Get Production Savvy
REDEFINE THE VISUAL EXPERIENCE
When it comes to captivating an audience, creatives
are beginning to redefi ne the visual experience. Because
of advancements in technology, opportunities to be truly
creative abound. No longer are there limitations on what can
be produced. Unconventional materials and techniques are
fi nding their way into promotional initiatives in inventive
combinations. Metal, wood, leather, fabric, and a vast array
of plastics are being employed as interesting alternatives to
paper where processes such as transfers, etching, laser-
cutting, serigraphy, sculpted embossing, and stitching are the
imprints of choice. Print is adopting a more animated and
three-dimensional surface, especially with the use of lenticu-
lar tip-ins and anaglyphic stereo usage. Even the application
of ink has become more dynamic. It is glowing in the dark,
glitter-infused, thermo-sensitive, and layered in alternative
ways to create intriguing effects. New forms of bindings and
fasteners are being employed. Buttons, bones, elastics, mag-
nets, feathers, clasps, sticks, screws, and wire are all being
repurposed as bindery. “New materials must be introduced
for people to touch, manipulate, and get involved with,”
shares Orlando Facioli of Orlando Facioli Design. “We need
to go far from the common places.” Formats have also come
a long way. From custom-molded containers, welded
packages, infl atable objects, and intricate die-cut boxes
and books to multipieced assemblages that pop up, fold out,
perforate off, assemble, and light up, today’s promotions are
putting a new face on the once static mailer. “We’re always
seeking out new materials and resources. We have folders and
bins of samples that might work in the future,” shares Robert
Clancy of Spiral Design Studio. “Nothing is outside the realm
of possibility. It all depends on what we’re trying to say and
who we’re trying to target.” The architecture of the promo-
tional package is evolving, and creatives no longer feel locked
into traditional approaches.
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From custom-molded containers, welded
packages, infl atable objects, and intricate
die-cut boxes and books to multipieced
assemblages that pop up, fold out, perforate
off, assemble, and light up, today’s promotions
are putting a new face on the once static mailer.
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INNOVATE WITH PURPOSE
Experimental production should never triumph over
effective communication. The clever use of techniques and
materials is effective only when it visually enhances the over-
all messaging. Employing alternative production for the sake
of being different is not innovative but a gimmick and should
be avoided. “We see lots of promotions that try to disguise
a poor concept with great production,” says Rule29’s Justin
Ahrens. “In the end, concept is always king.” Lars Lawson
of Innovative agrees, “Beauty is only skin deep. The idea
always has to come fi rst. Meaningful, profound design must
have an inner layer of depth and purpose behind it.” When
the message drives the design, innovative production can
truly enliven the visual experience.
If budget constraints are an issue, consider repurposing a
ready-made container as a cost-effective way to package
your promotion. Sometimes the addition of custom printing,
labels, or handmade accents onto an existing substrate or
container can make a promotion really stand out. “Custom
add-ons lend an air of exclusivity,” adds Maureen Mooney
of Spiral Design Studio. “Recipients get the sense that the
piece was made especially for them.” In addition, advance-
ments in inkjet printing have opened the door for everyone,
seasoned to newcomer, to explore, even when budgets are
tight. The decreasing cost of equipment along with the
substantial increase in quality has encouraged many to bring
the production of their promotional materials in-house. This
cost-effective approach has signifi cantly changed print runs
to well-targeted quantities, ultimately eliminating the need for
storage of offset promotional items that become outdated as
soon as they get off the press. The fl exibility of print-on-de-
mand from the desktop printer allows for customization and
up-to-date changes for each printing. Desktop technology has
also allowed creatives to produce high-quality promotional
materials using a variety of surfaces from canvas to water-
color paper. “The real beauty of being able to print in-house
is experimentation. I can test out new formats, concepts, and
materials quickly and easily, without relying on an outside
vendor,” shares Wendy K.S. Berman of Iron Blender Studios.
“It also allows me to personalize promotional materials,
especially leave-behinds. Desktop printers are bringing the
world of fast-food to our offi ce but without the guilt!” Inkjet
printing on unconventional surfaces such as wood, metal,
tile, or plastic requires treating the surface fi rst. You will also
need access to a large-format, fl atbed printer with high head
clearance. For more in-depth information on utilizing inkjet
printing in innovative ways, go to www.DigitalAtelier.com.
The three partners—Dorothy Simpson Krause, Bonny Lhotka,
and Karin Schminke—share years of experience integrating
inkjet printing with traditional tools and processes. Print-
on-demand using desktop printers is an area that that will
continue to expand as time goes on. “It offers fl exibility, pro-
viding better design with smaller budgets,” says Mike Tuttle
of Planet 10. “It begins to level the playing fi eld.” Technology
has revolutionized the way promotions are produced.
VENTURE OUTSIDE THE NORM
To source unusual materials and techniques, many are
looking outside the traditional venues. From local hard-
ware, building, and offi ce supply outlets to suppliers for the
automotive, medical, fashion, and craft industries, engaging
solutions are being discovered. “Take materials out of their
common application and reinvent them, combine materials,
and try new mixtures and formats,” suggests Lars Harmsen
of Starshot. “It is a real challenge, but the results are surpris-
ing.” To be truly innovative, you must give yourself the
freedom to take risks. Realize that without risk there is no
reward. “Keep a keen eye, a curiosity about everything, and
don’t be afraid to experiment and confront failure,” advises
Nelida Nassar of Nassar Design. “Sometimes accidents make
for the best creative encounters. They teach us new skills. Try
to listen and be attentive to the muse of creativity that strikes
at the most unexpected moments.” Discovering new ways to
combine different materials and techniques can be challeng-
ing, but it can give your promotion the edge that it needs to
penetrate the marketplace.
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“ A self-promotional publication has to have
something substantial to offer, beyond being
a show-and-tell piece. You have to be tact-
ful about content, keeping it interesting and
balancing it with compelling images. Besides
building your profi le, it provides an oppor-
tunity to partner with a variety of associates.”
—Ric Riordon, Riordon Design
Chapter Four
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