Yang Rutherford eschewed the usual reverse, the stock offers the book a substantial and tactile
CLIENT MOSS BROS GROUP BINDING COLLATED INTO ORDER, DRILLED WITH one brochure solution when conceiving the design for Cecil quality, with a different effect created on each side. A host
HOLE IN THE TOP LEFT-HAND CORNER, BOUND TOGETHER Gee’s Spring/Summer 2007 Lookbook in favor of a striking of finishes offer depth and appeal, from the die-cut rounded
PAPER FACTS: WITH NICKEL BINDING SCREWS. CREASED IN four swatch book that is as hot as its printed bellyband claims. corners to nickel binding screws that allow a swivel action.
STOCK BOOK: INCADA SILK 350gsm POSITIONS, TRIMMED, WRAPPED AROUND THE BOOK, AND Eye-catching silver-foil blocking adorns the cover.
BAND: CHALLENGER OFFSET 190gsm TAPED IN one POSITION TO HOLD CLOSED
SIZE 190 × 130mm (7 1⁄ 2 × 5 1⁄ 8in)
PRINT TECHNIQUES BOOK: Four-COLOR offset litho
ONE SIDE WITH SPECIAL GRaY ON THE REVERSE
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paper
CHOOSING AND USING
FOR GREAT GRAPHIC DESIGN
PUSHING THE
BOUNDARIES Terrence Kelleman
PROJECT par avion WALLETS SPECIAL CONSIDERATIONS: The Par Avion wallet is intended to evoke that youthful The clever construction of the wallet from a single folded
DESIGNER TERRENCE KELLEMAN “Stitching is always the first thing that rips in a wallet, so excitement you felt when you first received an international sheet offers a number of features. The tucked-in flaps
CLIENT DYNOMIGHTY I designed this wallet without any parts or stitches. It is mail envelope. The wallet is made from Tyvek ® , a material allow the wallet to expand gradually with use, providing
simply one single sheet of hi-tech Tyvek ® , folded to create that feels like paper, but is actually made of thousands of extra room as needed—capacity can expand from 5 to
PAPER FACTS: this seamless design.” long plastic fibers, creating a surface that is lightweight 25 credit cards. The flaps also offer a secret storage
STOCK TYVEK ® yet durable, superthin while also tear-resistant. As it area. The Tyvek ® will wear and become supple, but will
SIZE 3 1⁄ 4 × 8in (83 × 203mm) open Terrence Kelleman, Dynomighty, US contains 25% postconsumer recycled content, products not break. And because Tyvek ® is water-resistant, it
made from Tyvek ® are also environmentally friendly and will protect against the humidity inside the pocket that
can be recycled. destroys the leather of a traditional wallet.
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