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Color and Texture in High-Value Print Applications

Written by in Color & Texture, News

 

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Print Paper Doth Oft Proclaim the Brand

The power of fine writing paper lies in its inherent characteristics: its abundant colors, its varieties of finishes and texture, and its tangible weight.  Its physical characteristics often proclaim (represent) what paper users want their audiences to perceive about their brands: authenticity, abundance, and substance. As the apparel we wear says much about our personality and character, paper choice says a great deal about the values and reputation of the brands we market and sell.

Choices in paper can say as much about a brand as the words and images we put on them. Thus, paper selection must not to be taken lightly. None know this better than creative communication professionals (designers, art directors, brand managers, and printers) and none know better what these audiences need and expect in print communication than Neenah Paper.

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 Abbey Fowler of 6.25 Paper Studio hand assembles note cards on Neenah Paper for Design Family Reunion.

Neenah’s long and storied leadership is founded upon its historic ability to deliver to this target audience. Its understanding of the needs of the publishing and creative industries in terms of color, finish/texture, weight and, ultimately, performance has made it today among the elite paper makers in the world.

And while the choices of paper mills has diminished with mergers, acquisitions, and closures as in the digital age, Neenah’s capacity to bring more variety, better performance, and more choices has increased exponentially.

Neenah’s enduring obligation is to ensure that those who still rely upon print to tell their brand stories have all the tools and information they need to make informed choices that will help their products and services thrive and expand.

The following discussion focuses on those tools and that information. It is about the kinds of choices designers, art directors, specifiers, printers and brand managers make and why. It is about why they return to Neenah to experience the power of and reliability of print communication to market and sell their goods and services.

Elements_7

Emily Potts wrote ATG stories about the love of paper crafting with Amy Graver of ELEMENTS last year.

No one is immune to the paradigm shifts brought by the digital age. The majority of today’s business communications and transactions are made digitally, without the use of paper. This affects everyone: from the consumer who no longer gets bank statements by post, to the United States Postal Service that cannot seem to staunch the flow of red ink. The rise of digital communication has severely affected the publishing and printing industries, as well as the paper industry itself.

We’ve seen famed legacy publishing brands disappear over the past decade: Ladies Home Journal, Newsweek, Step Inside Design, I.D., Gourmet, and more. Neenah has chosen to regard the decline in print not as a loss but as an opportunity—an opportunity to win greater loyalty from the millions of brand managers, designers, and printers who still believe that paper remains one of the most affordable, effective and proven means of authentic, human interconnection. Neenah is in business to serve these people.

AndreMartin_InkPull_500

Charles Youel of ArtCrank reported on effective posters for his nonprofit cause throughout 2014.

Print isn’t dead. It’s just less wasteful. Gone are the days of mailboxes crammed with catalogs and circulars. Few modern corporations print huge annual reports. Collateral packages are rare, finer, and more targeted. Letterhead and business cards are used less but when they are, their green values and designs are more considered. Consumer product manufacturers today seek new ways to replace polyethylene packaging with, you guessed it, biodegradable paper.

Today, print lives thoughtfully. When you receive a print communication today, you’ve received something carefully thought-out and more valuable. It is something less common and thus, more impactful. Today’s digital world does not exclude print—it makes the printed piece more memorable. Using print in tandem with online builds a smarter campaign. Print drives web. Paper drives print. It all adds up. Print is vital to any comprehensive branding, e-commerce or marketing effort.

Ready to Wrap

Alyson Kuhn wrote of the art, craft and joy of Bari Zaki  for ATG last Fall.

The Color & Texture Story

Neenah’s broad range of color and textures are the foundation for an infinite number of fact-based, inspirational stories showcasing real work and real solutions. By proving itself to be a valued resource, Neenah has identified seven common business practice (applications) areas with regard to color and texture. These applications appeal to the day-to-day essential business needs and interests of brand managers, designers/art directors, and printers/print specifiers. They are:

1. BUSINESS and OFFICE PRINTED MATERIALS

2. BOOK DESIGN AND PUBLISHING

3. POP & PRINT ADVERTISING

4. BUILDING A BRAND AROUND ENVIRONMENTAL RESPONSIBILITY

5.  PERSONAL COMMUNICATIONS (STATIONERY)

6.  LUXURY COLLATERAL KITS

7.  POSTER DESIGN

It all leads back to the unique insights Neenah Paper provides to its audience.

