Here are some things to think about when designing commercial printing products in black and white and color:
Designing with Black and White Type on a Gray Screen
Picture two lines of type on a gray screen. Let's say you're designing a promotional flyer for an art museum. The first line of type is the name of the artist printed in a sans serif typeface. Let's say you want to reverse it out of a 20 percent gray screen. The second line of type is the same size. Perhaps it is the title of the art exhibit. Let's say you want to surprint it (print it in black) in a light serif face, for contrast, on the 20 percent gray screen. Above the name of the artist, you set some type in a much smaller type size (in black ink), and below the name, in white type (i.e., reverse type), you set a subtitle referring to the title of the art exhibit.
This is a continuation of a prior blog article on custom printing and binding a 488-page, 8.5” x 11” perfect-bound book for one of my clients.
She and I have been in almost continuous contact to discuss options for the print book she is producing for a US government agency. Early this week, her clients had some concerns about the binding.
In a prior blog, I mentioned a print book directory, the custom printing of which I had been brokering. I had requested F&Gs for the client: folded and gathered signatures, printed but not bound. I had suggested this as a final press proof prior to binding, to give my client an opportunity to check all printing prior to the binding stage.
A client of mine does work for the federal government. She has a large book that's mostly complete, and she's looking for printing options. She has a firm budget.
My fiancee and I are now living in a hotel. We had a house fire, just like a surprising number of other tenants on their way through hotel rooms to their final accommodations in a long-term rental house or condo. Fire is a big business.