Print Design Basics for Graphic Designers | Lindsay Marsh | Skillshare

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Print Design Basics for Graphic Designers

teacher avatar Lindsay Marsh, Over 500,000 Design Students & Counting!

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Class Preview


    • 2.

      Project Critique


    • 3.

      Project Critique - Part 2


    • 4.

      Projects That Fold


    • 5.

      Brochures and Handouts


    • 6.

      Package Design


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About This Class

Print Design Basics for Graphic Designers

The following lessons are not flashy, cool or trendy but incredibly practical.

Learning how to create and layout print design projects is essential for any budding designer to master.

We are going to review print design projects by critiquing a few items I collected from my mailbox and other places.

I will also go over old client work to show you the wide variety of print sizes, inks, folds and options.

We will even go over how package design boxes and labels are designed and created by breaking down a few boxes.

Lastly, there is an incredible resource that is a part of these lessons.

This 22 page document walks through all of the most essential aspects of preparing files for print. We talk about color options, different project sizes, paper types, textures, special print effects and package design basics.

Although designing for digital spaces is important knowing how to work with and create Print design projects is critical when working with clients or starting your own business. 

Meet Your Teacher

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Lindsay Marsh

Over 500,000 Design Students & Counting!


I have had many self-made titles over the years: Brand Manager, Digital Architect, Interactive Designer, Graphic Designer, Web Developer and Social Media Expert, to name a few. My name is Lindsay Marsh and I have been creating brand experiences for my clients for over 12 years. I have worked on a wide variety of projects both digital and print. During those 12 years, I have been a full-time freelancer who made many mistakes along the way, but also realized that there is nothing in the world like being your own boss.

I have had the wonderful opportunity to be able to take classes at some of the top design schools in the world, Parsons at The New School, The Pratt Institute and NYU. I am currently transitioning to coaching and teaching.

