Speaking from experience

DRY

Brilliant use of stock.  Bulky, recycled- connotes cheapness yet because of the quality design looks expensive.

Also- I like the shapes- well, the typography, but the use of shapes to create the type- really interesting to look at.  I would like to own one of these business cards.

Packaging:

 Brilliant piece of package design.  Obviously the striking aspect is its shape.  But also the colours and stock used-  classy//cool.

Branding:

Euan MacKenzie.

Lovelly.  

It's all about creating something memorable.  That's the rule me and Sadie have been following for the branding of our 'Make the Most of it' project.

Finishing touch:

Wax Seal?

Would look amazing.  

If we could pull it off.

 -Something to think about!  -could increase the quality of the final resolution. 

Speaking from experience, print processes

I have obtained this information from the book:

Speaking from experience, print processes

Detail, A Bigger Splash poster by Sam Ashby, printed by Manymono


With Risographic printing fever in full swing, Grafik interviews Riso pioneer Hugh Frost, founder of Landfill Editions and Manymono. See Grafik issue 189 for a special feature on publishing’s current state of health.
Grafik: How did Manymono get started?
Hugh Frost: I first saw the machines at Extrapool in Holland in 2007 and later bought a cheap one on eBay to print a group of comic projects and some of my own work. I started Landfill Editions to release these prints and books but got carried away with the idea of offering a print service to pay for materials for the machine, so Manymono became a bigger project than initially intended.
G: What kind of projects do you print?
HF: I generally focus on single sheet work like posters, art prints, postcards, record sleeve inserts, but do print some zine and book projects as well.
G: What is the beauty of Riso printing?
HF: The bold colour palette, the bad registration, the chalky feel heavy ink coverage has, building images up step by step and being surprised by unexpected overprinting results. Also, the chipmunk-in-a-running-wheel animation in the control panel.
G: What’s the most challenging thing you’ve printed?
HF: I always find wedding invites the most daunting and worry about ruining a perfectionist couple’s wedding with bad registration.

Speaking from experience, print processes

Foil blocking

Foil blocking has been developed using the letterpress principle. A male block is produced using zinc, magnesium, copper or brass. These are process engraved.

The block is heated on press and a metallic or coloured foil is branded on to the material. Foiled logos are incorporated into many corporate identities, used especially on corporate invitations, business cards, letter headings and compliment slips.

I found this site that displays the processes possibilities very well:

30 best foil blocked business cards.

Speaking from experience, print process

An interesting print response to Shakespeare:

Alongside their latest batch of plays, the RSC are staging Folio: an exhibition of Shakespeare-inspired prints from the Royal College of Art. Back in 1964, the college’s Printmaking Department produced a series of lithographs to celebrate the playwright’s quatro-centenary. Original prints from this series will be exhibited, as well as newer works by guest artists, students and staff at the RCA.

Bernard Cheese – Shakespeare’s Kings, lithograph, 1964.

Justyna Kabala, Lady Macbeth, photo lithograph (2011).  

Joe Tilson – Shakespeare’s XV Sonnet, lithograph, 1964.

Adam Dant – The Theatre, Shoreditch, three-colour chiaroscuro woodcut, 2010.

Eleanor Lines, All that Glisters is not Gold, screenprint and photo lithograph (2011).

A link to the article:

http://blog.eyemagazine.com/?p=4545

Speaking from experience, initial ideas