The Making of Maker Quarterly Issue No. 15: The Materials Issue
Mohawk Maker Quarterly Issue No. 15 is all about materials.
In concept, design and on-press, we dialed up the materiality of Mohawk Maker Quarterly Issue No. 15 and let paper color and texture take lead. If you think of materials as an emotional filter — color, texture and form reveal how we feel about what we see and read. This short video brings you in to the press room and inside what makes Issue 15 a colorful celebration of print as object and powerful emotional experience.
EXCERPTS FROM THE VIDEO:
Chris Harrold, SVP Marketing + Creative, Mohawk: Every issue of the Maker Quarterly is organized around the topic; in this case, it’s materials — and more specifically, the paper. This is about exposing designers to a new toolset; it’s like a fresh box of colored pencils.
Colored paper is an untapped tool in the toolkit of graphic design.
Larry Westlake, EVP, Sandy Alexander: Well one of the things that the Maker’s Quarterlies have done is, is that it’s the sort of the “What are they going to do next?”
Printing on colored paper does add a completely different twist to most projects. The beauty part of this piece is that not all of the color is designed to conceal the paper, it’s actually to use the paper as a component of color.
Paper becomes part of the design more than it ever did before.
Art Bush, Color Scientist, Sandy Alexander: You want to enhance, and take advantage of the paper. If you had like a cyan image, and if you put yellow underneath it, you’d get a really bright green image.
Harrold: How can you make print really compelling and really… motivational? I think it becomes a unique and differentiated experience if you experiment with materials.
This, the latest issue of the Quarterly, we kind of dialed up the volume on the material properties and sort of the object quality of, of printed objects by using colored paper, deep colored papers, light colored papers, metallic papers, using Crane’s Lettra with thermography.
When you put it all together in this kit of multiple pieces, it’s like this explosion of objects that are super interesting.
Ana Bourdiel, Production Coordinator, Sandy Alexander: There’s so many things that you could do when you’re mixing the ink and the paper, and I believe with the Q15 being out there, it’s just going to open the doors for those designers to say, “Wait a minute.. I, I see myself using this paper.”
Everything can be done. It’s just a matter of playing with the artwork, incorporating the paper, and making things just… beautiful.
Metallic powders in a varnish base create images with metallic luster. Leafing inks which have metal flakes that rise to the top of the ink mixture have more shine, but increased rub off. The metal flakes in non-leafing metallic inks sink down with less rub off and a little less shine. Non-leafing inks with a dull varnish or aqueous coating perform most reliably on uncoated paper.
Opaque white ink can create a unique print effect — it is a non-transparent ink which does not let any of the base color show though. The more hits of white used, the more it stands out from the background. White ink can be used alone, or as the base to print color on top, which allows full color imagery to be printed on dark colored paper.
Does pink signify modern and bold? Or does it seem soft and feminine? Perception of color—including context, culture and personal preferences—shapes our response to the colors we see. Perception of color is why red signifies “stop” when you see it on the street, and “love” when you see it in the greeting card aisle. It’s why color has different meanings across the globe. It’s why the client says she hates purple.
Colored paper opens up new possibilities for design and communication. Used with 4-color printing, it can become part of the image itself, giving you an additional color to work with. Have you ever thought about using colored paper as a bonus in your project?