Luckily, in amongst the world of digital photo frames and web based magazines, the paper industry is taking notice and finally stepping up to the plate. Recycled paper has been around for a while, but as with any buzzword, use of the word ‘recycled’ doesn’t necessarily mean a whole lot. It could be as little as 10% recycled material, added to the fact that the raw materials are such a small part of the whole picture.

The more clever and responsible paper companies are re-examining their manufacturing processes, from the collection of raw materials right through to the mill floor and who provides their electricity. They’re not focusing blindly on steps allowing them to use the word ‘recycled’ alone, but are taking larger scale steps to manage their overall carbon footprint and corporate contributions to (and subsequent limitation of) greenhouse gas emissions. The quantity and type of energy and chemicals used to manufacture the paper are also determining factors, and the end result is a much wider range of ecologically responsible choices for those of us in the business of designing materials for print.

But how do you know which option to choose? The Environmental Defense Fund is a good starting point. Their online paper calculator takes all of these issues into consideration, and compares the overall environmental impacts of a wide range of different papers across their full lifecycle. While they can’t possibly include all of the paper manufacturers at any one person’s disposal, they do paint a clear enough picture of the sort of questions you should be asking when in the position to choose your stock.

Carbon footprint at EDF is calculated by kg equivalent of C02/MT and broken down into four major impact factors:
• Extraction of Wood
• Transportation / Waste / Disposal
• Manufacturing Energy
• Fibre Procurement

They also provide specific paper comparisons to North American averages for both 100% recycled papers, and standard virgin papers.

You can check out the EDF Paper Calculator at www.edf.org/papercalculator

At minimum, you should be looking for paper that is 100% post-consumer fibre, processed chlorine free, and manufactured regionally using responsible energy. In Canada, look for the Environmental Choice and FSC certification badges.

A successful catalog must be impeccably well-designed, and most importantly, needs to be tailored to convey your company’s image in a way that is relevant to your audience. For example, a catalog intended to sell modern gadgets and electronics should present an appearance and image vastly different to one intended to sell baking supplies.

The Front Cover
Let’s start at the beginning, shall we? The front cover is your first impression, and as in so many other facets in life, first impressions are primarily visual. So, immediately, your front cover must be aesthetically appealing. Depending on your product and market, you may want to present a specific feeling… of refreshment, comfort, or excitement for example. Front cover design follows many of the same premises as ad design… keep the text content to a bare minimum (often just the company name, slogan, and perhaps a catch phrase), use a clean and uncluttered approach, and be sure the cover clearly features your company name.

Try to select an image that is relevant to your audience, and that will make them want to use your products. For instance, if you sell sports equipment, you might want to feature a dynamic image of a cyclist, pushing hard to the finish line or busting a difficult trick, wearing a jersey with your logo, and using equipment offered in your catalog. This type of imagery speaks directly to your audience, and uses a setting they understand and enjoy, allowing them to place themselves into that image (and by association into your products).

Back Cover
The back cover is often neglected space in catalogs and magazines, often reduced to ad space for other companies, or boring blank space with a barcode and address. A surprisingly high percentage of people actually read through catalogs backwards, starting at the last page and flipping to the front. I’m not sure why, but I often find myself doing it too. If you’re publishing a magazine, you would generally use this space for a second lead. Similarly, a catalog’s back cover can be used to feature new products or showcase an overview of major current products (with references to page numbers in the catalog itself).

And like the front cover, the back cover should be easy on the eyes with a simple message… attractive, clean, focused and uncluttered.

If you have other plans for the back cover, you could also position your second lead on the last inner page face within the catalog, since the reader’s eye lands there first when the catalog is opened from the back.

Inner Pages
Primary Focus
In laying out the catalog’s internal pages, as with any print materials, the primary focus zone is the upper right corner of each two-page spread. The reader’s attention will be directed there first as pages are turned forward. Similarly, the upper left corner of each two page spread is the sweet spot for backward flippers. Use these areas for products in your inventory that are the most visually compelling or interesting. Your best selling products can appear elsewhere on the page, unless you’re really trying to further push those products in excess of their current success. Diversify – your best sellers can become boring, in that featuring a product people are already familiar with doesn’t really garner any new interest.

