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Archive for October, 2019

Book Printing: The “Greyness” of a Block of Type

Monday, October 28th, 2019

I know that a term like “greyness” when referring to a block of black text on a print book page sounds somewhat esoteric, but bear with me. This simple concept can affect everything from the look of a book’s design to its readability and even its printability. And all of this can change based on the age of your readership.

In a nutshell, “greyness” of a block of copy refers to the appearance of text on a white page. Even if it is black ink or toner, a chunk of copy appears to be grey when printed on white paper. This will be affected by the thickness or thinness of the letterforms of your chosen typeface, the amount of leading you add (the extra space between lines of copy), and even your choice of ragged right/flush left alignment vs. justified type.

The Backstory

A client of mine whom I’ve mentioned before desiitgns print books for NATO and the World Bank. I confer with her on the design and make suggestions whenever she gets stuck.

A few days ago, she sent me two type samples. They were actually quite simple, with a headline over a paragraph of text copy. Both type samples were set in a sans serif typeface. Both samples had the same sized headline type and text type (let’s say 24 pt. headlines and 10/14 body copy type with a 5-inch column width, for the sake of argument).

The only difference was that the type in one sample was screened back to 80 percent of black, and the other was 100 black.

My consulting client then asked me which sample I thought was easier to read.

So this was a very simple comparison to make, a bit like my eye doctor’s questioning me as to which lens allows me to read the letters on the wall. “Which is better, this one, or this one?”

My Choice, and the Implications for Your Design Work

I chose the lighter type. I thought the 100 black type “felt” heavy.

As simple as this sounds, it is actually wrapped in complexity, so here are a number of things I told my client to consider (and I would ask you to do the same, if your work involves page design for a print book).

  1. People are liable to stop reading if the act of reading tires their eyes. For a brochure, the type choice can be more flexible because there’s less type to read. For a print book, there’s a lot of text to read, and if its initial appearance is daunting, the reader will be less likely to continue.
  2. On a page, it is easier to read serif type. The reader’s eye travels from one serif on one letter to the serifs on the next letter. However, on a computer screen, it is easier to read sans serif type. When I checked my client’s two type samples, I was looking at a PDF on my computer. So I asked my client to make sure she liked the look of the type on a laser printout.
  3. Even within the two categories of serif and sans serif copy, there is a lot of variance in the greyness of a block of type. Some typefaces appear heavy, while others appear light. To me, slightly lighter type seems more inviting because there seems to be less work to do in reading it (i.e., less eye strain over a length of time). I think others may agree.
  4. But if the text appears to be too light, the reader will need to strain to see it, and this will minimize the accessibility of the type.
  5. More than one and a half alphabets (39 characters in English) worth of text (for the width of a column) minimizes readability.
  6. For text type, 9, 9.5, or 10 pt. type is fairly readable. You will probably find that in addition to lightening the perceived greyness of a block of copy, adding leading (space between lines of text) will increase readability. For instance, 10/12 (two points of lead, if 10/10 is considered “set solid” or with no leading) is quite readable (depending on the typeface). However, also depending on the typeface, I personally find 10/13 (one extra point of lead) or even 10/14, to be optimal.
  7. Readability is based in part on the age of your reader’s eyes. At 61, mine are now less flexible than they used to be. (That is, they will change focus from near to far and back again less quickly.) That’s why I like a little more leading in my type. So when you design something, consider the age of your target reader. And be kind. Your text will be more likely to be read.
  8. This should actually be much earlier in this list, but it’s important to remember that readability is more important than design/appearance. If you lose your reader, a superb publication design is wasted. That said, you can usually find a typeface that both looks good and is readable.
  9. As a caveat, print out your type selections. See how they will look on paper, not just on the computer screen. (After all, the final print book will be on paper, and on a computer it’s very easy to view–and design–a publication that is either smaller or larger than the true 100 percent final size. This can lead you to make bad design decisions.)
  10. There are ways to maximize legibility. Flush left/ragged right text is easier to read than justified copy. It also ensures that spaces between words will not vary. Adding leading improves legibility, as noted before. Shortening the width of a column of type improves legibility. In addition, printing text on a contrasting background (ideally black type on white paper) maximizes legibility. Avoiding blocks of reversed type (white type on a black background, for instance) maximizes legibility, as does avoiding typesetting words in all-capital letters.
  11. All of these rules can be broken if you do so in small amounts of copy. For instance, all-capital heads are easier to read than even a short paragraph of all-capital text. This is a major reason that almost any kind of wild type usage is easier to deal with on a poster (for example, the bulbous letterforms used on 1960s psychedelic posters) than on the page of a print book.