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1. BUSINESS and OFFICE PRINTED MATERIALS

Lasting Impressions: Stationery Systems, Business Cards, and Corporate Reports

You only get one first impression. Then, there’s the lasting one—your business card and office stationery system. Make it count. These small but mighty print applications leave powerful, enduring impressions with clients, customers, employers, and colleagues. They are tangible reflections of your brand.

People respond to sight and touch. Color catches your eye. Then, you touch it. You feel the texture, then the weight. Paper communicates your first impression. For example, some Neenah Papers: CLASSIC CREST® Papers say distinguished, sophisticated, high performing. CLASSIC® Linen Papers look structured, and communicate crisp and to the point. ENVIRONMENT® Papers look “natural” and signal respect for the environment. CRANE’S LETTRA® Papers in 100% pure cotton give off an air of luxury, prestige, significance.

Reconsider “business as usual” when making paper choice. In the digital age, paper stands out more than ever. While email vies for your attention with clever subject lines, business print communication engages our sense of sight and touch. Here, color and texture play a leading role, evoking feelings and affecting how others perceive us. Rich, unique, and complementary color systems convey character and values, core reasons why brand managers, printers, and designers deploy print to tell the stories of their clients’ brands. Touch, the tactile evidence, does the same. People respond to things they can hold in their hands, touch and feel. Neenah brands offer wide varieties of basis weights and surface textures that speak volumes.[1] Color and texture and other print techniques can make big statements. Here are a few suggestions when making paper choices:

•    When selecting paper for business cards, choose a cover weight that complements color and surface choices.

•    For direct mail, look beyond white. Direct mail pieces receive higher response rates when printed with eye-catching colors. In fact, color increases rates by 20%.[2]

•    Not all newsletters are created equal. Collect a variety of newsletters and see which ones get the best reactions. Color, stock, and finish make a difference, and are apparent in periodic communications that make lasting impact.

•    Four colors, three, two? Four-color printing may be expensive; but it is not the only way to get attention: colored paper may lend more impact than a third or fourth hit of ink. Add a combination of colored sheets to print communication for even more impact.

•    Print techniques can expand color choices. By adding screens, varnishes, vellum half-sheets and/or duotones, a two-color piece can appear four, six or more colors. There is no substitute for imaginative design and printing.[3]

by all means: a zen cautionary tale; published by Missing Links Press; text by Edward Brown, drawings by Margot Koch, painting by John Simpkins, cover and interior design by Ingalls Design; photo © Studio Alex

From an article by Tom Biederbeck for ATG: by all means:
a zen cautionary tale
; published by Missing Links Press; text by Edward Brown,
drawings by Margot Koch, painting by John Simpkins,
cover and interior design by Ingalls Design; photo © StudioAlex

2. BOOK DESIGN AND PUBLISHING

Over, Under and Between the Sheets: Paper Sells Books

While you should not “judge a book by its cover”, the quality of the cover may affect your choice. Choose wisely. Paper, color, design, type and image sell printed books. Many—millions—still enjoy the comfort and pleasure of holding a book, turning its pages and feeling the weight of words ideas reinforced by the weight of cover and pages upon which they are printed. An e-book can never do that. Book covers remain the alluring masterpiece. In a recent article in the New York Times Book Review, “The Best Book Covers of 2014”, art director Nicholas Blechman celebrated the power and effectiveness of book design, “Design feels as relevant as ever…book design remains vibrant and essential.”

