IdN v27n3: Analogue Print & Production — Time To Get Our Hands Dirty!
We are all privileged these days to live in a world where we can obtain almost anything with just one click on a computer. But while we pamper ourselves with such extreme convenience, the longer it goes on, the more it triggers a need for physical touch. That is probably the reason why printed goods such as newspapers, books, posters, etc., still exist.
The younger generation in particular probably can’t conceive of a world without the Internet. That, to them, was the Stone Age. But when matters reach such an extreme, they often produce a counter-reaction. And this is what now seems to be happening. Designers are starting to walk away from their comfort zones, abandoning their computers and beginning to make works by hand.
Aland | Anna Lindner | Annabel Lin & Chin Wen Hsu | Flowing Design | Forth + Back (Nikolos Killian & Tanner Woodbury) | Geìza Barbosa | Guayabo | How To Ink | Human | Inês Fonseca (Kiddo Creative) | Isaac LeFever | Jessica Frascht | Jiang Hong−Da (Hong Da Design) | Kadir Çıtak | Katerina Voronina | Kemalcan Başaran | Little Giant (Matt Fletcher) | Lorenzo Gaggiotti (Stockholm17 Playing Cards) | M22 Creative | Marka Collective | Mr Cup Studio (Fabien Barral) | Natalya Balnova | Nate Azark (12Line & Grass Fed Studio) | Nick Liefhebber | Nini Sum | Passport | Puñalada | Rafael Neder | Regio (Sergio Aristizabal & Ana Varela) | Studio Hoekhuis (Ivo van de Grift) | The Archivist | tind
160p + 8p cover
160mm (w) x 230mm (h)
4 varying paper stocks
4C process + matt lamination
ISSN (English Edition): 1029 4805
ISSN (Chinese Edition): 1029 4813
Analogue Print & Production
Though some may call analogue print production techniques “retro”, it cannot be denied that they add extra value to the end product. None of them can be achieved by using only a computer. So first you have to create a mode of graphics that you would like to apply.
Silkscreen, for example is similar to stencilling: a screen is made of a piece of mesh stretched over a frame. You first need to make images or text on the mesh, then put it on top of the materials you would like your design to be produced on — paper, cloth, basically any flat surface will do. Then you force the ink through the mesh using a rubber squeegee.
In this issue, we have asked 32 creative units, all experts in speciality printing, to share with us which are their favourites and what sort of challenges they present.