“The Rules” As They Apply to Printing

Beyond the rules of design, type legibility, and the mechanics of the eye, there are printing issues to consider:

  1. Understand how your text design will be printed. This is important. For instance, my consulting client chose the 80 percent screening of black type for her print book. In commercial printing, since ink or toner is either present or absent in any given space (black or white but not grey), the printer must simulate levels of grey with halftone dots. In my client’s case (unless she was going to print the heads in black ink and the text in a separate PMS grey ink), all of the letterforms in her text would be made up of little dots, not solid letterforms. This can minimize legibility.
  2. Fortunately for my client, 80 percent of black (toner or ink) is close enough to 100 percent to fool the eye. From arm’s length (reading distance), the text will appear grey. It should not have visible dots from that distance. However, I would not advise my client, or any designer, to print 50 or 60 percent grey type. In fact, it’s always best (if you have the budget) to choose a PMS grey ink rather than a screen of black ink if you want the text to appear grey.
  3. That said, my client’s sans serif type would be more forgiving than a serif face with both thick and thin letterforms. (The halftone dots would be particularly visible in thin letter strokes, or, worse, the letterforms could appear to be broken in certain thin strokes.)
  4. All of this is accentuated if you’re building a color for the text using multiple hues. As a rule of thumb, I’d say that you should never do this. For headline type, it’s ok, but not for text type. This is because even the slightest bit of misregister (of the three or four printing inks used to build your color) would make the text type appear fuzzy and might make it unreadable.

The Take Away

  1. If you must screen a color or build a color, go for simplicity. Screen the text type at a high percentage (closer to 100 percent black), and only build a color for a headline (that is, a mixture of cyan, magenta, yellow, and black). The fewer of these colors you use, the better. If you build a headline color out of magenta and yellow, for instance, the yellow will be light enough to not be distracting if the register of all inks is not perfect. In contrast, if you build a color with cyan, magenta, yellow, and black, even a slight misregister can cause problems.
  2. Don’t make decisions on the computer screen if at all possible. Print out the type samples and see how they look.
  3. Consider the age of the reader. Older eyes change focus more slowly.
  4. Rely on your printer’s expertise and advice.
  5. Readability always trumps design aesthetics. The first goal is to make your printed products legible.

Custom Printing: 3D Printed Rockets

Monday, October 21st, 2019

A dear friend and commercial printing colleague recently shared with me some information on a firm that prints rockets. Not plastic, model rockets for science fairs but huge, metal rockets that take satellites into space. They use 3D printing technology (building up layer upon layer of metal rather than plastic), and they can do this faster and less expensively than with more traditional technology. Wow.

First of all, an overview: 3D custom printing, also known as additive manufacturing, has been around for some time now. You can even go to a computer store and buy a 3D printer for relatively little money.

The process is analagous to your inkjet printer, which sprays drops of ink onto a flat substrate. In contrast, a 3D printer you might buy at MicroCenter “oozes” liquefied plastic from a nozzle onto a matrix, building up layer upon layer of plastic into a 3D product: let’s say a plastic chess piece. Digital data drives the process.

In contrast, you have the more traditional subtractive manufacturing technology that grinds away at a block of material (metal, plastic). Maybe you would use subtractive manufacuring to “machine” or grind down metal pieces you would then assemble into an electric motor.

Think of this as the difference between modeling a statue out of clay (additive manufacturing) and carving a statue out of wood (subtractive manufacturing).

I’ve read about people making designer shoes with a 3D printer, along with jewelry and even small pistols. Beyond that, I’ve even read about biochemists working toward printing body parts or even types of food (like hamburgers).