Look deeper. Book covers live on paper. Paper is their canvas. Our choices in color and texture affect their impact, their shelf presence, their allure. In stores and social situations, the book cover is the brand. People notice what we read by glancing discretely at the covers of books we are reading in public spaces. When we see an executive reading Alice Walker on a plane, the breadth of her interests may impress us. When we see a young student reading a book by Steve Jobs, his ambition may inspire us. Book covers tell more than what the title is about, they tell others what we are about—our interests, our choices and our values. E-readers, discreet, inscrutable to the casual observer, cannot do the same. Renowned book designer Rodrigo Corral, designer of The Fault in Our Stars cover, said, “Great books have the ability to take on a brand of their own, and design can play a significant role in helping the book rise above the noise.”

And there is a lot of noise from the media citing diminishing newsstands and bookstores and the rise of e-readers. Yet while e-readers may get more than their share of media play, in truth, according to Nielsen Books & Consumer, both hardcovers and paperbacks outsold e-books in 2014.[4] While the e-reader is here to stay, so is the printed book. The majority of readers want to touch and feel print on the page not merely read it an electronic screen.

Are printed books “old fashioned”? We don’t think so: the enduring popularity of hard cover and paperback books satisfies the human instinct for tangible, authentic and, thus, enduring objects. To many, printed books satisfy that desire, offering tangible, substantive experiences that bring lasting, memorable pleasure. Turing page after page provides a sense of accomplishment. When readers see colorful titles on spines they reach for them. When they add a finished book to their bookshelves, they gain a sense accomplishment. Printed books are not “entombed information”—they are the tangible, accessible evidence of the accumulation of human knowledge and understanding.

We admit it: some books are better than others. Recall the guilty-pleasure we feel when grabbing a pulp fiction paperback at the airport concession stand to enjoy on a flight to a sunny, distant shore. Does paper choice play a role in choosing to indulge in such guilty pleasures? Probably not. In this case, the e-reader may hide from others our junk-food fiction, our prurient choice. But for celebrated contemporary fiction, revered classics, great literature, sumptuous art books, valuable resources, erudite textbooks, paper is best medium to convey the substance and character of a good book’s content and tangible benefit we gain from reading great books. Print books help make an emotional connection—and deliver a higher return our investment of time and money. And, to nosy neighbors, such books reveal something about us—for better or worse.[5]

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3. POP & PRINT ADVERTISING

Touchy Feely: Brochures/Collateral/Sales Promotion

Neenah believes printed advertising/brochures/collateral/sales promotion are vitals application for color and texture theory and therefore offer a kaleidoscope of colored paper choices for designers and brand managers. From bright whites to rich, dark colors, there’s no shortage of color choices to represent a client’s brand identity.

Meaningful, enduring impressions are the holy grail of communications design. A study by research agency Millward Brown, entitled “Using Neuroscience to Understand Direct Mail,” found that: “Tangible materials leave a deeper footprint in the brain… Physical materials involve more emotional processing, which is important for memory and brand associations.”[6] Rochester Institute of Technology (RIT) took an in-depth look at print media and concluded: In a study of the top 100 advertisers, higher correlations were found between a firm’s sales and the amount of print advertising it bought vs. sales and the amount it spent on broadcast advertising. Printed direct advertising was the most influential source of information for consumers who purchased personal care/home care products and the second most influential source for those purchasing consumer electronics and home improvement products.[7]

Color affects us in profound ways. Our brains respond to it because humans have a unique relationship with color and the messages they convey. Color associations produce chemical reaction in our brain and emotional response which trigger subconscious memories and associations viewers have of people, places and things.[8] According to a report by color consultant Karen Haller, “Color choice is only 20% conscious.”[9]

The power of color is natural. For example, Pantone Color Institute® reported why Marsala was chosen 2015 color of the year: “To distill the prevailing mood into a single hue, the PCI team, led by executive director Leatrice Eiseman, combs the world looking for future design and color influences, watching out for that one color seen as ascending and building in importance through all creative sectors. Influences can include the entertainment industry, upcoming films, art, emerging artists, travel destinations and socio-economic conditions. Unique color shades have their own special symbolism, an additional key consideration is the emotional component and the inherent meaning of the color.”

