The tactility of the object is a key tool to create meaningful emotional connection with a user.
Learn more about this project
There is a certain magic to the process of print. A moment where concept and format are fused, never to be separated. Something new is created. Idea becomes artefact. Material comes to life. The tactility of the object is a key tool to create meaningful emotional connection with a user.
The understanding of paper and its communicative, experiential, and sustainable strengths has never been at a lower ebb. The time was right to mount a case for the material. Not the mass produced, unethically sourced, chemically bleached, petroleum ink-fuelled tide of yesterday. A connection to paper now – recyclable (even circular in some instances), sustainably managed and sourced, produced with green energy, used to order – fostering haptic experiences that last.
We brought this opportunity to the attention of local merchant Paperstop.
The idea was to create a locally produced creative resource, featuring contributions from a diverse range of practitioners (and providing a platform for their work and practice). Sustainable, small volume paper stocks, leading edge technology and digital production, tied together with creative prompts for lateral thinking and ideation.
The output was to be the antithesis of a mass produced, mass market, and low-value ephemeral communication. This was to be precious, ethical and responsible. Something to be kept and used, ergo, exponentially more effective as a marketing and sales tool for Paperstop.
Our pool of collaborators was intentionally drawn from outside the usual ‘canon’ of designs and makers commonly contributing to such projects. Culturally and linguistically diverse practices, practices of neurodiversity, indigenous practice were all central to the showcase of creative expression. The tactility of the work – ‘printing it out’ offering validation of the output.
We worked closely throughout the process with the project production partners to experiment with multiple special inks, additional passes, layering of processes and effects, foiling, embossing and finishing to enhance the unique qualities of each artwork. The approach to each of the artworks and cards was unique and tailored to stock, image and concept. There were many configurations that the printers themselves had never tried (and since monetised).
In summary Ellis Jones:
- Identified the market opportunity
- Proposed a response for Paperstop to capitalise and increase brand visibility, and gain share in the specifier market
- Designed the project, outlined project narrative, identified and approached project partners
- Led creative direction, design and production of the project
While ‘Worth Holding Onto’ is still new in market, the response has been overwhelmingly positive from the design community. Word has spread fast through distribution of promotional images through social media and industry press, generating new leads for the Paperstop business development team, and reactivating existing dormant client relationships.
Ellis Jones continues to work with the Paperstop leadership to nurture new specifier relationships, and consolidate sector interest into business growth.