Rizco Design

What happens when two Italians marry the perfect blend of ingredients, with the goal of leaving an everlasting impression? The end-result is an award-winning brand for Mother Mary’s Market. Mike Seip, founder of Mother Mary’s Market, and Keith Rizzi, partner of  local design firm, Rizco Design, recently were awarded two gold medals by the Art Director’s Club of NJ at their gala event on April 23rd at the Birchwood Manor in Whippany. The Manasquan-based team won two out of ten gold medals that were awarded for the Mother Mary’s Market Logo and Business Identity System.

Mother Mary’s Market, located on Main Street in Manasquan, is a unique Italian market where “Mary” is the chef. With 60 years of experience cooking in New York, Mary inspired her son, Michael to open up the market in early 2010 and has been sharing generations of old style Italian recipes with local customers. Rizco Design was enlisted to develop the identity and brand architecture that was implemented on bags, menus, business cards, web site and environmental graphics for the market.

“The experience of having a local brand come to life, was really rewarding,” said Keith Rizzi, Partner of Rizco Design. “The Mother’s Mary’s Market brand brings New York chic to Manasquan’s doorstep with a touch of mom’s home cooking … Not to mention that the food is fantastic!”

Founded in 1961, the ADCNJ is a statewide, non-profit organization of art directors, graphic designers, illustrators, photographers, art educators, and other creative professionals whose talent and services contribute to excellence in the design and production of advertising, promotion, and publishing. The 47th Annual ADCNJ Awards were judged by a panel of experts from the New York area, and the ADCNJ entries that received the highest scores were given either a Gold,  Silver or Bronze medal.

For more information on Mother Mary’s Market visit MotherMarysMarket.com or Art Directors Club of NJ, ADCNJ.org

Almost a billion people on the planet don’t have access to clean drinking water. That’s one in eight of us. charity: water is a non-profit organization bringing clean and safe drinking water to people in developing nations. 100% of public donations directly fund water projects.

Mohawk Fine Papers was one of the many amazing sponsors of last night’s, charity: water 2009 Charity: Ball, where 1,200 people gathered at the Metropolitan Pavilion in NYC with host, Adrian Grenier, to raise funds to provide clean drinking water to villages within Uganda, Sierra Leone and Ethiopia. One of many highlights is the “Water Catwalk” where attendees were encourage to walk 52 feet carrying two jerry cans that weight 40 pounds each. Africans walk 300 times that distance daily (3 miles) to gather enough water for cooking, cleaning and drinking. Time spent on this daily task would prevent you from earning an income or getting an education. If you are a woman, it puts you at greater risk of rape and assault.

… So yes, I joined my Mohawk rep, Cindy Salant, in handing over our drinks, shoes and handbags, and walking barefoot in our semi-formal dresses – a minimal effort in comparison to the journey that Africans make. Our reward was to learn and experience how fortunate we are to have clean drinking water.

High compliments to Viktoria Alexeeva Harrison, Director of Design & Branding, for the incredible visual displays and to Founder, Scott Harrison for turning big ideas into actions that touch so many lives … and for being so humble along the way.

For more information and to donate visit www.charitywater.org.

A contributing factor is its absence from industry standard layout applications.
By Hal Hinderliter — Graphic Arts Online, November 1, 2009

Pantone Goe SystemDesigners often describe their work as “innovative concepts” that can “push the envelope,” so breaking with tradition should be instinctual. This makes it surprising that ad agencies and design studios have failed to embrace Pantone’s GOE color specification system.

Introduced in September 2007, GOE offers an expanded gamut of 2,058 spot colors (up from 1,114 colors in the previous PMS system) in a redesigned swatchbook, organized by a new numbering system. Press operators will appreciate that all GOE colors are coating-friendly, and the entire color range is formulated to print uniform ink film thickness. With more colors presented in a more logical sequence, this 21st-century replacement for the 46-year-old Pantone Matching System is a “no-brainer” that has turned out to be a non-starter.

“I have not had one customer ask for it,” explains Raphael Horvath, owner of commercial printer Action Graphics. “A good portion of our client base is very specific about their brand appearance, and they always use the Pantone Matching System.”

Resistance to change may be part of the problem, but a contributing factor is the absence of GOE within industry-standard layout applications. Fortunately, the Pantone website offers a free installer that will insert GOE swatchbooks into either current or older versions of Adobe Creative Suite as well as QuarkXPress 7 and 8. Printed fan GOEGuides (on coated or uncoated stocks) and GOEBridge guides (for spot-to-process conversions) can be purchased online for $99 each, or users can opt for the GOE System package that contains a swatchbook, GOESticks adhesive-backed reusable color chips and a CD containing the GOE digital libraries for both QuarkXPress and the Adobe Creative Suite.

