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Printing Industry Exchange (printindustry.com) is pleased to have Steven Waxman writing and managing the Printing Industry Blog. As a printing consultant, Steven teaches corporations how to save money buying printing, brokers printing services, and teaches prepress techniques. Steven has been in the printing industry for thirty-three years working as a writer, editor, print buyer, photographer, graphic designer, art director, and production manager.

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Commercial Printing: B&B’s “Look” Hits It Dead Center

I visited a retail clothing store with my fiancée today. I went in because she wanted to see the shop, but I quickly got lost in the way the décor of the store, its wall and floor signage, lighting, wall paint colors, merchandise tags, music, and avant garde employee attire all came together to create a coherent, bold atmosphere. (Let’s call the store B&B, to make it somewhat of a hypothetical example of good marketing and design.)

The first thing I saw upon entering the store was the print catalog, right near the door. I paged through it as I walked past the clothing, and then I saw backlit images on the walls of some of the same models I had seen in the catalog. Clearly, I thought, print is not dead if this vibrant clothing store (which had a huge line at the cash registers) was actively using a print catalog, within the store, to sell the store.

Bold Signage and Clothing Tags

As my fiancée shopped, I sought to deconstruct what I was seeing to better understand its effect on me. The informational signage was printed in a bold sans serif type, either black ink or reversed out of heavily saturated primary colors. Type was set in all capital letters, tightly letter-spaced with minimal leading to present a dynamic look. Interestingly enough, there were also block letters cut out of wood to denote the various sections of the store. These three-dimensional sans serif letters reinforced the look of the large format print signage.

Large format print images of models had been produced with inkjet equipment, I assumed. (They appeared to be continuous tone, with no discernible dot pattern.) Images printed on paper were framed. Others were mounted on lightboxes and were backlit with bright lights.

At my feet I saw a large, round, inkjet printed floor banner that echoed the wall signage. It had been attached to the floor with an adhesive.

Attached to the clothes I saw either black hang-tags with the store’s logo embossed and covered with a registered clear foil stamp or tags without embossing but still using either clear foil or a spot gloss UV coating to highlight the logo. Some of the other tags were printed in black ink on thick chipboard, offering a more environmentally friendly look.

Dramatic Lighting and Interior Design

Spot track lighting brought out the vibrant primary colors and the pastels and increased the apparent saturation of the color scheme. Collections of yellow and fuscia clip lights balanced the groupings of colored clothing items and accessories, often arranged by color rather than usage. And simple white (almost childlike) “drawings” adorned the walls. They appeared to be made of clear or colored foils glued to the wall paint. It would not surprise me if they had been cut out of vinyl using an automated plotting printer with a knife controlled by digital information from a design file.

It was clear to me that bright color depends on bright light, and the saturated pinks, purples, and greens in the clothing, lighting fixtures, and signs gave the room intensity and an avant garde feel.

Insistent Music, and “In Your Face” Employee Dress

Instead of the Hip Hop I was used to hearing in the neighborhood, the speakers of the music system pounded out electronic dance music. It seemed to match the intensity and immediacy of both the interior design and the bold imagery in the print catalog, with lifestyle photos interspersed among the photos of models wearing branded clothing. And the mohawks, piercings, and tattoos of the employees along with their varied dress (some with screen printed shirts covered with bright fashion images) suggested the forward-thinking, experimental clientele the store sought to reach.

The Website Reinforced the Experience

When I got home I checked out the website. I assumed it would be good, and I was not disappointed. I saw the same typefaces, colors, and bold looks. And there were some of the same models I had seen in the print catalog and the large format prints in the store.

The Catalog Revisited

After I got home I looked through the catalog again. It seemed to be as much a magazine as a catalog, showcasing articles by stylists and designers as well as lifestyle photos to reinforce brand identity and to ensure reader affiliation with the brand. I have always read that print catalogs lift sales, and I could see why. The catalog presented fashion as “power” or “mojo.” It reflected an understanding of trends and popular culture. And it gave the shopper a free reference point he or she could use to extend the experience of the retail store once having left the premises. The photos exuded attitude, sex appeal, and confidence. The catalog was a marketing piece, but it was clearly also an art book.

Why You Should Care

It is very easy to create an overall impression that a marketing campaign has been created by a committee. It is much harder to present a simple, unified look that appeals to a targeted clientele. The lighting, signage, music, employee dress—and let’s not forget the print catalog—of this retail establishment all work together to reinforce a mood and an approach to clothing that distinguishes this store from other clothing stores in the neighborhood.

This store exemplifies the successful confluence of print, architectural, and interior design.

2 Responses to “Commercial Printing: B&B’s “Look” Hits It Dead Center”

  1. Nice blog. Thanks for sharing all this information.

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