Restifo Plastic Surgery Creative Process R3

Early in the design process, I began experimenting with a curved, die-cut. This would eventually become an integral part of the overall design with folder having this shape as a die-cut. The curve shape seemed like a perfect opportunity to factor in the overall theme of plastic surgery and the female form.

Once I had the curve designed, I began working it into some of the brochure and insert elements in progress. The curve used in conjunction with the strong, narrow, horizontal images would become an integral part of all the pieces in the design package. When a photograph spanned the full width of a piece, we looked at making the portion to the left of the curve a little different. In the first and third examples, that left portion is blurred. In the middle design, I looked at making that portion a color block—in this case, a darker blue.

We began to use some stock images that had the right “look and feel” for the concept of plastic surgery. We would eventually decide to use four different photos, each aimed at a slightly different audience just for the covers. We weren’t yet certain whether or not we’d hire models for the various photos. But, as we began our stock image search, we decided that there were enough very high-quality images available from stock photo services available. The alternative of hiring models and a photographer for more than 20 high-quality images would have been prohibitive.

Here’s the basic layout we would use for the folder which would be the centerpiece of the package. Rather than a straight cut for the top of the pocket, I took the curve shape used on the front panel of the folder and reduced it, using that as the top of the folder pocket. Here you’ll also see an early version of the inside of the folder with a list of the plastic surgery options on the inside right panel. You’ll also see an indication of the die cuts used to hold the business cards on the pocket. milfordconsulting.com.ng

While the brochures and other inserts would use standard CMYK (process) inks, the folder posed special challenges. Because you can’t actually print white or any other color over a darker color, we would have to start with white stock, printing the grey background color and “knocking out” the white and other colors. Knocking out an element simply means the solid background (the dark grey) is “subtracted” from the grey plate so what appears as white type on grey is actually the white of the paper stock where the grey doesn’t print. More on that later.

Here is just one example of design options presented to the client. There were many iterations of various components of the package that go through several steps, eventually landing on an approach the client ultimately approves. Here we see the first mention of embossing, a process of making a shape “pop out” of a background. The shape that is to be embossed is made from a metal plate. The die presses into the paper stock, raising the paper in the shape of the metal die. Embossed elements often have an ink color or varnish applied to the shape in addition to the embossing.

Here is just one example of design options presented to the client. There were many iterations of various components of the package that go through several steps, eventually landing on an approach the client ultimately approves. Here we see the first mention of embossing, a process of making a shape “pop out” of a background. The shape that is to be embossed is made from a metal plate. The die presses into the paper stock, raising the paper in the shape of the metal die. Embossed elements often have an ink color or varnish applied to the shape in addition to the embossing.