Made Thought rebrands Colorplan

Even in these digital days, a beautifully produced paper promo can still make even the hardest-hearted designer drool. Expect Pavlovian reactions across design studios throughout the UK at Made Thought’s work for GF Smith favourite Colorplan paper, which includes a new logo and Colour Book paper sampler

Even in these digital days, a beautifully produced paper promo can still make even the hardest-hearted designer drool. Expect Pavlovian reactions across design studios throughout the UK at Made Thought’s work for GF Smith favourite Colorplan paper, which includes a new logo and Colour Book

The Colorplan paper range has long been something of a favourite with designers so promotional work for it has had to be of a particular standard. Before Made Thought worked on the brand, for example, Sea produced some beautiful materials, like this

Made Thought has given the brand its own identity (distinct from the rest of the GF Smith range) for the first time. A mark references a turned-down corner of a paper sheet, with the brand name set in an eponymous new typeface (developed with and built by Colophon). Here it is used on a business card

 

And here the full alphabet and numerals

 

The business card actually features three diferent stocks joined together using ‘paper marquetry’. Each different colour is actually a separate sheet of paper fused to a base layer of turquoise card.

This technique is also used (to stunning effect) on the cover of the Colorplan Colour Book (shown top) with inlaid circles of two contrasting stocks plus a tipped-on disc of orange. The wraparound cover consists of two sheets of turquoise board fused together. The top sheet is die-cut to allow the discs of pink and blue to be inserted.

Inside, discs of the various papers in the range are tipped onto pages.

 

As are small swatches

 

 

An accompanying website (developed and built by Ico Design) allows users to mix and match different paper colours, as shown in this video. Again, the colours in the range are represeted by discs: users can select a colour and then bring in complementary or similar colours alongside their chosen circle. You can also set your background colour in your chosen shade.

 

Elsewhere in the site, choose ‘weights’ and video clips of someone handling each stock attempt to convey its qualities, a really nice idea.

 

‘Embossings’ displays close-ups of the various textures available.

 

And the ‘Using Colorplan’ section includes technical information and extras such as envelopes, beautifully shot

All in all, a beautifully-realised project (credit must also go to the printers – Robert Young which produced the business cards Push Print which did the Colour Book with chips provided from Wetherby Shade Card) and (forgive the pun) a cut above most brands in this sector.

 

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The March issue of CR magazine celebrates 150 years of the London Underground. In it we introduce a new book by Mark Ovenden, which is the first study of all aspects of the tube’s design evolution; we ask Harry Beck authority, Ken Garland, what he makes of a new tube map concept by Mark Noad; we investigate the enduring appeal of Edward Johnston’s eponymous typeface; Michael Evamy reports on the design story of world-famous roundel; we look at the London Transport Museum’s new exhibition of 150 key posters from its archive; we explore the rich history of platform art, and also the Underground’s communications and advertising, past and present. Plus, we talk to London Transport Museum’s head of trading about TfL’s approach to brand licensing and merchandising. In Crit, Rick Poynor reviews Branding Terror, a book about terrorist logos, while Paul Belford looks at how a 1980 ad managed to do away with everything bar a product demo. Finally, Daniel Benneworth-Grey reflects on the merits on working home alone. Buy your copy here.

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