But Rockets?

Here’s the gist of the matter. Relativity Space (backed by Mark Cuban, co-host of Shark Tank) has successfully printed space rockets that will put automobile-sized satellites in a low orbit (close to Earth) in a “constellation” (grouping) that can communicate with each other (and can also communicate more quickly with Earth because they are closer to Earth than other satellites).

Relativity also plans to eventually make rockets in this manner (3D printing) on the surface of Mars using local (“in situ”) materials (Martian rockets 3D printed on Mars using Martian materials).

And Relativity already has clients, such as mu Space in Thailand. mu Space makes satellites, but it has also designed a spacesuit. And Relativity’s 3D custom printing processes will come in handy here as well.

To go back to the business pitch for Relativity’s 3D process, Relativity can produce the rockets considerably faster (six months vs. the usual three to four years) and considerably cheaper (two to three times cheaper) than with traditional technology. And because they can do this more quickly and cheaply, schedules for getting back into space can be shorter. And changes in rocket design can be achieved more easily (on the fly, if you will).

After all, when you’re building a component of a rocket layer upon layer with metal using digital design information to drive the process, you don’t need expensive machinery specifically designed to grind down the parts. (You don’t even need machinery for injection molding–another additive manufacturing process in which you pour liquefied metal into a mold.)

You have flexibility.

But Is It Printing?

So how does all of this relate to commercial printing? And what are the overall business implications of digital (let’s call it) 3D imaging?

First of all, when you print ink on paper, you are presenting the reader with a stimulus. The reader sees the words and photos, and perhaps the qualities of the paper, and this evokes an image in the mind and emotions of the reader. For functional printing and informational printing, the printed product essentially does the same thing.

For 3D printing, additive manufacturing transports the printed product, which had initially been a vision in the mind of the manufacturer, into three dimensional reality. In addition, for functional products like Relativity’s space rockets, the 3D printed item has a utilitarian value (just as a printed computer keyboard layout has utilitarian value).

The next benefit of 3D manufacturing (over subtractive manufacturing) is that you don’t have to spend huge amounts of money to change the manufacturing tools every time you change the design. Just as you can print a flexible packaging prototype via digital inkjet (and then change the design in response to user feedback), if Relativity doesn’t like a prototype rocket made with 3D custom printing, they can remake the digital design files. Then they can 3D print a new prototype without needing to remake the injection molding equipment or the tooling or grinding machines.

Whether it’s a brochure or a rocket, driving the production process with digital data reduces costs and speeds up production.

And if you’re making rockets, you’re applying your efficient and economical manufacuring techniques to an especially lucrative endeavor.

For Further Reading

You may want to check out the following articles about Relativity Space and the Terran rockets, the world’s first entirely 3D produced rockets. These articles discuss Relativity’s ability to produce rockets from “materials to flight-ready” in 60 days with a launch time of between two and four years:

“A 3D-Printed Rocket Will Launch a Thai Satellite Into Space,” Forbes.com, 04/23/19, Elizabeth Howell

“Relativity Space to Launch Satellite ‘Tugs’ on Printed Rocket,” Space.com, Dorris Elin Urrutia

“Dreaming of Mars, the Start-Up Relativity Space Gets Its First Launch Site on Earth,” TechCrunch.com, Jonathan Shieber, 01/17/19

Custom Printing: Whole Foods Equals Great Branding

Sunday, October 13th, 2019

After a medical procedure today and nap during which I slept like the dead, I stumbled downstairs and grabbed the mail on my desk. I could barely see anything. My eyesight wasn’t right yet. But I knew by its colors and its feel that I held in my hand the new Whole Foods Market catalog/brochure—even if the address panel of the folded marketing piece didn’t contain the Whole Foods logo.

Now that’s good branding. So here’s a breakdown of what Whole Foods is doing right (in my opinion).

Branding: The Logo and Signature Colors

First of all, this 8.5” x 11”, 12-page, saddle-stitched print catalog comes to my fiancee’s and my house regularly. (Literally, at the same time each month.) This is important because it sets up an expectation in the reader. I think that the intangibles of a brand (in this case, reliability) are just as much a part of the brand as the shape and color of the logo.