Marsala is rich, earthy, and eye-catching color and conveys that in print applications. As 100 PC, uncoated paper packaging becomes more common, the color Marsala will grow more popular, a natural fit for both high- and low-tech print materials, including POP materials and associated promotional print assets, such as coupons, hangtags, labels, calendars, and stationery.[10]

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 Color and texture study for the new ENVIRONMENT® Papers directed by Design Army, reported in ATG last year.

 

4. BUILDING A BRAND AROUND ENVIRONMENTAL RESPONSIBILITY

Green, Greener, Greenest? The Triple Bottom Line

It is called the “Triple Bottom Line”: people, planet, and profit. And it presents a monumental conundrum: designers make things, yet our planet needs less things. “The elephant in the room is over consumption.”[11] Green design is not just a matter of choosing the recycled or biodegradable paper and inks—though sustainable materials are a big part of the solution. Sophisticated designers view “green” holistically: it is ethical, it appeals to buyers, and it adds to the value proposition.[12] Together, these add to the value of brands.

The triple bottom line is a goal that makes designers think more about using less. This means viewing the printed page as more than a vehicle for messages but instead as a multi-purpose product: as media, tools, containers, reminders, place-holders and resources—in short, artifacts as “keepers.” The age of “green” and sustainability has not diminished print so much as fundamentally changed its nature. Digital and concerns for the future of our planet have pushed graphic designers, printers, and brand managers to make print matter more. Thus, while we strive to use fewer materials, we succeed in making print a smarter, more sustainable option that is good for our businesses and our planet.

“Businesses as diverse and powerful as Wal-Mart, General Electric and Duke Energy are all jumping on the sustainability bandwagon. In an attempt to balance profits with the planet, these businesses are making significant contributions that go beyond mere green-washing.”[13] Best Practices for Greener Print Design, as outlined by Re-nourish:[14]

  • Reduce the amount of paper and other materials used overall by designing smaller pieces
  • Reduce wasted paper and other materials through clear decision-making during production
  • Choose paper manufactured using renewable energy, or offset by legitimate renewable energy credit programs
  • Select a greener printer for production
  • Use vegetable-based, low-VOC inks on press
  • Try digital printing for shorter runs
  • Design the piece for extended use, or intentional reuse
  • Include verifiable information about the environmentally aware aspects of the piece

Sustainability: Do the Math

Neenah provides to paper users as many sustainable choices and tools as any papermaker on earth: papers made with recycled content, including post-consumer recycled fiber and FSC Certified papers that support well-managed forests and resources plus tools and calculators that helps buyers measure the truth in sustainability rather than the slogans of the marketing team. Neenah has invested millions in mill-based efficiency and renewable energy solutions.

One of the most valuable tools available to printers, brand managers, and creative professionals is Neenah’s EnviroCalculator. In just five simple steps, users are able to calculate their environmental savings achieved by using paper made with post-consumer fiber. Information is power, and putting it in the hands of your core audience creates more than ROI—it establishes Neenah as an authority and a respected resource.

 

Inspire

Inspire, by Arián Dylan from  The Art of the Book,
reported by Alyson Kuhn in ATG last year, Artworks Made from Books Tell Many Tales.

5.  PERSONAL COMMUNICATIONS (STATIONERY)

No Regrets: Eliciting Desired Response

The United States Postal Service bemoans the decline of junk mail; few others do. In fact the open space in our mailbox is fair game for savvy marketers and designers hoping to grab our attention. It is an opportunity to stand out, making print communications such as announcements and requests more significant[15]: When we discover a colored envelope in our mailbox, we notice! We smile! We have visceral reaction. Remember the “pink slip”? Now, we welcome the pink envelope on Valentine’s Day. Well-designed printed announcements and invitations on beautifully colored or textured papers demonstrate that we cared enough to design, print, sign and send it.