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1. Class Preview: The following lessons are not flashy, cool or trendy, but incredibly practical and real. Learning how to create and Layout print design projects is essential for any budding designer to master. We're going to review print design projects by critiquing a few items I've collected from my mailbox and other places. I will also go over old client work to show you a wide variety of print sizes, inks, folds, and options. We will even go over how package design boxes and labels are designed and created by breaking down a few boxes and looking at some examples. Lastly, there is an incredible resource that's a part of these lessons. This 22 page document walks through all of the most essential aspects of preparing files for print. We talk about color options, different projects sizes, paper types, textures, special effects, and package design basics. Although designing for digital spaces is important, knowing how to work with and create print design projects is critical when working with clients are starting your own business. So let's get started. 2. Project Critique: Welcome to the first section. Usually you only hear my voice, but this time you get to see my hands. I'm going to get very hands-on with a lot of different design products. I've spent a couple of months saving everything I got in my mail and everything that I've seen out in the wild and brought it back to the house. I even have stuff that I did way back when I was a graphic designer 15 years ago. Things I did like box designs, business cards, catalogs, and we're gonna take a really good look at all of those, find out how they work, how to get them printed, and also critique some really good stuff I found out in the wild. So the first thing we have here, I have my little red pin. I'm going to be marking this up to show you a lot of the design theory that we've talked about already in the course. I'm going to be talking about that throughout this lesson so you can really see it in action. So let's go ahead and get started. This is just a magazine that was delivered to my house. It's a home furnishing magazine and I really appreciated the clean approach to this magazine. You have a lot of high contrast here. You have this black. They call this a masthead. This is a masthead that goes all the way around. And you see this on magazines and also on newspapers. And you have this clean mass said with this really detailed serif typeface. You also have a black and white contrast, so it really jumps off the page. You also have this really nice margin all the way along the front of the magazine. And so you kinda have this nice framing of the photo and it really draws your eye inward toward the photo, but it also gives it a very clean professional look. So as we open up the magazine, you continue to see the very generous margins all over this magazine. Once again, you're seeing a theme, so you're seeing repetition. So we had kind of the generous margins on the front, but you're seeing in the same exact margins echoed on this page. So there's a theme here and there's consistency. You also have this similar serif typeface that which is your nice headline. And you can see some really nice type hierarchy happening here with a larger headline and the smaller details. And as I flip through this magazine, you're seeing similar consistency with margins and how the size or making the photos you're seeing. This is another type hierarchy in action where you have kind of this bigger headline. You have kind of a sub-heading, and then you have a much smaller text here. It all goes in order. You'll also notice this dividing line right here that helps to break up the headline and the body copy. And it gives it a nice clean look. And as I'm flipping through, you'll see, continue to see this consistency with the typefaces and the size of the headline and the subheading. So this is a very photo driven magazine. You might have a catalog that you have to do that has to use a lot more photos than this does. And this is why we know design theory so we can be able to tackle any project that comes our way. I also save this one. This is a Charles Schwab investing magazine that you get quarterly. And I know a lot of graphic designers wonder, how can I use illustration? I'm really good at illustration. And I want to be able to use that in my graphic design practice. You'll see a lot of magazine covers include this nice illustration and you'll see throughout all the articles, you'll see illustration. So there's definitely a way to bring illustration into your graphic design practice. If you're not a good Illustrator, that's okay, that's white. Illustrators exist. It's a specialty where all they do is illustrate and you can pair up and work with an illustrator to be able to make that happen and be able to do things like this. So when it comes to magazines, there is a graphic designer who lays out the entire magazine. They did the entire magazine. There's usually one graphic designer and then maybe an art director that also helps the graphic designer with the overall layout. But in terms of putting it together in Adobe InDesign or whatever they use. There's one graphic designer and then there's usually an illustrator. They'll hire to do the illustrations. And the graphic designer works with those images provided to the Illustrator. So if you're not an Illustrator, don't worry. In this case, they had someone do the illustration and send it to the graphic designer. The graphic designer did not have to do the illustration. But this is kind of a classic magazine layout. And you'll notice the use of all these dividing lines. So you have kind of this kind of leading lines. And leading lines kinda helped guide the eye to certain areas. So this helps to me to know that these are two columns. And this helps me to know these are separate items. And all there is is just this thin little line and it just really helps to break that all up. If you didn't have any of these lines, your eye would have a really hard time following the content and digesting it. You'll also notice consistency with the headline. They use a sans serif here at the top. And wonderful use of typography hierarchy. So we have a headline, we have a second size, we have a body copy. You also notice how they don't have super long paragraphs. They break their paragraphs up. So it doesn't seem too overwhelming. Once again, we have an illustrator who did this illustration. You'll also notice this is a three column layout, so we have three columns that go all the way down the side. They actually used a leading line or line here to divide that up to help the eye further differentiate between the different columns. And notice here instead of just having this all be white, this page all be white. They put this little light blue border right here. And this also helps to break up. This page. Also helps to say this isn't entirely new section. So this is having that little nice, very, very light, low contrast blue border really helped. And so that's just kinda some basic editorials that I saw Joe lot more projects and good to review. This is a fun one. I actually have cell some posters on Society 6, my design theory posters. Artists can upload their work and sell it so you can create a geometric poster and uploaded on Society 