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Output

The promotion of emotion

Genevieve Lewis looks ahead to 2017 Antalis Review Awards and finds out why the company thinks print and design is so influential. The 2016 Antalis Review Awards were all about emotion, with two of the biggest winners demonstrating the unrivalled power of print when it comes to capturing moments in time and chronicling personal journeys.

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Last year’s ‘Best in Design’ winner was presented to ‘My Heart Op: A young person’s guide to having heart surgery’

With the 2017 Review coming up, James Jarvis, channel director for print and visual communications at Antalis, explains how powerful design can be and the critical role of substrate selection in the creative process.

He says: “Despite today’s digital age, the almost default position of the electronic document and the unabating need for speed and shareability, the power of print retains a strong foothold in almost every industry.

“It was once said to me that ‘as long as we are humans, we will have print’. It’s a big statement but, for me, it completely encapsulates the power of print because, as human beings, we are primarily creatures of emotion. As such, we like to feel, we like to touch and we like to experience via multiple senses.

“Another human desire that is driving a continued trend in the print and wider marketing world is the power of personalisation. In today’s mass media, volume-produced, group email world, we still want to feel individual, special and emotionally connected. This all plays to the strengths of print.”

Jarvis explains that the two biggest winners from last year’s event were good examples of this, as they “demonstrated the power of print to capture a personal journey” and could engage with the audience.

He continues: “Our overall ‘Best in Design’ winner, ‘My Heart Op: A Young Person’s Guide to Having Heart Surgery’, was designed by Alphabetical Studio for the British Heart Foundation, specifically for 13-19 year olds. Considering the target demographic, many would assume digital would be the way forward—but with such an emotive subject and a critical requirement to connect with each young individual, something that had personality, longevity and a feel-good factor was essential.

It was once said to me that ‘as long as we are humans, we will have print

“The printed guide was designed with simple cut page navigation and supported with vibrant pictograms so patients could find information easily. Printed by the APS Group on Edixion Offset 120gsm and 250gsm, a wood-free, uncoated, quality offset paper, supplied by Antalis, the judges unanimously warmed to the piece, which was deemed to have hit the target audience perfectly, delivering the British Heart Foundation’s messages in a powerful and moving way.”

Jarvis also explains that last year’s ‘Best in Print’ winner was ‘Don McCullin: Irreconcilable Truths’, a three-volume boxed set on the acclaimed war reporter and photographer. It was printed by Opal Print and designed by The English Group, and was made up of 1,500 pages of print. The product was also cloth bound.

He says: “With excellent production characteristics essential, the project involved the detailed process of test printing a selection of Sir Don’s images using a mix of different litho and digital printing techniques and a carefully considered range of papers. Antalis’ Cocoon Recycled paper was selected for the reproduction of images, and Mohawk Superfine stock for the digital reproduction of accompanying monographs—including the first ever printing of a selection of Sir Don’s colour photography.

“The choice of paper has never been a more conscious statement than in today’s world—but ultimately, people are programmed to enjoy something beautiful. It’s human nature to respond to the tactility of textures and materials, the nostalgia of smell and the vibrancy of printed colours and visuals. The design, production and print of these award-winning pieces are a superb example of the emotive influence of print, design and the role of substrates as a determining factor in the quality and presentation of moving print.”



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