FIVE WAYS TO GET MORE FROM PRINT

Freelancer de­sign­ers Cle­men­tine Car­riere and Caterina Bianchini share the wis­dom of ex­pe­ri­ence

Computer Arts - - Video Insight -

1. Be­friend your prin­ter

“Some­times the client wants some­thing very spe­cific, but it might not be pos­si­ble phys­i­cally or in terms of bud­get,” ad­mits Cle­men­tine Car­riere. “Be­ing able to talk freely with your prin­ter is fan­tas­tic. Ask as many ques­tions as you can: if they can’t do it for a cer­tain price, they might be able to help you find a bet­ter op­tion.”

2. Test fin­ishes and pa­per stocks

“It’s a ques­tion of bud­get,” adds Car­riere. “Can you af­ford it? If you can, which op­tion is go­ing to best serve the fi­nal pro­ject? De­pend­ing on the topic and de­sign it­self, the most ap­pro­pri­ate fin­ish or stock quickly be­comes clear, but if you don’t know, test.”

3. Un­der­stand the print process

“You need to un­der­stand how cer­tain stocks will take ink – some­times if you have a cream stock, a light colour will sink in and ac­tu­ally be­come a lot darker,” points out Caterina Bianchini. “Un­der­stand tex­ture and the print­ing pro­cesses – em­boss­ing, de­boss­ing, painted sides, what­ever – and how that stock will hold ink, or a de­boss.”

4. Match stock to the prod­uct

“A stock should have the same feel and aes­thetic as the prod­uct,” says Bianchini. “If it’s a pre­mium brand, it should be heav­ier. You could use a sand­wich stock, such as a gold fill within a three-lay­ered pa­per. For a mu­sic com­pany, you might use some­thing more in­ter­est­ing, like a tex­tured stock with, say, glit­ter or a holo­graphic el­e­ment to add an el­e­ment of sur­prise.”

5. Lim­i­ta­tions can be help­ful

“Lim­i­ta­tions can push you to be more creative,” ar­gues Car­riere. “If you can only use one type of pa­per, maybe you could go crazy with colours inside. Maybe not. If you’re us­ing Riso­graph print­ing, you’re lim­ited in terms of colours. You can go more crazy with stock, but it tends to be quite spe­cific as to what goes into the mesh and what doesn’t. Lim­its push you to con­stantly re­think your pro­ject, and ques­tion why you’re do­ing it that way and not an­other.”

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