6. And you can sell it, and you can sell it to people and they take care of all of the printing in that process. So let's take a look. This is a wonderful cover. You'll notice their masthead in their logo is not gigantic, but I think it works because there's brand recognition. Once again, you're seeing a generous margin. A lot of times it'll go all the way to the bleed with photos. And just the last couple of examples just happen to have margins that's not required, but it does give it a nice, clean professional look. So you'll notice, I'll do this in a couple of projects, especially my InDesign section, where you'll notice, instead of having everything perfectly divided from one page to another, you have a little bit of this photo bleeding in to this page and you see right here it bleeds in just in this little section. And what it does is it helps kinda bring both of these pages together stylistically and design wise. You'll also notice the nice, generous whitespace all around us document that really helps them to breathe, especially when you have this nice high contrast black and white and a wonderful color hierarchy. Once again, you're seeing these kind of leading lines, dividing lines that helped to break up content. And what a lot of magazine designs do is they take a photographer's photo and they'll find little spaces to put the headline or topography. And instead of having the topography over here away from the photo, they integrate the two. So in this case, this is all says is placed in that little whitespace that was leftover between the couch and the photos, they were able to have that little space. So just kinda finding a way to blend both, then you can make the photo bigger and you don't have to have the separate area for the headline and then a photo. You can kind of integrate the to make the photo bigger. Once again, you're seeing these little dividing lines here. These actually have arrows that point to the product, which is really nice. And also don't be afraid to use vertical topography. Not everything has to be horizontal. Sometimes to fit all the photos, you might need to put something vertical. So never be afraid to try that out if it works well for your layout. And right here on this page you'll notice kinda of this popular trend I've seen in the last couple of years. Very popular this year is kind of a outlined typography where you just have the stroke all the way down. You don't have the fill on the topography. And also notice how it's vertical. I think it looks nice. It's a great way to have something subtle, but also have kind of a title here as well. And you're seeing a theme here, you're seeing consistency and you're seeing kind of repetition. And so you also have vertical type here as well. Those one magazine I wanted to show you. Of course there's a lot more to do and we'll do that in the next lesson. 3. Project Critique - Part 2: Okay, We are back. And I'm going to kind of, it's going to seem like random stuff I'm showing you, but this is the real-world practical projects you may be tasked do as a graphic designer. Not all of it is glamorous. Some of it is just mailers that you get in the mailbox. So we're going to talk about kind of how they're designed. And Michelle, you kind of some things here. So here we go. This is just a simple postcard that I got in the mail. There's nothing incredibly exciting about it. And one of the weaknesses of this postcard is it doesn't have one main focal point. Right now we have, we have 1234 main focal points. We also have all of this text right here. It's incredibly busy. They're probably be a way to do one main photo and maybe have some smaller photo sprinkled without, but without a sense of design hierarchy and a focal point. This just looks incredibly overwhelming to look at. I don't really feel like I want to read it. And the backside is exactly the same. There's different photos and different services, but there's nothing really differentiating the front side with backside. So I feel like this could use a lot of work. There's also not a whole lot of branding to this either. They have this really tiny logo, and they have a couple of these other logos that are the same size. What company is it? It's not super obvious at front. There's also not a specific color theme or anything that's really a part of this at feels like they took a template in Word and they sent to the printer and this is what they have. So here's another one. This is just a magazine I got in the mailbox last week. And I like to pick on these a little bit because I've never really liked the layout of these. But so let's go ahead and take a look. Front cover. We had this 360 home, but there is not enough contrast between this blue and this dark background. So this masthead, they call it the masthead, doesn't stand out at all. Even though this is a lovely photo, they could probably could have brighten this photo or found a different photo that worked a little bit better here. So a lot of these, this is, I did a lot of this when I first started out in graphic design, just like a simple ad. And you would do an add, you would send it to the magazine and they would have a layout designer and they basically just popped to your ad and to all these different sections. And sometimes he had a full-page ad. So this is a full-page ad and sometimes you add little half-page ad. So these are half-page ads and these all have a specific size which the magazine will let you know what That sizes and then you just send them a PDF and they can just pop it right in here. And same thing with the full size. So this is an 8.5 by 11 full size, then this would be a half of a page. There's also quarter of the pages which I don't know there are any quarter page ads in here. I think these are all half-page and full-page ads. This is actually a spread. They call this a full spread ads. So it's got 12 pages and it's a spread. So they can be more thematic with their layout and have kinda something that goes from one page to another, which usually works out best, but it's expensive. So not all clients can afford a full double-page add. So with a lot of these, as I'm flipping through them, I'm not very impressed with a lot of the layouts. There's so much stuff that especially with this one down here, look at all of this text. There's so much more you can direct them to if you send them to a website or social media. Ways that you can really maybe have a video that you can send them to, but to have all of it in such a small ad is really tough. But unfortunately, sometimes clients make you use whatever they say. You say, I need you to cut the amount of content. Can you please cut some of this in half so the ad doesn't look too busy. Sometimes they see your ad and it looks really busy and they say, yes, and I'll cut it for y'all cut a little bit off. And then we can really focus on a nice attention-grabbing image. And sometimes they say We have to use all this, especially medical ads, especially in the United States, they're required to list all of the side effects. So sometimes you're stuck with a lot of texts. So you got to really learn how to manage all this text without it looking really, really busy and it can be tough. And here's an example of an ad I'm not too excited about either. And they're not very consistent with our type choices. You have a