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

Dieci carte, dieci epoche.

Un esercizio sui materiali. Abbiamo rilegato veri campioni GF Smith Colorplan come riferimento e realizzato un pezzo per ciascuna carta, ognuno in un'epoca del design e un mercato diversi, per vedere se il colore del supporto e la grana feltrata sopravvivono a un render finito.

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.

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

L'idea

Ogni stampatore specializzato dice di mantenere il colore. Quasi nessuno ti mostra il campione accanto al pezzo finito.

Three rules

01Rilega il campione, non descriverlo
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…

Perché l'abbiamo stampato

Era un test con una risposta concreta: rilegare dieci campioni reali di Colorplan, realizzare un pezzo finito per ogni carta e metterli a confronto. Se il render si discosta, la pipeline non è affidabile per i preventivi.

La parte di design era il controllo. Dieci epoche diverse e dieci mercati diversi, quindi è la carta a fare il lavoro, non uno stile della casa.