When you open the wafer seals (to keep the folded piece small enough in format to mail economically: 5.5” x 8.5”), the first thing you see is the Whole Foods logo in the top left, bleeding off the top of the page. This is relevant because the eye starts at the top of the page and goes down. Why? Because that’s how we’ve been taught to read.

That said, there’s a large silhouette of an apple tart in the bottom right, also bleeding off the page. (That’s important because bleeds make the printed piece look bigger than it is. This is because your subconscious thinks there’s more of the apple tart—in this case—that exists beyond the edge of the page.)

The green logo at the top of the page and the apple tart capture the reader’s attention and link the Whole Foods brand with the visceral experience of culinary delights. This in itself could be their mission statement.

Branding also involves the paper choice: in this case a less-than-bright-white, uncoated press sheet. The more subdued look and the tactile feel, along with the presumption that fewer chemicals were used to bleach the paper, highlight the Whole Foods brand as being sensitive to the environment. This value draws in the clientele, who presumably feel the same way.

Page Layout

The brochure designer (who is masterful, and from whom I can learn a lot about design) continues the design through the remaining eleven pages within the following structure.

Photos are large and contain groups of delectable food products. In some pages, the photo takes up one and a half pages (bleeds across the gutter), leaving the balance of the two-page spread for a column of type. Alternatively, a photo of multiple products on a light background contains chunks of copy describing the products. (Actually, even the large photos that extend across the page spread have ghosted boxes for product descriptions. There is an air of sophistication in the way you can see the plates of food through the text boxes overlapping them.)

The designer also contrasts large and small images. (Contrast in size of visual elements creates interest—a rule of design. It also makes the large photos look larger and the small photos look smaller.)

Product prices are larger than the text type and therefore easily identifiable. (The reader’s being able to scan the booklet quickly makes product sales more likely.) Red ink highlights the word “SALE” when it appears throughout the booklet (enhancing reader expectation through repetition of similar visual elements).

Also, periodically, the signature green of the Whole Foods logo appears (for example, in a circular burst that says “New”). The circle of the “New” burst reminds the viewer of the circular green Whole Foods logo, and the repetition of the color and shape adds consistency (unity) to the catalog/brochure. (Unity is another principle of design, crafted through repetition of colors, images, typefaces, and such.)

In many cases the food (apples, for instance) appear to have been tossed around at random on the light background. (This is even true in some cases for the bottles of product on a white, randomly-patterned tile wall.) All of this lends an air of casual movement and excitement to the printed piece. (Just as you might toss a salad full of sun-dried tomatoes.)

One page is replete with “Prime” (as in Amazon Prime) member deals, and this icon as well is noted with a blue circle from which the type has been reversed. This hearkens back to the other circular logos, even though it is blue. On this page there’s a three-item by three-item grid of nine products. The structure of this symmetrical arrangement adds contrast to the bottles of sauces in active motion on the opposite page of the design spread.

The Piece de Resistance

I actually remember where I was standing thirty years ago when I was first asked to design a print catalog of government books for a non-profit organization, while including “lifestyle blurbs” periodically that pertained to government but not to the print books. I was behind the times in my confusion.

Within the Whole Foods booklet, there are periodic recipes. This is considered “evergreen” “lifestyle” content. People who read this brochure or print catalog presumably want to affiliate themselves with the brand, in part by expanding the food-shopping experience into a cooking experience. (Granted, even without the branding goal, the recipes are still useful information—which is why they hook the reader. After all, if you like the products and the environment, it makes sense that you’ll want ideas for using the food. I personally read Trader Joe’s marketing materials for the same reasons.)

The Last Page

As a recovering designer, I remember back when I was designing print catalogs like these and was faced with what to put on the back of the booklet (prime selling space).

First of all, you need to follow the postal regulations. I’m sure they’re online now, but we used to get books from the Post Office. These print books covered where to print the address information, where to place the indicia, and most importantly where to print noting at all, since it would disturb the optical character reader (and render the printed piece non-machinable). In your own work, follow these Post Office requirements religiously. If you don’t, at best the Post Office will charge you more per piece to mail the non-machinable brochures. But at worst the Post Office will reject your mailing outright, and you’ll need to reprint the job.