different type choice here. You have this very fancy script serif typeface. Our, it's got a kind of a script look, even though it's not actually a script. You have this kind of chunky sans serif typeface. And you also have, I think, an entirely different typeface here. So it looks very amateur. You also have red on red, nothing's really popping out at me. You also have this free estimates, which is a great opportunity to make a different color than red. So it'll pop out. That would be really good yellow in this case, but they decided to use red. So all this just basically disappears. And I don't even take the time to look at the ad. And when you do a layout designer and you lay out the entire Magazine, a lot of these are sent in the mail, so they'll tell you a specific imprint area and they call it an imprint area that this will need to be clear so that the printing company will automatically add all of this postage information. Of course, this is for the United States. You might, in a different country might have different sizes and standards for your mailing. But this is all told to you. You don't have to memorize the size of how much you have to leave. They will let you know on the back how much to leave for that kind of information. So I kinda like this postcard. I think the photo is what cells, what they're selling. So it's a design, design your own dream room. It's very simple. It's a beautiful photo. It makes me want to renovate my bathroom. The only issue I see here is the Tile Shop blends right into the shadowy area of the photo. And I do have a problem with reading that. So that could be the only issue with there is kind of the branding is kinda missing from this. But the image made me want to pick it up, and that is incredibly important. So let's turn it around. You have this divided in half. This is all required in the United States. You need to have a postage area. This is standard, and this is also standard and added by the printer. So you don't have to add this information most of the time. You just have this little small. Usually it's about 60 percent. Postcard depends on the postcard size, but this is a standard, this is not before by six, I believe this as a five by seven course in Europe you're going to have different sizing. But they took the half of this and they made it full color, which I thought was really smart. I can read this very well. I can read this went really well. And there's some nice type hierarchy. They could have an opportunity to really bring out this take 20 percent off. Because right now this is one big block of topography. If they were to somehow make that stand out a little bit more. Maybe even make it kinda of a badge, kind of a transparent badge with a stroke and have 20 percent off there. That would have been a better opportunity to cross sell me their discount. All right. This is a geico ad which they sell car insurance. And I wanted to talk about this. So this uses a very bright vivid yellow color to bring my eye to the design. And I thought that worked out really well. This is interesting how it's divided. It creates a nice positive tension design. And you also have this photo that goes between the two halves to bring everything together. You also have a very simple headline, and you have some icons that show the different kinds of insurances they have. And they don't have to sit there and write it all out there using images and graphics instead of just very long drawn out type, super simple presentation, nice and broken down, I felt this was effective. Here's another one I found from Google Burger King, wonderful use of branding. Of course, Burger King hires an ad agency. Their ad agency creates all of their work for them. So they have professionals working for them so they know what they're doing. So nice, big logo, It's not too big. You don't want to make it so overwhelming, but it's nice clear branding and a nice clear area of the photo. You have this wonderful product that makes me want to dip those fries and ketchup. And what I like about this is that integrates the topography with the photos are right here. You have this opportunity where it overlaps the EU, but I can still read it really well. So both the headline and the photo feel like they're right there. The text feels like it's right there among the fries. And I think it's nice and big and very, very simple. And also like kind of the rounded, more playful topography choice, especially when you have rounded typography and the logo. 4. Projects That Fold: This next section is going to be really fun because I get to go over lots of different print items and how they're constructed. You also get to take a look at some of my prior client work. Well, let's go ahead and get started with business cards. So yes, people still get business cards printed even the digital age, because as we start to get around people more post COVID, we're definitely going to want something to give to them to take away. So I wanted to talk to you about business cards because a lot of times what surprised me as a graphic designer is when I would do a business card, I was shocked about how small it really was when I saw the final printed product. It always seems so much bigger on my screen. But when you get it printed, you realize just how tiny it is and how you have to be very careful about the legibility of your typography and not to put too much on here. So this is how small a business card or really is. So this is a business card and we have kind of a simple logo. We have name contact information. We turn it around. What I like about business cards that do this is they have kind of one side that's one color and one side that's another. So you feel like they're two different sides. You don't feel like you're just turning it over and years, nothing new to look at. When you have the different color. It just feels like there's something new and kinda something to kind of a call to action. This is another business card. You have to be very careful about legibility and readability. The orange can be a little bit tough to read. It's great here as a big block of information, but it's really hard to read the detailed of the, of the orange here. So you might need to make it a shade darker. And this has rounded corners, which some printing places allow you to make a rounded corners. This also has a slight gloss to it, which might be a Larry go, you can see it a little bit now. Has kind of a UV gloss which kinda has its own look. I think it looks sleek and professional. So let's talk about adapting to different sizes. So this is work I did about six or seven years ago for a high-end mall area in my town. So this is something I did a lot. I would create an ad and then I would have to adapt that add to so many different places. It was challenging because he would take something that looked great, large. So this is a little bit beat up because it's been a long time since I've had this. But we have this printed on newsprint for newspaper. And you have this on a slick high gloss, but it's half the size. So trying to take this information and condense it down, you have to be careful to make sure it's all readable and it is a challenge. But as something, as a graphic designer, you're gonna do over and over again. You might have to take this and make a digital ad out of it as well, or make