Print = “We Care”

Neenah is not alone in believing that fine print remains the most effective media for interpersonal communication. If you’re going to spend money to send a message, fine paper is can elicit a desired response, making it an excellent investment.[16] The printed announcement, invitation or program keeps it personal. We can touch it, feel it and keep it. The physical reality of your message enhances the recipient’s experience. They remember it. They post it in their home or office. They share it with colleagues, family and friends. Short of a personal visit carrying a box of candy and flowers, fine print says better than any other media, “I care about you.” Paper weight and color play a big role here: the more nuanced the design and print production, the more likely it is our recipients will remember it and respond positively.

For marketers of stationery and greeting cards, emotion and sentimentality play an even large role. San Francisco’s Gramr Gratitude Co. says the value of analog communication has never been greater: “People get bombarded with texts, Facebook posts, emails, Tweets, and other digital messages—so do something different. The power of a handwritten note nowadays is unmatched. If you want to tell someone they matter, the best way of doing it is to spend a bit of your valuable time on them.” Gramr advises rather than adding to the noise, “provide relief from the noise.” Gramr Gratitude Co.’s “relief” is printed on Neenah sheets—with interesting print techniques, colors and textures for their wide offering of cards and stationery. Neenah believes in the appeal of bespoke print techniques and finishes and has invested much in celebrating its effectiveness. The company maintains to crafty sites celebrating just that: “The Beauty of the Letterpress” and “The Beauty of the Engraving.” A visit to either provides hundreds of examples of small and large printer and designers who love to print and do so with great skill.

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Classic Love wedding set from 42 Pressed on CRANE’S LETTRA® Pearl, 110lb. www.42pressed.com

6.  LUXURY COLLATERAL KITS

Like Honey to Bees: Luxury Products Demand Romance

Tiffany earrings do not come in cellophane. You cannot sell luxury goods with cheap paper and poor print. Resorts, private banking, five-star hotels, elite conferences, multi-million dollar condos, or high-end consumer goods require more than two-sided gatefold brochure printed on flimsy stock. Discerning buyers of big-ticket products and services demand the romance of refined design and exceptional print.

Neenah understands that for brand managers who do not consider paper or printing costs their primary consideration in the marketing of their products and services, Neenah is not the only option. Therefore it is Neenah’s responsibility is to ensure the marketers of luxury products that its suite of fine papers offer indisputable distinction as measured by physical beauty, superior print performan

ce, durability and, naturally, highest standards in sustainability.[17]

Among other things, Neenah’s brand reputation stands for high-end performance, craft, and beauty. So do brands such as Mercedes, Cadillac, Apple, Saks Fifth Avenue, Four Seasons, Ritz, TED, Vail Ski Resort, Baccarat, American Express, Gulfstream, Rolex, Nike, Morgan Stanley, etc. Brands such as these require luxurious paper, and Neenah’s finest lines communicate high value to buyers of high-end goods. Successful brand managers know this. As noted earlier, thoughtful and carefully targeted direct mail triggers online response.[18] Direct mail is viewed as trustworthy by 56% of consumers, and 33% of consumers say they would have a negative view of brands not offering printed communications.[19] Such findings are understood by the marketers of luxury brands. Marketing experts say that the most desirable actions for consumers to take after receiving a direct mail offer they are interested in are: visit a brand’s website (44%); search online for more information about the product (34%); and keep the mailing for future reference 26%.[20]

”We’ve had a lot of good luck using higher-end, or unusual paper with the carrier envelope. It’s clear that heavier or textured stock improves response,” says Jeff Brooks, creative director at Merkle, a database marketing agency based in Lanham, Md.[21] Informed brand managers link the impact of direct sales promotion with spikes in online activity. They know that high-quality print communications positively impacts online visits and, thus, brand awareness. Print it well to win hearts and minds.

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Robynne Raye of Modern Dog created this poster for Beauty of the Letterpress
to benefit the Hamilton Type and Printing Museum. 

7.  POSTER DESIGN

Made You Look: Arresting Posters

Posters are popular and timeless. People of all ages, creeds, education levels, and socio-economic backgrounds love posters. We put up posters of Barney when we are children. We put up posters of pop stars when we are teens. We put up posters of political movement or cultural icons when we are college kids. We collect, frame, and hang beautiful posters of our favorite artists and cultural institutions when we are adults.

