Eco-Friendly Printing

2. December 2007 by admin.

We are very interested in keeping ourselves up with information on how to be as eco-friendly as possible. Here are some tips that we found online to assist you in marketing that will have the highest impact on your potential customers and the lowest impact on the environment.

First and most obvious:

Make sure you absolutely can’t do a paper free campaign - Can you make a website that conveys your point? Send out an email brochure?

(The Detroit Studio is great at creating both of these and would be happy to give you a quote for either b.t.w. …. please click here to see some examples of things we have created for other people:

If not then here are some pretty helpful tips that we found on www.urbanimpact.com :

Recycled Paper? Yes! (The Detroit Studio prints on recycled paper)

Soy Ink? Yes! (The Detroit Studio uses soy ink)

But that’s just a start. Keeping your marketing eco-friendly isn’t only a consideration for one to make during production …… It can start when the design of your project starts.
Design to Prevent Waste. Put more words on a page by using smaller fonts and margins. It is not necessary to begin a chapter on the right side of facing pages. Choose a thin cover stock or eliminate the cover.

Double-Side Documents. Be sure to use both sides of the page whenever possible.

Order Only What You Need. Volume discounts may make it economical to order more, but can you really use 1000 or 5000? Anticipate corrections and changes (will your business be moving or changing its phone number?).

Request Vegetable-Based Ink. Soy and other vegetable-based inks help prevent air and water pollution. They also give brighter colors and rub off less on the reader’s hands.

Request Least Toxic Colors. Some ink colors are less friendly than others because their pigments contain toxic heavy metals. Ask about heavy metals when choosing colored ink. Avoid metallic and fluorescent inks.

…and Recyle

Choose Paper That is Locally Recyclable. White paper is usually the most recyclable. Avoid fluorescent and goldenrod paper. Avoid plastic covers and bindings.

Ask for Recycled Paper. Help complete the recycling loop. Recycled paper may cost a bit more, but you can offset these costs by preventing waste printing fewer copies and fitting more words on each page. Remember to ask about the recycled content and the post-consumer content of the paper. Fifty percent post-consumer means that half of the paper is made of materials that were consumed and recycled. If the post-consumer content of recycled paper is not specified, it is probably made from manufacturing wastes which have not made a complete loop.

Look for “Tree-Free” Paper. Alternative fibers such as kenaf, cereal straw, and sugar beet pulp are used to make beautiful paper.

About Vegetable-Based Ink. Vegetable-based printing ink is made with vegetable oil, such as soybean or corn oil, as a substitute for petroleum.

Vegetable-based inks significantly reduce the amount of VOCs (volatile organic compounds) released into the air during printing. When the Los Angeles Times switched to soy-based ink, they reduced their VOC emissions by 200 tons per year and won an air quality award.

While vegetable oils are a renewable resource, the pigment suspended in those oils is an often toxic ingredient for which there are few substitutes. Certain colors of ink, even vegetable-based ink, contain heavy-metal pigments like cadmium, barium, and copper, which are associated with various health hazards. If you choose colored ink, ask the printer for a color without heavy metals.

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What Really Is Graphic Design Anyway? Wikipedia’s Definition.

2. December 2007 by admin.

I think this is an interesting read - I got it from Wikipedia.org:

The process of communicating visually using typography and images to present information. Graphic design practice embraces a range of cognitive skills, aesthetics and crafts, including typography, visual arts and page layout. Like other forms of design, graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated.

Early

 

 

Page from the Book of Kells: Folio 114v, Decorated text. Tunc dicit illis

Graphic Design spans the history of humankind from the caves of Lascaux to the dazzling neons of Ginza. In both this lengthy history and in the relatively recent explosion of visual communication in the 20th and 21st centuries, there is sometimes a blurring distinction and over-lapping of advertising art, graphic design and fine art. After all, they share many of the same elements, theories, principles, practices and languages, and sometimes the same benefactor or client. In advertising art the ultimate objective is the sale of goods and services. In graphic design, “the essence is to give order to information, form to ideas, expression and feeling to artifacts that document human experience.”^[2]

The paintings in the caves of Lascaux around 14,000 BC and the birth of written language in the third or fourth millennium BC are both significant milestones in the history of graphic design and other fields which hold roots to graphic design.

