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Writing and creating your own book or dissertation is a wonderful way to engage that creative part of your brain. Bookbinding can add even more to the experience, it's a really, really nice way of making something that is truly yours.Read More »
Interactive books evoke intriguing, nostalgic and educational feelings in a way that a traditional book may not. An interactive book is essentially the same as a traditional book except that it boasts either moving parts, diagrams, characters or cross sections.
They also feature 3D pop-out elements that interact with you in a way that traditional books can’t.
When we were children, those distinctly 3D elements seemingly jumped off the page as we scrolled through the well-crafted pages. These interactive novels evoked something that was both intriguing and educational.
A Print Renaissance of a 21st century kind: Outlining Specialist Technology, Creative Processes and Media Convergence in the Print Sector.
The controversial and quite frankly, flagrant statement - that ‘print is dead’ - is one that we will quite often find exclaimed by internet forum posters, e-book enthusiasts and internet trolls.
Conversely there still exist many print advocators that actively work – naturally - to refute this broad and at times controversial statement.
These advocators range from abstract creative hubs, printers, print outlets and printing enthusiasts. Their message is indeed one that emphatically positions print as far from being dead. New revelations in print however, change with every coming day, and claims of a similar momentum consistently arise like that in the following excerpt from the Harvard Business Review.
Now claiming that amateur zines and creative printmaking are resurrecting the allure we attach to print is one thing, but where do we see large scale engagement in the print medium that supports this statement? Put simply, catalogues, newspapers and other mass-produced and consumed traditional communication mediums.
The Print Catalogue is back in style
Advances in a wide array of wide-format printing technology, as well as the media we can utilise, and the processes we can subject the material or substrate to - from soft signage to 3D printing – has evolved incredibly; evident from this year’s multiple worldwide FESPA exhibitions. These industry leading organisations are at the forefront of digital printing innovation and the technology – including that associated to vehicle wrapping – from the substrates, media and inkjet printers exhibited was undoubtedly futuristic this year.
Vehicles have always displayed some sort of sign, in the 1980’s vehicles were taken off the road for three days or more, the revered industry player Mark Godden of MetaMark tells me in an interview for Print Monthly. The process involved computer cutting and self-adhesive film, it was laborious and coercing the material onto the vehicle could be prone to errors and therefore loss.
Vehicle wrapping really does present people from firms to enthusiasts with a more effective, larger, creative and more cost-effective branding and promotional opportunity and is increasingly displacing conventional livery. However the costs associated with developing, producing and selling these synthetics are vast.
The Development and Introduction of the MetaWrap MD-X
In an age influenced by media of a more digital leaning, the humble business card remains a cornerstone of business marketing and networking. Increasingly progressive digital and creative blogs have been documenting how to get the most out of this increasing mode of communication – that, just to note, is quicker than giving someone your phone number, and more telling.
Vivid Textile Printing The market for soft-signage. That is wide-format printing onto a vast array of soft-substrates is one that is growing. Influenced by changes in our artistic sensibilities as consumers and our desires for high-quality, vivid visual aids this market encompasses various sectors and a plethora of media. Pushed by growth in the garment, interior design and visual communication industries; this is a sector that is not only experiencing rapid growth but prompting wide-format prin...Read More »
Above: A calender purporting to be for 'typography enthusiasts' showing a different font for everyday of the year!
How to choose a typeface
Most of us stick to a handful of familiar fonts in our everyday life. So being confronted with a decision about the seemingly endless variety of typefaces can be overwhelming.
While there are no “right or wrong” answers about what typeface to use, there is no doubt that your choice will affect how viewers perceive your printed materials and hence the success of your project.
Ask any graphic designer, for example, and they would grimace at the thought of using two sans-serif fonts; and proceed to tell you that is just a big no; aesthetically.
Choosing a typeface is partly based on intuition and partly on applying general rules and principles. Here are some guidelines which may aid your thought creatively.
Chris Keegan - Silver Sunset - From PrintClubLondon.
As the features on our blog continue to gain momentum, the readers – hopefully! – build curiosity and the subjects we cover start to positively situate the print medium in the present day; we begin to establish some common themes.
The way we interact with other more traditional mediums that have been omni-present since the dawn of the modern printing press has wholly changed. The kindle – at least in its early stages of release – typified this transformation from physical to digital. Thousands of years of books where superseded by a digital library that is almost infinite now, a reality.
Recent statistics are likely to only touch the surface of the colossal decline in book sales, with few book shops boasting as extensive range as the pre-kindle book-reading era. It seemed that we attributed little importance to this shift but now the results and affects are clear.