How do weight, color, texture affect the effectiveness of good poster design? They factor into the most critical goal of all poster makers: to grab viewers by the throat. Paper color and texture can plan a vital role in attention getting, especially when it’s the attention of a passerby. The closer the viewer is, the more important print quality comes into play. For designers and brand managers who rely on attention-getting at the retail level, paper choices can matter as much as the visual and written message themselves. A recent episode of Antiques Roadshow featured a woman who had bought a 90-year old French travel poster for $500. Appraisers estimated her poster at auction would sell for $15,000. The reason? The rare graphic quality of the image, the high quality of the printing, and the physical condition of the paper itself. All of those factors are print and design issues. The subject of the poster (Saint-Tropez) added little to the poster’s value.

The Enduring Popularity of Posters

Posters remain and an intensely graphic mode of communication. Multiple internationals poster biennials, two in in the United States (Colorado International Invitational Poster Exhibition and the Chicago International Poster Biennial), honor exemplary examples of design and print production standards. Industry trade publications and competitions also celebrate fine poster design. Because the purpose of posters is to grab attention, they remain the principle medium of communication by activists, social welfare organizations, and civic leaders to communicate. All good posters must communicate at a glance.

Thus, all creative elements that help such “instant messaging” are a factor in the poster designer’s plan—paper, design, and print quality.

Texture and color imparts significant meaning when taking into account thoughtful printing, message, design. Research shows how paper choice affects a poster’s effectiveness. One running shoe poster advertisement printed on heavily textured paper was perceived significantly stronger than that of a similar quality shoe whose poster was printed on a smooth, coated sheet. Moreover, perception of that same shoe’s performance on forest trails and heavy terrain were perceived significantly better than the competitive brand of similar engineering.

These perceptions had nothing to do with actual physical differences between the two shoe designs; but they made a huge difference to the way potential buyers are likely to behave: investigate the shoe, try the shoe on, and buy the shoe. If the shoe failed them later, well, it was not the poster maker’s fault. This same study found paper texture was actually more important than paper weight in affecting consumer judgment.[22]

In a recent HOW magazine article, designer John Foster, author of New Masters of Poster Design, Vol. 1 & 2, said: “In the ever-expanding digital age, one of the great appeals of gig posters is that it’s a physically printed product that revels in its inky goodness…Don’t forget about one of the true joys of being a print designer—specifying paper. You might want to stick with a white, but add in some incredible tactile texture with a finish, or invert the entire process and print silver on a black sheet. This is your dream come true for the paper nerd inside you, as a single box of nearly any sheet is affordable, and all you need for a limited-edition print run.”[23]

The goal of posters is to grab readers’ attention. Excellence in design and print make poster readers into poster keepers. For poster designers and their clients, the only thing better than getting one person to understand their message, is to get hundreds of their friends to, too.

 

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CONCLUSION

Neenah knows paper choice contributes mightily to brand success.

Business is data driven. And while numbers don’t lie; they don’t tell the entire story, either. Other factors come into play. Brand perception, awareness and understanding, for example. The sum of those factors is brand reputation. Neenah believes brand reputation is greatly tied to the quality and consistency of brand communication. The quality of brand communication is linked to the quality of print communication. The quality of print communication is tied to the quality of the design-craft, print-craft, and the paper upon which is printed. In short, paper performance, weight, color, and texture have a lot to do with the reputations of brands.

Print it well, and you are likely to win hearts and minds. Print it poorly, and you will most certainly alienated existing customers and repel potential ones. Color and texture are not simply matters of taste or personal style. They affect a brand’s performance in the marketplace. Paper communicates brand character because color, finish, texture, and weight convey value and meaning.

By bringing focus to seven common design/print applications through stories (and fine examples) of choices in color and texture, Neenah provides paper and print buyers with new tools and information they can use to make informed strategic communications decisions.

For over 140 years, Neenah’s experience, knowledge and understanding of contemporary print communication have provided much credibility. Its fine reputation—Neenah’s brand perception—allows it to host this conversation and expand its own brand appeal to wider circles of creative communication professionals, print fans, and premium brand managers.