Fonts
Use and treatment of type in any kind of publication is much more important than you may think. If you use a font that is too casual, or clutter your catalog with a dozen different fonts, you risk looking like an amateur outfit, which will sacrifice credibility, which will lower sales. And if your catalog isn’t easily and immediately legible, people won’t bother reading it, no matter how carefully your product images are laid out. Remember, most people tend to flip through catalogs rather than sitting down to read them like a novel… your message needs to be clear, concise and compelling. A few simple rules of thumb will ensure your catalog reads as good as it looks:
• If you want to use different fonts, use no more than 3: say one for section titles, one for product titles, and one for descriptions/prices.
• Vary type usage with bold weight, italics, different sizes and colours, but be sure to keep treatments consistent throughout the catalog.
• Font size should be no smaller than 8pt
• Using all capital letters should be kept to a minimum, and do not underline – use bold or italics for emphasis instead

Remember, consistency and clarity are key. You want the reader’s attention on the product, not a cacophony of conflicting typefaces and font treatments.

Brand Your Catalog
When your catalog arrives in the mail, your customer should immediately recognize it as belonging to your company. Customer loyalty depends on a certain level of predictability, which breeds familiarity and comfort. They know what to expect from your catalog, and they know how to find what they’re looking for within it. For example, everybody knows how to navigate the Sears Wish Book at Christmas time – and you know exactly what it is, even from a distance. It’s familiar, it’s easy to use, and people love it.

For your catalog, you will want to consider finding some kind of hook to differentiate your company from the competition. For example, Ikea catalogs often feature room packages, which show a full professionally designed room layout, with a total price for everything featured in that room, and a breakdown of products needed to achieve that look. It’s very effective for people who need a bit of design help or students on a budget, and is quite good at convincing people to buy add-on items from the same retailer in order to achieve a look they like.

All of your catalogs should follow a consistent navigational and design theme, so your customers will come to be familiar and comfortable with your catalogs. And by creating a “look” for your catalog that is comfortable and familiar for your readers, you will be able to keep their attention even when the products are switched over for new offerings.

Product Shots
Group photos are nice, but featuring individual items in a clean, polished way will sell better. Group shots do have their place, provided you use small groups of closely related products rather than a large pile of random “stuff” that can become confusing for your audience. And if you do use group shots, be sure that products within the shot are carefully and clearly keyed to the individual product descriptions (i.e., a small but clear “A” on the photo should correspond to the product description marked “A”).

When possible, isolate product shots on a stark and seamless white background, highlighting crisp detail and forcing focus on the product itself. If you’re selling jewellery, use professional photomanipulation to maximize the shine, gleam and sparkle in your products. Use subtle effects such as a barely visible drop shadow, or wet surface reflection, as appropriate for the specific product line. Again, if you use a certain effect, keep it consistent throughout the catalog.

Ordering
So you’ve sold them on a product, and now they want to buy it… but how? Be sure to make the order process exceedingly easy. So easy they could (almost) manage an order blindfolded. And though most people will process an order online or by phone, many people still prefer the old fashioned paper and pen order form – do not exclude these people, as they may prove some of your most loyal customers. Even people who order by phone or online may use the order form to work out the details of their order before making the call/visit. It’s also the perfect place to list terms of sale, return policies, and other relevant corporate information.

On your website, prominently list a phone number, email and order area/shopping cart. If you have an online store in addition to your catalog, create a custom order area where people can enter catalog product numbers directly so they do not need to go through the process of finding all their products over again on your site. If you have an order number, be sure it’s manned by a real, living breathing person – nothing turns customers off more than automated phone systems.

The Printed Product
You’ve invested a lot of time, consideration and planning into the effective design and layout of your catalog. Please, PLEASE do not just go with the cheapest print company you can find. You’ll regret it. Trust me.

Be sure to choose paper stocks that are suitably thick, and that feel nice against your skin. A thin, harsh uncoated stock looks cheap, feels rough, dulls colour, bleeds ink onto your hands and generally will not represent your company or products well. Use a proper cover gloss stock for your cover, and a nice gloss stock for the inner pages. 100pt is ideal, but 80pt is also acceptable given the paper feels and prints nicely.

And remember, your catalog is going to be delivered through the mail. Unless you’re packaging the catalog in a sealed plastic coating, it is going to be subject to some potentially harsh weather conditions. Keep this in mind when choosing your paper options.

Catalogs come in all shapes and sizes. The standard sizes are cheaper to print, and for most applications are perfectly suitable:
• Standard full-size (8 3/8″ x 10 7/8″)
• Slim (6 1/8″ x 11 1/2″)
• Digest-size (5 3/8″ x 8 3/8″)

Unique sizes will attract attention, and can be highly effective in building a unique brand image and moving product. However, moving away from the “standard” sizes will add as much as 25 percent to the cost of production. So you would need to evaluate whether the extra investment is worth it for your particular company.

Printing in increments of 16 pages will be the least expensive option, as heat-set web presses print in 16 page signatures. This means that your catalog would be 16, 32, 48, 64 pages long, and so on. The next best option is to design in page increments of eight.

