The phrase “all returns” occurs frequently in the world of fashion, art, music …
The secret of the formula is based on past trends and movements and under the spotlight of today cleaning out the accessory and staying in the essence. At this point comes the critical moment: to cover of current ingredients or even also of the essence of another past in order to get the strength and projection for claiming it back.
If everything has been added in for good measure we’ll have something unheard referring to the past with a strange originality.
The world of graphic design and its production offline are no stranger to this phenomenon.
For some time, the bastions of elegance and sophistication with good taste and professionalism found their representation in sleek, matte finishes and colors without stridency.
Then it found a successful aspect in paper medium, both paper and cardboard, which referred to the natural and rustic without tricks or treatments: kraft paper, eskaboard, paper with vegetable traces …
Then came the usual. Its use has increasingly become a predictable scenario therefore easier to pass unnoticed. Custom is what it has.
That’s why those dedicated to different areas of creativity go behind the novel, trying to discover something which captures the attention and is especially surprised.
In recent months we have been seeing, in both client projects and sites of reference where publish foreign productions, that is emerging a new paradigm: the brightness.
Yes, yes, we are not confused. A timid but increasingly common the finishes of projects are gloss: stamping holographic films, laminated, coated papers and even with strong metallic.
For a wide majority brightness refers to pretentious, excessive and even vulgar. Now the more astute reinterpret it in contrast with matte materials and little gimmicky designs. So its sounding note is qualified and goes in unison with composition.
Apparently, according to some experts in the field, the Nordic countries are more favorable to papers with brightness due to its lack of sunlight. Consequently the countries from south avoid this option because the excess of light caused by the brightness it’s annoying.
In addition to geographical issues, culture also influences. The countries of Eastern Europe are famous among paper manufacturers to monopolize much of their references with greater profusion of effects and metallic finishes. While in the rest of the continent are more typical of certain holidays and celebrations.
These uses and connotations are overcoming boundaries. We can see how smart designers channeled the turmoil of light to become an ingredient to provide communicative value to their projects.