Fortunately, you can ask for a direct market specialist to bless your mock-up (size, placement, tab sealing, everything) before you print. It behooves you to develop a good working relationship with such a USPS professional.

Back to the design of the Whole Foods catalog/brochure. The unfolded back panel has a stack of sliced apple bits on the left, which brings the eye up to some “sale information” at the top and down to more “sale information” at the bottom of the page. When the page is folded for mailing, this stack of apple bits is visible on either side of the page (remember, this is what you see when you get the mail—the mailer and the back panel, not the front of the catalog—so it has to be recognizable and appetizing, so to speak).

What You Can Learn from This Case Study

I can really keep this to one basic concept: Find examples of what you like and then deconstruct them. That’s how you learn. That’s how I learned.

Think about the paper, colors, and typefaces. Think about the overall design grid. Think about the photos. Think about what’s included (like Whole Foods’ recipes) and what’s not.

Use generous white space. It makes the design seem airy, opulent—and it’s easier to read.

Make sure the reader’s eye flows through the printed piece in exactly the way you want it to. (Use color and the contrasting size of the visual elements to achieve this.)

A well-designed brochure, print catalog, or booklet is a better teacher than a “how-to” print book or even a professor droning on in front of the design-principles class. Find designs you like. Look closely. Learn. Then bring into your own design work what you’ve learned from others’ work. If you do this, even a groggy reader collecting the mail will recognize the branding of the piece and associate it with the company you’re promoting.

And that instant of recognition alone is worth lots of money to the company your custom printing product promotes.

Commercial Printing: Thoughts on Designing and Tweaking a Logo

Monday, October 7th, 2019

A custom printing client of mine recently asked me for help with her rebranding efforts. Over the years, I have been a designer and art director, and I have also done marketing writing and design work. In addition, I have focused on marketing as subject matter for the PIE Blog articles and Quick Tips articles, so I spend a lot of time studying this aspect of communications and commercial printing.

Since my client just offered me this new work, it seemed fortuitous that I just found an article on adjusting your logo for reproduction at different sizes and in different media (internet vs. print, for instance). The article is “Designing a Logo for Every Size and Usage.” It was written by Ilene Strizver and published on www.creativepro.com on 8/13/19.

Strizver notes that logos must be immediately recognizable at different sizes. Although you may first see a logo on a business card, you need to see the same visual image when you find the logo again on a large-format banner on the side of a building.

Or, you may see the logo first on a brochure and then online. The first rendering will be achieved with ink or toner, and the second will be composed of colored pixels on a backlit computer screen, which provides a very different visual experience.

Much of what “Designing a Logo for Every Size and Usage” offers is an approach to the letterforms used in the logo. That is, we must first understand that the size of the logo changes the appearance of the letterforms.

For instance, if you create a logo that is 3” wide (an arbitrary width) and then shrink it down to a useful size for a business card, certain portions of the letterforms will fill in and be unreadable. Granted, if you look through a magnifying glass, these strokes in the letters will still be there, but at a normal reading distance, your eye will fool you. The “counters” (the technical word for the curved, enclosed spaces in the letterforms, such as the enclosed portion of a “P”) will fill in or at least not be visible.

Or the letterforms will appear to run together. They may not be distinct from one another. Or the serifs in the typeface may disappear (they’re still there, just below the threshold of readability).

Or, depending on your substrate, the commercial printing technology might be problematic, according to Strizver’s article. For example, if you’re printing on fabric, the inks may bleed into the fibers, making parts of the letterforms fatten up or become blobs of ink.

Enlarging the logo might also be problematic. If you take the 3” logo and enlarge it for use on a banner, the letters may seem to be too far apart. This can impede readability because the letterforms don’t appear to be as connected to one another as you’re used to (that is, you begin to see the strokes as individual letters instead of seeing them as one word). If you have to think about the word you’re reading, this will hinder your comprehension.

And all of this is just for printing with ink or toner. That’s just half the battle.