a Facebook ad image and you have to kinda rearrange it and have all this information. Maybe be on the landing page of a website and then you just have this as your Facebook image. So all this has to be translated to digital and digital to print. If you're working with larger companies that have both a print and digital profile. And so I wanted to talk about newsprint newspaper. You may not find yourself having to do newsprint or print on newspaper, but some of you guys may have that chance. If you do, I want you to talk about newsprint. Newsprint, very muddy and messy-looking. It's this kind of got this darkness to it. And it comes out on your fingers. So the ink is a lot different than a nice high gloss. Look. It's kinda more vivid. You kinda have a shine to it that says 0 shine, 0, reflection. It does look darker. Make sure it's brighter than you think it needs to be, because that print is very harsh on this paper, because the paper is very porous, has all these little fine pores in it. It really soaks up the ink. And so it kinda gives it that appearance where it appears darker because it's soaked up more of the ink. So just kinda some things to think about. This is all the stuff I've learned on 15 years that I wish I learned when I started, but I didn't know what to learn. So That's why I'm teaching this lesson to kinda give you everything I've learned over the last 15 years. So you don't feel like you're totally lost when it comes to print projects. So I wanted to talk about, and this one says, I used to work for the wine industry. And this was a piece that I did for an ad agency I worked for. And I thought this was neat. This is a different kind of paper. So this another thing when you're doing print projects is picking your type of paper. Do you want something that's high gloss has a shine to it? Do you want something that's Matt? So this is a matte finish. It's porous, that's got some texture to it. If I can kind of show you the texture. And it feels different, it feels very high-quality. And so with this one, when you do a design, sometimes there's multiple pieces. In this case, there's a separate sticker with a logo I designed. That's just an adhesive sticker that came as a role of stickers. This is the row of stickers that comes on. And when we made these, we just took this off. And this was easy to, to, to buy pre-made stickers. You just put your design on it and you order them and they tell you the specific size. And then we were able to kind of place it on this. So this is the invitation and we decided to make a custom size that folds out. So you have this nice kind of invitation that has all the information about the event and they can roll it up, put on the refrigerator, and it can be mailed in the mail because you have all the mailing information on the back. So we thought the sticker was this nice extra component to seal if we needed a way to seal this. So we wanted to seal it with a sticker. And so this, we worked with the printer on this to see what size we needed to have. And really this is just one piece of paper that they print it on. And then the machine folded it for us and it kinda came together just like this. This is really just one sheet in front back. And this is what's really interesting. This is what I wish someone told me, is when you design things that fold, when you, it's really one sheet of paper. So when you turn it around, There's going to be things that have to be upside down so that they, when they fold over, they become right-side up. And this is when taking a piece of paper sometimes and planning out your whatever it is you have and folding it before you go to design it will help you know what to put upside-down and what to put right-side up. So in this case, both of these had to be upside down because they flip and put it down, boom. Now the right side up when they're finally folded. But in the design and my design file in Adobe Illustrator for the back, this is the back and this is the front and add two PDFs. When PDF was the front. One PDF was the back. And on this I actually have it upside down when I sent them the file. Knowing that when they print and folded, it'll be just perfect. So just wanted to kind of demonstrate that for you. So I went to a really nice hotel for my 50th wedding anniversary. And I kept a lot of these little stationery items because I wanted to talk about envelopes, but also wanted to share with gold foil stamping looks like. And it's really liked how this was designed. So this is like a little welcome, welcome to the room and you're able to take this out. This is gold foil stamping. And you'll notice against the light as this nice shine to it, this is easy to do. This would just be black or a different color, whatever it was, solid color, you'd have this as a separate layer and Adobe Illustrator or whatever vector or layout program you're using. And you would just label it gold foil stamping. And you would let the printer know you want to take everything on that one layer. So let's say it's just the topography. And they would print it with the gold foil stamping on it for you. So it's easy to do when he talked to your printer about it. And just have that as a separate layer. Because you may have elements that don't have gold foil stamping on it. That would be on another layer that wouldn't have it. So this one would kinda show you what that looks like. I talk about gold foil stamping. There's also silver or copper green, any color and there's metallics, There's glitter ink, There's all sorts of different kinda Anxi can have. But I liked how clean I can write notes on this. And it's nice and this is size to fit appropriately into this particular envelope. So the envelope, this has a theme. We also have a tiny bit of gold foil, kind of right here on the edge. And these are premade envelopes and then they just got that printed on it. I thought that looked really nice. It's very simple. And this is something else from the hotel. This is kind of our room key. I love the theme that they had. They continued with the gold foil stamping. This had to cost them a lot of money. Just the materials is kind of a linen linen texture. So I want to show you what Lynn and textures look like if you can see it. Kind of has this nice grain to it. It's very nice. It's not slick as a texture, I feel it when I rub it. And this very expensive to do, of course, it was a nice hotel, so they had the money to spend it and they didn't have a lot of rooms. So they were able to spend a little bit money, more money to create something higher quality because they were not handing out thousands of these things. They were only handing out maybe a 100 a year. So you can open this up. We have some nice information to write stuff. You have this little pocket. So when you do a design, sometimes you'll have several different documents. You'll have kind of the insert. You might have a secondary insert that folds. And so once again, this is like a little note card that says the weather. When you fold it open, you'll notice how this is upside down and this is how the design will be in Adobe Illustrator, this will be right-side up. That'll be upside down and you just go like this. And when it's printed, it'll be right-side up. So sometimes you have to just take a piece of paper right front side, back side inside and just fold it to figure out how you need to set it up in Adobe Illustrator. So sometimes you'll have multiple file system to the printer. So next we're going to talk about gatefold, trifles by folds, all these different printable brochures. That'll be the next lesson. 