Colour Sells
If you can afford to print your catalog in color, it will invariably make a better impression, and will generate at least 25% more sales than a black and white catalog right off the bat. Colour sells – no question. That said, as with all other elements in your catalog, colour schemes not related to your actual products should remain consistent throughout. You can also use different colours to represent different sections in the catalog.

Bring it all Together
Successful collateral design uses a lot of consumer psychology in addition to professional design theories, and catalogs are no exception. Take advantage of what professionals have learned about how consumers think, react and attach to concepts and visual elements. Consider how the reader’s eye crosses the page, capitalize on primary focus zones, and present your products in the best way you possibly can through use of layout, colour, type, and texture.

When a catalog takes on a personality of its own and becomes something the customer enjoys, then it has achieved a positive brand image. No other kind of marketing collateral targets a niche audience quite as well as a thoughtfully designed and produced catalog, which can either serve as your primary sales vehicle, or as an excellent companion to an online or physical brick-and-mortar shop.

The most common implementation questions we come across are often in regards to printing… what finishes to use, what stock, and most often, should we use digital or offset printing?

In the past decade, digital printing has benefited from a surge in popularity… due to a combination of increased affordability, technical advancements, and the availability of more options than were previously possible in digital print. Literally hundreds of new digital print companies have opened their doors online, making commercial print solutions more readily available to everyone. That said, this growth in popularity has also caused quite a bit of confusion for those not “in the biz”, and a few unscrupulous (or plain inexperienced) companies are taking advantage of this confusion… resulting in a large proportion of print consumers walking away with a product that does not meet their needs.

An understanding of the advantages and disadvantages of digital printing versus those of traditional offset lithography, is crucial in making the right choice in your printing company.

MECHANICAL PROCESS

OFFSET: Offset lithography is the most commonly trusted high volume commercial printing technology. In offset printing, the design image is first burned onto a plate, and is then transferred (or offset) from the plate to a rubber sheet, and finally to the printing surface. The lithographic process is based on the repulsion of oil and water. The image to be printed gets ink from ink rollers, while the non printing area attracts a film of water, keeping the non printing areas ink-free.

DIGITAL: If you have a desktop printer at home, you’re likely already familiar with the mechanical process of digital printing. Many of the mechanical steps required for offset printing are eliminated (namely, making films and color proofs, manually stripping the pieces together, and making plates), which results in a much more affordable print solution.

ADVANTAGES OF DIGITAL & OFFSET METHODS

DIGITAL ADVANTAGES:
In general…
1. Shorter turnaround
2. Lower costs for very small print runs
3. Availability of variable data printing (database driven, e.g. mailing lists)

OFFSET ADVANTAGES:
In general…
1. Higher image quality, higher resolution and no streaks/spots.
2. Works on a wide range of printing surfaces including paper, wood, cloth, metal, leather, rough paper and plastic.
3. The unit cost goes down as the quantity goes up.
4. Quality and cost-effectiveness in high volume jobs.
5. Many modern offset presses use computer-to-plate (as opposed to the older computer-to-film system) further increasing quality.

HOW TO DECIDE?

Use this checklist to help decide:

[ ] Quantity
Offset printing has a front-end cost load, which means short runs (low quantities) may have a high per-unit cost. But as quantities increase, the unit cost goes down with offset printing. Very short runs can be more cost effective with digital printing; while larger quantities are likely to have a lower unit cost with offset printing.

[ ] Printing Medium
Do you need or want a special paper, finish or unusual printing surface, or unique size? The options are getting better for digital, but offset printing still offers the most flexibility.

[ ] Colour
Digital presses use four-colour process (CMYK) printing. If you need only black ink or one or two ink colors, offset printing may offer a more cost-effective solution. If you need four-color printing, digital may offer advantages in lower up-front costs. That said, a few progressive modern offset printing companies are now offering rich full-colour printing, with no added plate/setup fees for additional colours.

[ ] Pantone®
If you’re planning to print using the Pantone® Matching System, offset printing will give you the best match, since it uses actual Pantone® ink. Digital printing simulates the color using a four-color matching process, so some digital printers may offer less accurate color matching on projects.

[ ] Turnaround
If you need it fast, digital usually offers quicker delivery. Again though, a few select offset print houses are now offering print turnaround in as short a timeframe as 24 hours.

[ ] Proofing
Digital offers more accurate proofs, since what you see is an actual sample of the printed piece, printed using the exact process as the intended run. For offset printing, if you need hard proofs, stringently accurate colour proofing can become expensive.

[ ] Customization
With the ease of database driven variable data printing, digital printing offers the most affordable way to customize marketing materials, direct mail pieces, letters, etc. with a different name/address or number/code on each printed piece.

