How do you handle bind the swatch, do not describe it?

Every model will happily invent a blue. Named colours drift, and Colorplan has forty-nine of them that all read differently under a raking light. A real swatch photograph bound as a reference for each of the ten, so the render composites the colour and the felt tooth rather than guessing at them.

How do you handle one era per paper, deliberately?

Give a designer ten papers and the same brief and you get ten pieces that look like one piece. Assigned each paper a market and a period: Swiss modernism on Adriatic, 1925 deco on Amethyst, Bauhaus on Azure Blue, an 1880s trade label on Bagdad Brown, 1967 psychedelia on Chartreuse, 1790 neoclassical on China White. The paper had to hold up against a typographic argument it did not choose.

How do you handle duplex where the reverse has a job?

A dark flood on the reverse of a coloured stock never matches the face, and it cracks on the fold. Bonded two Colorplan sheets instead: Adriatic over China White, Bright Red over Bright White, Chartreuse over Amethyst. The edge shows the stack, which is the honest way to prove a duplex.

Design exercise · Business cards · Peppermint

Diez papeles, diez épocas.

Un ejercicio de materiales. Encuadernamos muestras reales de GF Smith Colorplan como referencia y creamos una pieza por papel, cada una de una época de diseño y un mercado distintos, para ver si el color del papel y su textura de fieltro sobreviven en un render final.

Business-cards for Print Peppermint design exercise with letterpress, blind emboss, , painted and gilded edges foil stamping, 10 gf smith colorplan papers, duplex pairings across seven of the ten and one design era per piece, 1790 to the 2020s.

FoilsYellow Gold · 101, Deep Copper · 115-2, Rose Gold · 117-3, Silver · 120 TécnicasDeboss, Die Cut, Duplex, Painted Edge, Emboss, Hot Foil, Copper Foil, Gold Foil, Rose Gold Foil, Silver Foil, Letterpress PapelesColorplan Adriatic, Colorplan Amethyst, Colorplan Azure Blue, Colorplan Bark (formerly Bagdad Brown), Colorplan Bright Red, Colorplan Bright White, Colorplan Chartreuse, Colorplan Limestone (formerly China White)

La idea

Todas las imprentas especializadas dicen que mantienen el color. Casi ninguna te muestra la muestra junto a la pieza terminada.

Three rules

01Encuaderna la muestra, no la describas
02One era per paper, deliberately. Assigned each paper a market and a period: Swiss modernism on Adriatic, 1925 deco on Amethyst, Bauhaus on Azure Blue, an 1880s trade label…
03Duplex where the reverse has a job. Bonded two Colorplan sheets instead: Adriatic over China White, Bright Red over Bright White, Chartreuse over Amethyst. The edge shows the…

Por qué lo imprimimos

Era una prueba con una respuesta real: encuadernar diez muestras reales de Colorplan, crear una pieza terminada por papel y ponerlas una junto a otra. Si el render se desvía, el proceso no sirve para presupuestar.

El diseño era la variable de control. Diez épocas y diez mercados distintos, así que el trabajo lo hace el papel, no un estilo de la casa.