Maker Quarterly

Mohawk Maker Quarterly Issue #15: Materials

October 22, 2018

covers of different Maker Quarterly versions arranged in a diagonal grid

Materials are an emotional filter. Through texture, color and form, they reveal how we should feel about what we see and read.

Mohawk Maker Quarterly Issue No. 15 is dedicated to Materials. Consistent with preceding issues, this issue brings together engaging content with thoughtful design and carefully crafted print on paper.

“When you think of designing for print as creating an object, your choice of materials makes all the difference,” says Caleb Kozlowski, Creative Director at Hybrid Design. “The characteristics of the paper you select fundamentally inform the nature of the thing itself.”

Maker Quarterly issues standing up on a two-toned background

open MAker Quarterly issues on a two-toned background

Mohawk Maker Quarterly Issue No. 15

This issue is made of nine discreet objects each intended to demonstrate the impact and importance of materials in print.

Chris Harrold, SVP Marketing & Creative at Mohawk adds, “User experience doesn’t just describe how people navigate a website; it’s also how they engage with the real world. Texture, form and color are essential to that experience. So why spend so much time pushing pixels around only to think about materials at the last minute?”

This issue is made of nine discreet objects each intended to demonstrate the impact and importance of materials in print. Designed by Hybrid Design of San Francisco, CA, this issue is equal parts demonstration and inspiration, using sixteen different Mohawk papers presented in a bold, colorful container which immediately conveys the essence of its focus on materials.

A blue, purple, and green edition on a blue background

Issue No. 15 comes in three different containers

They were designed using three different Keaykolour shades, each paired and printed with bright match color inks.

“When you think of designing for print as creating an object, your choice of materials makes all the difference. The characteristics of the paper you select fundamentally inform the nature of the thing itself.”

Caleb Kozlowski

Creative Director at Hybrid Design

A stack of Maker Quarterly issues on a two-toned background

Diecut Containers

The containers were diecut to reveals the other eight objects inside.

Purple, blue, and green cover on a red backdrop

9x12" Format

The team at Hybrid chose a 9x12” format made up of nine unique objects, each a different size and form factor.

Mohawk Maker Quarterly Issue No. 15 leans heavily on Mohawk’s beautiful new portfolio of Keaykolour papers by Arjowiggins Creative Papers (Expressive Collection), taking full advantage of this flexible and curated color pallet. The team at Hybrid chose a 9x12” format made up of nine unique objects, each a different size and form factor. The first object is the container whose die cut cover reveals the other eight objects inside. Three versions of the container were designed using three different Keaykolour shades, each paired and printed with bright match color inks. Inside, the remaining eight objects were designed and made from thirteen different papers carefully selected from the Mohawk portfolio. Every object is a powerful, stand-alone demonstration of material selection serving design intent. They feature creators and content curated to provide different perspective on the topic of materials.

Inner object in various states of unfolding on a red background

Object 5 / Object: Finding a new way to talk about the object quality of print design.

Printed on Keaykolour, Vellum, Pastel Pink, 80 Text.

Inner view of the introductory page with a duotone illustration and letter to ther eader

Object 1 / Editors Letter: Setting the stage for Issue No. 15, let the materials you choose serve your ideas.

Printed on Keaykolour, Vellum, Old Rose, 111 Cover and Mohawk Loop, 25% Cotton Light Cockle, Pure White, 24 Writing.

inner object called obsession on a teal background

Object 6 / Obsession: The weaving of Kay Sekimachi redefines the relationship between material and technique.

Printed on Mohawk Via, Felt, Flax, 80 Cover and Curious Collection, Skin, Orange, 91 Cover.

Featured objects & articles include:

Object 0 / Container – Color on color: Each of three cover designs is a primer on using colored paper with colored inks.
Object 1 / Editors Letter: Setting the stage for Issue No. 15, let the materials you choose serve your ideas. Written by Tom O’Connor Jr.
Object 2 / Make it Real: Creatives who embrace real world materials to reimagine their work. Written by Patrick Sisson & John Dugan.
Object 3 / Time: Is your work design ephemera or enduring cultural artifact? Written by Caleb Kozlowski.
Object 4 / Waste Not: How four companies are using waste as their primary input material. Written by John Dugan.
Object 5 / Object: Finding a new way to talk about the object quality of print design. Written by Caleb Kozlowski.
Object 6 / Obsession: The weaving of Kay Sekimachi redefines the relationship between material and technique. Written by Perry A. Price.
Object 7 / The Movement: Eight artists’ work prove that materials can be taught new tricks. Written by Jesse Kuhn.
Object 8 / Color: Three authors place this indispensable design element in three contexts. Written by John Dugan, Patrick Sisson & Sarah Schwartz.