5. Brochures and Handouts : So this lesson will focus on other kind of brochures in different ways. Brochures can be folded. So let's take a look at the first one. So this is a client project I did for a seminary or a graduate school. And what you do is this is called a gatefold. So there's so many different ways to fold brochure. And this is just one option if you needed four different panels. And we went for this one because we needed that extra panel because we had a lot of information and a lot of articles we wanted to have. So we needed that extra panel, usually there's three called a trifle, but this is a gatefold. So when you open it up, you have these two areas and then it folds out and the center x would become basically one large document. So when you have an Illustrator file, I had one to file. This was all for inside panels. And I had another file. Or you can probably have another art board and have the outside. So you have an outside and inside. And this is exactly how it looks in Adobe Illustrator. I even have this going vertical upside down. Why? Because when it's folded and it folds like this, fateful, so it kinda comes out this and the folds again. Because then when I have it here I can go in the mail just like that. So when it kinda go over these because there's always a mystery, you know, how these folder head kinda learn this on my own, just Googling it and figuring out how should I put my design, how should I design it? When I opened this up, a lot of times gatefold is what I like to do is kinda unite the myth, the middle two panels design wise so that these feel like they're one unit and then you have these wings of extra information, but you could do it however you like and whatever works best. But the client, and there's a gatefold. This is another one idea and I made it kinda look like a door. Just use little Photoshop editing to make it look like you can open the door, opening the door to the futures, kinda one of those, this is probably eight years old, has a little bit older, but just wanted to use real student photos. But this is a tri-fold, is a very classic trifold. You open it up and you have three different items. This uses high gloss kind of UV gloss or semi gloss in there, and you can close it up. That is very, very typical trifle. You probably do a lot more of these and you would the gatefold. But you notice how there's just not as many panels. And so this is great if you don't have a ton of information to give the viewer. This is a tri-fold, but this is a little bit. This is not a gatefold, but it's a trifle, but it's Figure. You notice how it's almost double the size. It's very tall. Once again, there's so many different sizes that can fit what you need. So this is kind of a standard trifled sizes is basically an 8.5 by 11 sheet. And of course this one is much bigger, but I'm able to put a lot more on it. That's why we chose this size. And this is basically a jumbo postcard. So it's a jumbo postcard. So it costs more to send this in the mail. Then it does kind of a smaller 8.5 by 11. This is a lot cheaper too. Male, and this is a lot more expensive because it's got the jumbo size. But she just talk with your client to see how much mailing costs would be to make sure when you choose your design, you're thinking about costs and what the client can afford. This is another trifle that I designed and this one's actually, I take that back. This is a quad fold. So instead of quad means four, tri means three. So this is just US have so many different options. This is the standard layout, but it just folds one more time. And so in Adobe Illustrator at all of this laid out as the inside and all of this laid out as the outside. And not to confuse things more, this is called a Z Fold. What is z fold does? Is it opens a little bit differently. So a trifold opens like this and then he would open it. But this is a Z Fold and he can tell because it kinda the way opens. So notice how this one folds 123. This one folds differently, is kinda has a Z formation and it goes almost like, I guess this is more like an accordion, isn't, it goes like this, instead of flipping like this, it doesn't really matter, it's just a different way to fold it. You still have the same information. What it does do is it changes the panel you see first. So when I open up this first panel, you open it up and you see this panel, which is the very last kale and a standard one. The first one you see is this panel which is actually odd. So once again, figure out what fold works for you best. And then you need to just take a piece of paper and label panel one panel to panel 3 to figure out how you need to lay out the design so that people see it in the order that you'd like them to see it in. So in another client project I did, I created this entire package design. I had a box with a see-through window and all is really neat things for this product. And this is the little manual that kind of came with it. So this is something I didn't Adobe InDesign just because it has so many different pages to it. And all this was done in Adobe InDesign and printed. And they're in layers the back. So just kinda wanted to show you kind of what that looks like an action. Definitely something I didn't Adobe InDesign steps and kinda flip through it. Here's a little annual report I did several years back. And you kind of see some of the infographics. If you've taken my infographic section, you've probably seen some of these infographics here. You see me kind of flip through that. So you'll notice there's a big difference between the sizes here. So you have this is I think there's a six by nine. So that's of course, the United States, you would have different sizes in Europe, but it's kind of a smaller, kind of a more handy sizes fit into a box. So that's why it needed to be the size. This one is a handout to annual report, so it's more of a standard page size. But you can kinda see the difference spacing we can design for this. You can do so much more. You can have so much more information packed. That's why for an annual report, I thought that the size worked a lot better than this size. This is another one I did a while ago for a wind summit, for the wine industry for a little bit. And so kind of had this document. And so with this one, I tried to keep a theme throughout the entire piece. And I believe this is only 20 pages, so we're able to make it kind of a thicker, thicker paper weight. And so paperweight, it's a big deal. This is very thick, it feels luxurious, that feels really high-quality. You also have thinner paper weights, which are cheaper. This is a thinner paper weight. It's very cheap. Tears there easily. I think I just accidentally toward that, just picking it up tears very easily, but super cheap, cheap, cheap to produce. This is more expensive, but boy, it just feels great. It really feels like something I never want to throw away. Feels like a keeper. It's like a keepers item. So just think about paperweight. Do you need the higher-quality, thicker feeling paper that's not going to tear very easily. So this