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[1] DMA: Paper Fundamentals: Helping Your Customers Decide on Paper, www.paperbuyersonline.com/reference_standards.cfm.
[2] American Paper Institute.
[3] DMA: Paper Fundamentals: Helping Your Customers Decide on Paper, www.paperbuyersonline.com/reference_standards.cfm.
[4] Print Books Outsold Ebooks In First Half Of 2014, By Claire Fallon, The Huffington Post: www.huffingtonpost.com/2014/10/06/ebooks-print-books-outsold_n_5940654.html
[5] My Print Resource, www.myprintresource.com/article/10930456/creative‐paper‐projects, May 6, 2013.
[6] Where Paper Performs: Tapping into the Tactile by Joanne Whitcher, on My Print Resource, May 6, 2013: www.myprintresource.com/article/10930456/creative‐paper‐projects
[7] “The Case for Print Media Advertising in the Internet Age” by Patricia Sorce, PhD and Adam Dewitz, Printing Industry Center at RIT
2007, print.rit.edu/pubs/picrm200602.pdf
[8] www.brandingstrategyinsider.com/branding-and-colors; Article posted July 09th, 2013 By Thomson Dawson.
[9] http://karenhaller.co.uk/; published by Karen Haller, Sept. 26, 2013.
[10] Pantone Reveals Color of the Year for 2015: PANTONE 18-1438 Marsala, www.pantone.com/pages/pantone/pantone.aspx?pg=21168&ca=10, Dec. 4, 2014.
[11] Everything You Know Is Wrong, by Phil Hamlett, Communication Arts, www.commarts.com/Columns.aspx?pub=2075&pageid=857
[12] Green Design, by Rebecca Bedrossian, Communication Arts, www.commarts.com/curated/green-design.html
[13] Sustainability: Nike Puts Its Best Foot Forward, by Sam McMillan, Communication Arts, www.commarts.com/columns/Environment/sustainability.html
[14] Best Practices for Print Design, Re-nourish: http://www.re-nourish.com/?l=resources_printdesign
[15] Customers of 58 out of 60 UK companies prefer to receive print mail rather than email (Ebiquity, 2011): Seven Reasons Why Direct Mail Delivers Print Power, www.printpower.eu/en/why‐print‐media/direct‐mail.
[16] Five Choices to Make for Paper in Direct Mail by Ethan Boldt, Target Marketing Magazine, February 2008: www. targetmarketingmag.com/article/five-choices-make-paper-direct-mail-91323/1
[17] Direct Mail: The ‘Diamond in the Rough’ of Luxury Branding by Melissa Cober
Source, USA Data
Web, 2012, www.usdatacorporation.com/info/2012/10/direct‐mail‐luxury‐branding
[18] Study: Direct Mail Matters In Connected World, PrintInTheMix.com, July 11, 2013: printinthemix.com/fastfacts/show/749
[19] Study: Direct Mail Matters In Connected World, PrintInTheMix.com, July 11, 2013: printinthemix.com/fastfacts/show/749
[20] Study: Direct Mail Matters In Connected World, PrintInTheMix.com, July 11, 2013: printinthemix.com/fastfacts/show/749
[21] Five Choices to Make for Paper in Direct Mail by Ethan Boldt, Target Marketing Magazine, February 2008: www. targetmarketingmag.com/article/five-choices-make-paper-direct-mail-91323/1
[22] Choose Your Ad Paper Type Carefully: How Haptic Ad Paper CharacteristicsAffect Product Judgments” Langer et al, 2013.
[23] “10 Tips on Creating Killer Gig Posters”, by John Foster, HOW magazine, November 26, 2014: www.howdesign.com/design-creativity/idea-generating-tips/gigposter-tips/
 
 
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    Matt Porter said:

    This research paper provides information that can help printers, designers and brand managers “sell up” the idea that the well printed artifact is the next best thing to face-to-face conversation with customers and other target audiences. And, perhaps, more memorable.