The Book of Kells is an early example of graphic design. It is a lavishly decorated hand-written copy of the Gospels of the Christian Bible created by Celtic monks around 800AD.

From 1891 to 1896 William Morris‘ Kelmscott Press published books that are some of the most significant of the graphic design products of the Arts and Crafts movement, and made a very lucrative business of creating books of great stylistic refinement and selling them to the wealthy for a premium. Morris proved that a market existed for works of graphic design in their own right and helped pioneer the separation of design from production and from fine art. The work of the Kelmscott Press is characterized by its obsession with historical styles. This historicism was, however, important as it amounted to the first significant reaction to the stale state of nineteenth-century graphic design. Morris’ work, along with the rest of the Private Press movement, directly influenced Art Nouveau and is indirectly responsible for developments in early twentieth century graphic design in general.

Modern

 

 

A Boeing 747 Air Force One aircraft. The cyan blue pattern, the US flag, presidential seal and the lettering were all designed at different times and combined in this one final design. Graphic design is applied in virtually every organization or society. There are virtually no limits to the size and applications of graphic design.

 

 

The Rio album cover for Duran Duran designed by Malcolm Garrett. Illustration by Patrick Nagel. Fine art illustrations are used in graphic design, but are not usually considered graphic design until typography is applied.

 

 

The cover of Never Mind the Bollocks designed by Jamie Reid - a classic piece of ‘anti-design’ postmodern graphics

The signage in the London Underground is a classic^{[citation needed]} of the modern era and used a font designed by Edward Johnston in 1916.

In the 1920s, Soviet Constructivism (art) applied ‘intellectual production’ in different spheres of production. The movement saw individualistic art as useless in revolutionary Russia and thus moved towards creating objects for utilitarian purposes. They designed buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus, etc.^{[citation needed]}

Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential.^{[citation needed]} Tschichold, Bauhaus typographers such as Herbert Bayer and Laszlo Moholy-Nagy, and El Lissitzky are the fathers of graphic design^{[citation needed]} as we know it today. They pioneered production techniques and stylistic devices used throughout the twentieth century. The following years saw graphic design in the modern style gain widespread acceptance and application.^{[citation needed]} A booming post-World War II American economy established a greater need for graphic design, mainly advertising and packaging. The emigration of the German Bauhaus school of design to Chicago in 1937 brought a “mass-produced” minimalism to America; sparking a wild fire of “modern” architecture and design. Notable names in mid-century modern design include Adrian Frutiger, designer of the typefaces Univers and Frutiger; Paul Rand, who, from the late 1930s until his death in 1996, took the principles of the Bauhaus and applied them to popular advertising and logo design, helping to create a uniquely American approach to European minimalism while becoming one of the principal pioneers of the subset of graphic design known as corporate identity; and Josef Müller-Brockmann, who designed posters in a severe yet accessible manner typical of the 1950s and 1960s.

An important point was reached in graphic design with the publishing of the First Things First 1964 Manifesto^[3] by Joshua Isaac Walters which was a call to a more radical form of graphic design and criticized the ideas of value-free and purely commercial design. This was massively influential^{[citation needed]} on a generation of new graphic designers^{[citation needed]} and contributed to the founding of publications such as Emigre magazine.^{[citation needed]}

Graphic design is used whenever visual intricacy and creativity are applied to the presentation of text and imagery. Contemporary design practice has been extended to the modern computer, in particular WYSIWYG user interfaces, often referred to as interactive design, or multimedia design.

Anywhere there is a need to communicate visually, there is potential enhancement of communications through graphic design. Here are a few examples,

From road signs to technical schematics, from interoffice memorandums to reference manuals, graphic design enhances transfer of knowledge. Readability is enhanced by improving the visual presentation of text. Intricate and clever pictures are used when words cannot suffice.