is something I did a while ago. You know, we have this role packed schedule, but I tried to divide it up by using these cream divider boxes because there's an also use the little divider lines. This is a lot information. I talked with the client. We could not reduce this any. So I had a fit all this in and try to make it readable. And so these are a different kind of tastings that you'd be dealing with an events. I did do custom logos for all of this. This was quite a big project. Took me about a month to complete, about two months, if you count client communication time where I was just kinda waiting for information on all the different events. We also took time to pick the photos to make sure they matched everything that we needed. So just wanted to kinda see how the papers turn. Such a nice high-quality thing. And this is kind of a mistake I did, which I didn't do it. But I had this beautiful kind of, I used a blending mode for this photo to kinda see the mountains continue on these little mountains back here. And it's on this brand read, but it didn't print out very good. And that's why with blending modes, sometimes you need to make sure you do it and see CMYK color mode. And make sure you test it out because it might print out a little bit differently when it's printed with the CMYK color, then when you see it on the screen, RGB. So just kinda something to look out in the mistake I made that I'd love for you guys got to make. Another exciting thing is doing these kind of booklets. This is a map. So I don't know if you guys will get a chance to do a map, but I wanted to show you how this works. So this is the front cover. We took a long time to figure out what photo to use and wanted to have a nice high contrast headline. Very simple and clean. Because this is how it works. So you flip it open. And this is this is an accordion. So those out like an accordion. Oh yeah. You're be able to see all this massive. It took four months to do all this. Fortunately, I worked with a cartographer who did the map. So I just had to do everything else, but I had to figure it out. So this was a map and there's a lot of white used in the background. So I wanted to use this blended blue all the way down the column to kind of break it up and use some nice kind of photography. And same thing with here trying to make it fun. I have a more updated version of this which I don't have. And then the updated version for the next year. I did this for several years, sorry for the voice. But I had photos and little snapshot pictures, almost playful Instagram things. I don't have that map with me, but just kinda showing you when I had I think this was Adobe InDesign. I did this in Adobe InDesign. But yes, it was took quite a bit of time to put all this together. And yes, it was a very large document. And I had to figure out I had to put an enzyme little guides so I can know where it folded. Because if I didn't know where I folded, I might fold it. It might have a fold, right? And a very important piece of text that I didn't want to be folded. So I'd be very careful put little guides so I know kind of where it folded. You say can pull that up and there's the backside. I did all of the back side. And so all of the backside, all of that had to be worked out. This took months. But it's a high pain project. So these are the type of things where okay. Yeah, you're booked for a couple of months, but you're getting a lot of hours of work in. And so once again, this is one is upside-down things. So this is how it's designed. And I had to send it to the printer pretty much this is one big sheet I could print it on. And I had to know exactly where things folded so that it did this sprint it upside down and then it folds. And you have the front, and then you have testimonials on the back. So just kinda showing you practically kinda how I worked through that project. 6. Package Design : You're probably wondering why I have all these random products sprinkled about. But I wanted to talk about package design as another form of printing. So let's talk about boxes first because I think that's something students have a lot of questions. How do you do a box design? How to are these laid out? So I'm gonna put all these aside. So this is just T that I grabbed from my cabinet. We're going to break this box down and we're going to figure out how it's laid out. So you can figure out how it works when you lay it out in Adobe Illustrator. So this actually opens the center from the top, it opens from the side. So you can have a product that opens from the top or the side. You open up, you have all of these different tea bags, which should be a separate design. But this is the box and how it is. So really this is just one cardboard sheet printed on the inside and outside. That's all it is. It's not any more complicated than that. So we're gonna go ahead and break it down. So it's glue, There's a little bit of glue, adhesive there. And we're going to fold it out. So that's all it is. So what's great about this is a pretty easy one. So there's an inside and there's outside this. So this is the inside print. This is just cardboard. That's all it is. Just cardboard. And in Adobe Illustrator, what you would do is a lot of times the printer will supply you with a template if it's a specific standard box. And if it's a custom box, you can size everything out and build your own template in Adobe Illustrator. But fortunately, there's a lot of templates already made for you. And you'll need to size, do the size to figure out how they fold. And also these little flaps which usually don't need to have design on them because they're going to be flipped around and there's going to be adhesive areas. So there's no design here because that's the adhesive glue that held the box together. Say you would probably not have any prints on there. And usually there's not print only inside. This one happens to have some items. So this is very easy. So when you flip it around, this is how it's going to be looking at Adobe Illustrator. Just like this, you're gonna have put different lines like guides and lines. So you know where everything folds, just like the tri-fold. You have your front here, your side, and your backs. So this will just easily come together. And it goes right back into the box. So what helps is getting a box that's similar at your grocery store of the one you want to design for a client so that you can break it down, you can size it, and you might need to maybe adjust the size slightly depending on printer requirements. And so you can really be able to hold something in 3D. It really helps to be able to do that. So there you go, the front sides and bottom. I'll just one sheet inside and outside printed. It's exactly how you'd set it up in Illustrator. I have another T here, really like this t Actually it's a like a lavender blueberry kind of T is asleep helps me sleep. So anyway, I was looking at the can. I'm like This is interesting. So this is not printed on the can itself like a soda can. It is actually an adhesive sticker that's put on the whole side of it to make it look like it's printed out the can. And how I can tell is this is very vivid colors, which you can only get printing on paper sometimes when you print on bottles, it tends to, you can't get that vivid color. And so we have kind of this top sticky