SUMMARY

Digital printing can be the ideal solution for some people, but in our experience, computer-to-plate offset lithography (combined with respectably high quality stock and finishing) always yields the superior result in print quality. The trick then becomes finding the right partner.

Over the years, we have sampled the services of dozens of local and global print houses, and have painstakingly hand-picked a small selection of partners who put out consistently high-quality product, on time and in budget… with whom we have since developed trade agreements. Not everyone is able to invest this sort of research into choosing the right print partner, but to ensure the best results, we would strongly suggest that you follow these minimal steps:

1. Leave Nothing to Chance
Be very specific with your print company when communicating which stock you want used, which colours, which process (digital vs offset) and what sort of finishing or coating you want on your cards.

2. Get Samples
Before initiating your print project, request samples from your prospective print companies. All reputable print houses have a standing offer of free samples expressly for this purpose.

3. Proof
If you are managing your own print project, and are working with a local firm, be sure to request a pre-press proof before authorizing the full run. This will allow you to confirm that the company understood your specific instructions outlined in item 1 above. It will also allow you a hands-on preview of the final product, so you can catch any imperfections ahead of time. If you are working with a remote partner, be sure to request a digital proof… while this requires an element of trust in terms of the stock and finish, a digital proof will allow you to ensure all visuals are to spec.

In the end, a good design cannot fully live up to its potential when run on a shoddy print job. If you are as careful and selective in choosing a print partner as you were in choosing a design firm, you can ensure that the physical product that actually reaches your partners or customers is of the highest possible quality.

Because all things considered, high quality is precisely the message you want to deliver.

Sage Media is an international corporate design firm based in Ottawa, Ontario.

As a general rule of thumb, you have three seconds to make an impression on those walking past your display. Your overall design that includes each trade show booth graphic and sign must be simple and meaningful enough to compel attendees to walk in and learn more.

The content on your signage should simply and very clearly communicate — in as few words as possible — the benefits of your product. It is also wise to consider the impact of other important elements such as lighting, and even smell.

If you are hiring a professional design firm to create your tradeshow graphics for you, you should look for the following:

1. A style of creativity that is both engaging and clean
2. Understanding of materials and how they are best used
3. Ability to communicate ideas clearly and precisely
4. Understanding of structure
5. Understanding of graphic techniques (typography, photography, etc.)
6. Understanding of technical requirements for large scale print
7. Awareness of marketing trends and their relations to your objectives
8. Ability to effectively research your target market for the event
9. Trade connections in the print industry always help!

Of course, if you’re doing it yourself, then you should have the above all confidently checked off in order to come away with a successful result.

Sage Media is an international corporate design firm based in Ottawa, Ontario.

Your materials should all send the same clear and positive message about your business. For your corporate and marketing materials, this means that every item in the “wardrobe” should match… not in terms of looking identical, but rather each item should complement the other and when placed together, it should be obvious that they are two pieces in a cohesive suite of well thought out and professionally implemented design. This includes your logo, stationery, packaging materials and labels, signage, web site, email signature, window displays and office decoration, PowerPoint presentations, giveaways and specialty items such as mugs, t-shirts or pens.

Your trademark or logo needs to be professionally developed, and used in a consistent way. Don’t be tempted to change the font or colour randomly or without obvious cause. Of course you can have several versions of your logo, but keep the number of variants low, and be sure that you have one primary version that is recognizable as the “official” logo.

Your stationery should all be the same colour, finish, and quality of material. Ideally, your basic corporate identity package (business card, letterhead and envelopes) would be developed as a set by a brand designer with experience in creating cohesive stationery systems for business. And when printing documents on your shiny new letterhead and envelopes, use the same font consistently.

Project Taste and Success

You care about your business and take a lot of pride in the quality what you offer, so make sure you show it. Use high quality stock and finishing when creating your materials… go for the thicker stock, the satin or high gloss finish, and the best design company you can afford. In designing your materials, simple is always better. Yes you can have airbrushed murals printed on your letterhead – but please, resist the temptation to go too exhuberant in this area. Look at Apple; people love clean and simple. It’s just nicer, and people will take you more seriously as a business.

And as for your business cards, again you want to avoid the temptation to purchase an Avery kit and spit them out of your deskjet printer at home. The paper is lightweight, and the printing process is far from professional, so it ends up looking cheap, the ink will smudge, and it’s not durable. Have your cards designed professionally, and opt for offset lithographic printing on at least 12pt card stock (I prefer 14 with satin, or one of the more artistic options such as plastic or metal). The end point is that your card, and all your materials, should create a positive, interesting, and lasting impression.

And remember, these items don’t just apply to your corporate materials; apply them to the way you do business in general and you’ll reach the same result: an impression of competence, and success.

Sage Media is an international corporate design firm based in Ottawa, Ontario.