Gif of the Maker Quarterly container opening

Featured materials include:

Object 0 / Container:
- Keaykolour, Vellum , Indian Yellow, 111cover/300gsm (Expressive Collection)
- Keaykolour, Vellum, Caribbean Blue, 111cover/300gsm (Expressive Collection)
- Keaykolour, Vellum, Coral, 111cover/300gsm (Expressive Collection)
Object 1 / Editors Letter:
- Keaykolour, Vellum, Old Rose, 111 cover/300gsm (Expressive Collection)
- Mohawk Loop 25% Cotton Light Cockle, Pure White, 24writing/90 gsm (printed with Mohawk DigitalMark) (Sustainable Collection)
Object 2 / Make it Real:
- Mohawk Superfine, Eggshell with i-Tone, Ultrawhite, 80 text/118gsm (Beautiful Collection)
Object 3 / Time:
- Crane’s Lettra, Pearl White, 110 cover/297gsm (Expressive Collection)
Object 4 / Waste Not:
- Mohawk Loop, Antique Vellum, Snow, 100 text/148gsm (Expressive Collection)
Object 5 / Object:
- Keaykolour, Vellum, Pastel Pink, 80 text/120gsm (Expressive Collection)
Object 6 / Obsession:
- Mohawk Via, Felt, Flax, 80 cover/216gsm (Expressive Collection)
- Curious Collection, Skin, Orange, 91 text/135gsm (Expressive Collection)
Object 7 / The Movement:
- Curious Collection, Metallics, Aloe, 111 cover/300gsm (Expressive Collection)
Object 8 / Color:
- Keaykolour, Vellum, Coral, 80 text/120gsm (Expressive Collection)
- Keaykolour, Vellum, Pastel Green, 80 text/120gsm (Expressive Collection)
- Keaykolour, Vellum, Indian Yellow, 80 text/120gsm (Expressive Collection)
- Strathmore Wove, Soft White, 80 text /120gsm (Elevated Collection)

Object 2 / Make it Real: Creatives who embrace real world materials to reimagine their work.

Printed on Mohawk Superfine, Eggshell with i-Tone, Ultrawhite, 80 text/118gsm

A print from inside the Maker Quarterly viewed from above

Object 3 / Time: Is your work design ephemera or enduring cultural artifact?

Printed on Crane’s Lettra, Pearl White, 110 cover.

Object 8 / Color: Three authors place this indispensable design element in three contexts.

Printed on Keaykolour, Vellum, Coral, 80 Text + Keaykolour, Vellum, Pastel Green, 80 Text + Keaykolour, Vellum, Indian Yellow, 80 Text and Strathmore Wove, Soft White, 80 Text.

Mohawk Maker Quarterly Issue No. 15 was skillfully printed and bound by Sandy Alexander, Inc., Clifton, NJ, using 4 color and match UV printing, Crane Stationery, North Adams, MA using HP Indigo + Thermography and Lawton Connect, Orlando, FL using HP Indigo.

Production Notes

Print Process

Die Cutting

The cutting of paper into decorative shapes or patterns using a steel cutting die.

Digital Printing

Printing imaged by digital data from prepress systems using liquid ink or powdered toner.

Thermography

A post print process of creating raised areas of print or images on paper. Resinous powder is applied to the wet surface of the ink and fused by heat, or infrared radiation.

Materials + Techniques

Match Colors

A specified premixed ink color which has been mixed according to a formula. Match colors are more accurate than process colors which use screens and can vary from one print run to the next. Also referred to as a spot color or Pantone® Matching System (PMS).

Metallic Inks

Metallic powders in a varnish base create images with metallic luster. Leafing inks which have metal flakes that rise to the top of the ink mixture have more shine, but increased rub off. The metal flakes in non-leafing metallic inks sink down with less rub off and a little less shine. Non-leafing inks with a dull varnish or aqueous coating perform most reliably on uncoated paper.

White Ink

Opaque white ink can create a unique print effect — it is a non-transparent ink which does not let any of the base color show though. The more hits of white used, the more it stands out from the background. White ink can be used alone, or as the base to print color on top, which allows full color imagery to be printed on dark colored paper.

Bindery

Singer Sewn

Pages are sewn together with the help of a Singer sewing machine, through the spine or on the side of a book, similar to side stitching.

Offset Printing Capabilities

4 Color

CMYK printing uses the four process color inks—cyan, magenta, yellow and black—to reproduce a broad spectrum of colors and tones and is made possible by repeating the halftone process for each color.