label that you would need to design. Okay, And so when I looked at this, I actually noticed there's just a sticker that wraps around. So you would take this off. And that is just an adhesive sticker that wraps around. So when you set this up in Illustrator, it would just start right here. And it would just be one big flat rectangle just like this. And you would design all the way around it. And the key to designing something that's cylindrical is making sure you keep everything readable on one side. So you have everything condensed here and it's not spread too far over where you have to turn to read. You should never have to turn to read a label. So you need to make sure everything's condensed and one easier to read area. And kind of have a simple back in front. So make sure you put the right spacing between the front, the back. So it feels like a true front and back labeled design. That's all it is, is a lot more simple than you think to do package design. This is actually not a sticker or anything. This is literally printed on the plastic bottle and wanted to kinda show you that. So it's literally printed on there. There's no adhesive, so it's printed on the plastic. So you'll notice text Teams seems to be a little bit not a sharp when it's printed on the bottles. So you gotta be really careful with this particular brand. They probably could have used a little more gray, darker colors, that orange gets really hard to read. But I wanted to kinda show you how this bottle is printed. So what you would do in Adobe Illustrator is you'd find the sizing and the front. You double it. And so they can give me the size of of what they need to wrap around it. So it can so this is different because this is also printed on the aluminum can itself. There's no sticker, It's literally printed on the can. You'll notice the ink used on soda cans never tends to be super-duper, brighter, vivid, has kind of a dullness to it because the way aluminum absorbs the ink. So that's something to keep in mind. When you do soda can design. And in Adobe Illustrator, like everything is just one big flat rectangle. And you have the front, the back, and the design in-between. So there's the back, there's the front. And you have kind of this in-between design. So it's not like yeah, the front and the back right next to it, you have some spacing between it. Once again, with all packaged design, get something very close to what you're going to design and study it and figured out it says the best way to do package design. Same thing for this peanut butter. Actually it's sun butter. And it's just literally an adhesive sticker they put on the cam. That's all says, there's nothing too complicated about it. And so notice here they have everything kind of easy to read, that it's not too wide. We're happy to turn to read it. Same thing with this box. And you take this box open, this is just something my baby likes to eat. It's got it in the kitchen. And I loved it. Just break open boxes to kinda see how they're printed because I'm a geek like that. So let's open this up. And once again, you'll see this is exactly what the print document will look like in Adobe Illustrator and remove all those tea bags out of the way. Have those later. So this is exactly how it's set up an Illustrator, just like this, you'd have your kind of folding lines that you would indicate no separate layer to let the printer no. You know where to fold, but it wouldn't actually be printed off and document just guides basically that help you to know where it folds. And a lot of this will be supplied for the box manufacturer or the printer. And a lot of times they will provide this for you and you just pop on the front, pop on the back, you've got the sides. You have to kinda understand in 3D how it's all gonna fold together to really understand you're never going to see everything all at once. And that's a tricky thing when package design, as you see everything at once when you design it. But that's not how the viewer sees it. The viewer sees it chopped up. So you're going to have to figure out what the viewing experience is by putting together a little prototype or good doing a test print to see how the viewing experience is looking at it one side at a time. And I just wanted to show you a package design is a very, very, very old client project. I did have a much better box that had a translucent window that was really cool and I cannot find it in my closet. So there's have to deal with this older one. But I did this box design, similar process to what I just showed you, how I figured out how to create it. The printer sent me a template that showed me how all this was broken down. Of course, there's booklets and things that come with it. But this had no inside printing, so it was a lot cheaper. And then flip it around and you have kind of a spine, I guess you can say or aside in this case, a back and front. And you have so this is exactly how it's laid out in my file that I made. You kinda have this. I extended this texture. So you have the bottom, have the wood, and it's just extended on the panels as they fold it. You'll see the texture is kinda thinking in mind all these little design items. Lastly, let's take a look at this book. So this is a book that just wanted to show you how a book jackets are made. So you kinda have this front and you have a spine. And there's no way you, as a designer, can figure out the spine on your own because it's about the page width and the page weight. So if you have a lot of heavy thick paper, you can have a big thick spine. If you have a super tiny, just like 10 pages, you might not have a spine at all. So this is something that printer needs to give you. Okay. It's good to be a half an inch wider. However, centimeters millimeters, that's going to be wide. And then you put that into your document, just like we did with our Romance book cover. Now you have your front. This is all just one printed jacket. You put your guides to make sure you know how where the spine is. So when they get it printed, they know exactly that falls right in that center spine area. And you have this and what's tricky about jackets. So a lot of times they have a little insert to be able to hold it together. Let's just take this off. This is a jack and some books don't have a jacket and they're just printed right on their same way. But with a jacket, you have these extra inserts. So really your documents a little bit longer and bigger because now you have these inside flap set flip over. You have the back, the spine, the front, and the other insert that flips over to make the book. I hope you enjoyed this section. You got to see lots of different projects for me over the years, but also kind of technically how things fold, how things are printed. All these kind of questions I've gotten a lot from students over the years about how the printing process works. And it's complicated. There's so many different custom sizes that you can do, but make sure to talk to and work with your printer. They're there for you to help you through this process so that you know how to get things printed, what paperweight to use, what inks to use? Um, how did it go? Foil stamping, special Pantone colors, all these kind of inks. So anyway, hopefully this section was helpful and beneficial for you. And I'll see you in the next section.