Graphic designs have a unique ability to sell a product or idea through effective visual communications. It is applied to products as well as elements of company identity like logos, colors, and text, together defined as branding. See advertising. Branding has increasingly become important in the range of services offered by many graphic designers, alongside corporate identity and the terms are often used interchangeably.

Graphics are used in textbooks for subjects such as geography, science, and math to illustrate theories and diagrams. A common example of graphics in use to educate is diagrams of human anatomy. Graphic design is also applied to layout and formatting of educational material to make the information more accessible and more readily understandable.

From decoration, to scenery, to visual story telling, graphic design is applied to entertainment. From cover to cover in novels and comic books, from opening credits to closing credits in film, from programs to props on stage, graphic design helps set the theme and the intended mood.

From scientific journals to news reporting, the presentation of opinion and facts is often improved with graphics and thoughtful compositions of visual information. Newspapers, magazines, blogs, television and film documentaries may use graphic design to inform and entertain.

Graphic designers are often involved in web design. Combining visual communication skills with the interactive communication skills of user interaction and online branding, graphic designers often work with web developers to create both the look and feel of a web site and enhance the online experience of web site visitors. In the job field, many companies look for someone who can do both graphic and web design. There is a great deal of argument in the professional design community about whether or not this trend is positive.

 

 

Cartoon digital illustration using Painter IX, Photoshop CS3, and Illustrator CS3, showing airbrushing techniques, texture effects, and shading.

The primary tool for graphic design is the creative mind. Critical, observational, quantitative and analytic thinking are required for designing page layout and rendering. If the executor is merely following a sketch, script or instructions (as may be supplied by an art director) they are not usually considered the author. The eye and the hand are often augmented with the use of external traditional or digital image editing tools. The selection of the appropriate one to the communication problem at hand is also a key skill in graphic design work, and a defining factor of the rendering style.

In the mid 1980s, the arrival of desktop publishing and the introduction of graphic art software applications introduced a generation of designers to computer image manipulation and 3D image creation that had previously been laborious. Computer graphic design enabled designers to instantly see the effects of layout or typographic changes without using any ink in the process, and to simulate the effects of traditional media without requiring a lot of space. Traditional tools such as pencils or markers are often used to develop graphic design ideas, even when computers are used for finalization.

Computers are generally considered to be an indispensable tool used in the graphic design industry. Computers and software applications are generally seen, by creative professionals, as more effective production tools than traditional methods. However, some designers continue to use manual and traditional tools for production, such as Milton Glaser.

There is some debate whether computers enhance the creative process of graphic design.^[4] Rapid production from the computer allows many designers to explore multiple ideas quickly with more detail than what could be achieved by traditional hand-rendering or paste-up on paper, moving the designer through the creative process more quickly.^[5] However, being faced with limitless choices does not help isolate the best design solution and can lead to designers endlessly iterating without a clear design outcome.

New ideas can come by way of experimenting with tools and methods, be they traditional or digital. Some designers explore ideas using pencil and paper to avoid creating within the limits of whatever computer fonts, clipart, stock photos, or rendering filters (e.g. Kai’s Power Tools) are available on any particular configuration. Others use many different mark-making tools and resources from computers to sticks and mud as a means of inspiring creativity. One of the key features of graphic design is it involves selecting the appropriate image making tools out of its ability to generate meaning rather than preference.^[6] Some graphic design ideas are created entirely in the mind, before approaching any external media.

A graphic designer may also use sketches to explore multiple or complex ideas quickly^[7] without the potential distractions of technical difficulties from software malfunctions or software learning.^{[citation needed]} Hand rendered comps are often used to get approval of a graphic design idea before investing time to produce finished visuals on a computer or in paste-up if rejected. The same thumbnail sketches or rough drafts on paper may be used to rapidly refine and produce the idea on the computer in a hybrid process. This hybrid process is especially useful in logo design^[8] where a software learning curve may detract from a creative thought process. The traditional-design/computer-production hybrid process may be used for freeing ones creativity in page layout or image development as well.^{[citation needed]} Traditional graphic designers may employ computer-savvy production artists to produce their ideas from sketches, without needing to learn the computer skills themselves.

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