Rendering your logo on a smartphone screen or tablet or computer monitor may make the letterforms look different than you’re used to. Colors are not always the same as in print (so they may not match the PMS colors of your printed logo). In addition, the backlighting of computer screens makes it harder to read small type. And even though serif faces have been proven easier to read in print, the opposite is true online, where sans serif typefaces are easier to read.

All of this can slow down your reader. And a major rule of marketing and psychology is that anything that slows down a reader or confuses her/him will dilute your marketing message. At best, your prospective client’s reading speed will be impaired. But at worst, you’ll lose your reader entirely.

What to Do / How to Fix These Problems

“Designing a Logo for Every Size and Usage” doesn’t really tell you what to do. Rather it lets you know what to look for in designing a logo, so you can tweak it for optimal readability. Moreover, it presents a novel concept in this light. That is, you should create different versions of your logo for different uses. Not very different, just optimized for the size and medium in which it will be presented. The goal is to massage the logo in such as way that the reader’s eye (with all its limitations) thinks all of the different sized iterations of the logo are exactly the same.

As an approach to doing this, here are the things Strizver says you should consider:

  1. Adjust the letterspacing as needed. (This is the space between letters, which can be altered with “kerning” controls in InDesign.) It should be more open for smaller versions of your logo and tighter for larger versions.
  2. The same holds true for word spacing (the space between words). You need more word spacing for smaller versions of the logo and less word spacing for larger versions.
  3. If your logo has multiple lines of type (perhaps a logo word mark with a tag line under it), add more space between lines (“leading”) for smaller versions of the logo and less space for larger versions.
  4. Adjust the thickness of thin strokes (like serifs) as needed.
  5. Make the “counters” of the letterforms (like the enclosed space in a “P”) more open if you’re rendering a logo at a small size.
  6. Narrow and condensed fonts can be even harder to read (and therefore may need more adjusting).
  7. Readability can be improved by using a slightly different weight for the font (some fonts come in demi-bold and bold, for instance, or other slight variations from one another).
  8. Changing the strokes of a letterform can be daunting. Remember you’re not doing this to an entire font. You’re just tweaking (presumably) a limited number of letters in a logo. You may choose to do this in Illustrator. (This was not in Strizver’s article. It’s my own commentary.)
  9. Another related suggestion of mine (not in Strizver’s article) is that you be conscious of the reader’s age. As we get older, our eyes become less flexible in changing focus. In this case, paying attention to Strizver’s suggestions becomes even more important to your readership.
  10. Make subtle changes to the letterforms, not dramatic ones.
  11. After all, the goal is for none of your readers to see what you’re doing. You’re not creating a new typeface. You’re just making it easier for customers and prospective customers to see your logo and not stumble over the limits of human eyesight or the liabilities of various media.

An Approach to Your Own Design Work

As noted above, I have a new logo/rebranding client. It would be very easy for me to forget all of this in forging ahead with the rebranding work. Therefore, it’s best to slow down and think. If you’re in a similar position, here are some things to consider, based on my own experience as a designer and art director.

  1. Focus on the logo type treatment and any image you will use first. Think like an artist at this point. Try different type treatments and approaches to the logo.
  2. Then view the logo at different sizes. At this point, just observe and make mental notes of potential problems.
  3. Then check your logo on different media. Try printing it out (both black and white and color). Then see how it looks online in various sizes.
  4. Consider all of the suggestions presented in “Designing a Logo for Every Size and Usage.” Make changes and develop a logo style-and-use document for the client based on presenting the logo at different sizes, in different ways, and on different media. But do this last. First, make sure you have an aesthetically designed, dramatic logo that will be a powerful statement at different sizes. Then focus on Strizver’s article as a way only to “tweak” the designs and present them in their best light.

You may be surprised at how effective this can be. I just did this with my fiancee’s daughter’s logo for her yoga studio. I tightened up the spacing between a few letters in her logo (also knows as “kerning”), and the name of her studio, which had initially appeared as a few small clumps of separate letters, visually (and therefore cognitively) became one word. In the case of my fiancee’s daughter’s logo, all it took was equalizing the space between all of the letters in her logotype.

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