The appearance of a family of a creative paper it´s fantastic news. The fact that a manufacturer makes a new collection involves an increasingly complex risk to take, especially in creative papers which are not for mass consumption.
In addition to the illusion of good news, it gives for professionals a great deal of optimism to check that we are not alone and there are still staunch defenders of our offline world.
Besides questions more or less demanding, a novelty involves curiosity and caution.
When the samples arrive to Minke first of all we take a look at the range of colors and available weights. After we deepen its peculiarities of manufacturing, machine properties, doubts that arise about this fact and physical characteristics (type of touch, sensation, visual appearance …).
In this initial contact is extremely useful to keep first impressions. That intuitive part of what a paper says it will most likely capture for customer and the target audience of one piece. These fresh ideas from the first contact are important because they will preserve what distinguishes the reference.
Then we look if there are similar papers in the market. If there is any similar we compare them and draw conclusions on similarities and differences, types of projects where they can be used, limitations on production machines or finishes …
With this information it is time to solve questions with the manufacturer, if he knows previous experiences of work already done, if he has samples with different finishes and types of ink, comments from professionals who have worked with paper …
After all this, if there´re doubts about response in machine or about a particular production approach they usually stay there but with a little more light on the way forward. To be quite calm and check that the analysis has been good, nothing like a try and see the result.
This will allow us to become a well-founded idea of the possibilities of paper and how to make the best match.