“We’re committed to making GOE work,” says Andy Hatkoff, Pantone VP OEM and technology licensing. “But we didn’t discontinue PMS; the two continue to live in a concurrent universe.” Hatkoff knows unseating a product with the longevity of PMS will not occur overnight. “It’s like pushing a big rock up a hill,” he admits, “but we’ve done the right things, technically speaking. Now, it’s about helping people understand GOE’s many advantages.”

As this nascent color system attains wider adoption, ink vendors will be required to support both the classic PMS formulations, as well as the new GOE inks. Fortunately, that job is made easy by GOE’s smaller base set: only 10 inks (plus clear) are required, versus 16 base colors used for PMS inks. Pantone also improved the stability of its new offering by eliminating the use of Reflex Blue (incompatible with coatings, subject to bronzing) and Rhodamine Red (tends to burn out quickly). These attributes make GOE attractive to ink vendors, who welcome a transition to this modern ink set.

One designer who favors GOE is Debra Rizzi, partner at RizCo Design. “It’s more streamlined, its smarter,” says Rizzi. “I’m constantly trying to find a different palette to work with that is fresh, so the fact that it’s organized better definitely helps.”

Rizzi is implementing GOE on a number of projects, including a 100+ page manual to celebrate the UN’s International World Water Week. “For eco-conscious clients, the elimination of Rhodamine Red and Reflex Blue is a big plus,” she says.

This new color specification system’s benefits are substantial, but as yet print providers have failed to encourage clients to abandon PMS books. Pantone may feel that the time for change has come, but apparently the designers will have to GOE first.

Posted By Debra Rizzi

Thursday, November 5th – Art Directors Club NYC

Rizco Design attended Sappi’s “The Storytellers Art” with Kit Hinrichs, a look a 40 years of narrative design. With light fare and potent wine in-hand, we were guided through Kit’s many years of experience and brilliance – ranging from the evolution of the “Design Within Reach” and “Gymboree” brands, to the full tour of the @Issues … which many of us refuse to get rid of. It seems that designers always have their own pet project on the side and for Kit it’s collecting and documenting American Flags.

Designers, test your brand awareness skills. @Issue has relaunched Alphabet Soup – where one letter of distinctive logotypes define a brand. How many can you decipher? Visit: http://www.atissuejournal.com/quizes/ and select Alphabet Soup, third one down in the column on the right.

Additional, highlights included the distribution of “The Standard”, which is Sappi’s new guide for designing for print. Tips, techniques and methods for achieving optimum printing results. While some designers expressed dismay about the distribution of such a high-end print piece in a down market, we applaud Sappi’s effort to educate designers on how to stretch their dollars. The combination of in-line varnish treatments on quality paper readily replace the need for costly foil stamping and embossing. The end-result is added depth and dimension with minimal increase to the bottom line. Contact Eloise Martinez, eloise.martinez@sappi.com, to get your own copy.

Rizco Design earned five American Graphic Design Awards including the Rizco Design Business Card, Rizco Design Web Site, Beleaf Kids Product Launch, Beleaf Web Site and Direct+Green Event Poster that was developed in conjunction with Offset Impressions and New York University.

For more than four decades, Graphic Design USA has sponsored national design competitions that spotlight areas of excellence and opportunity for creative professionals. The American Graphic Design Awards is the biggest and broadest of these, open to everyone in the community: advertising agencies, graphic design firms, corporations, instituions, publishers and more. It honors outstanding work of all kinds and across all media. Over 8,000 entries were received and 15% were recognized. The winning entries will be featured in the December edition of Graphic Design USA which is seen by an estimated 100,000+ creative and marketing decision makers.

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Over the past two days, we have had the privilege to judge the “Going Green” categories of the 39th Annual UCDA Design Competition. Out of 1,200 entries, 43 entries were received that spanned across the green categories of Messaging, Production and Reduction. The increase in participation proves that educational institutions are incorporating sustainability into decision-making for their marketing materials.

Overall, we are pleased to see that so many students have embraced sustainability and are driving decision-making, transforming thinking and establishing movements with measurable results. It is apparent that designers are being educated, and specifiying recycled stock isn’t the complete solution – alternative energy, consumption of natural resources and overall footprint are changing how educational institutions communicate. Through this competition, designers have proven that they take responsibility for what the produce, and as a result, have amazing power to change minds and make a difference.

The UCDA Design Competition recognizes the best of the exceptional design work done to promote educational institutions (secondary, vocational, or higher education). The 2009 Design Competition is now underway.  This year’s show will be on display at the 39th Annual UCDA Design Conference, October 3-6, 2009 in Seattle, Washington. Awards will be given out on Sunday, October 4. Visit ucda.com for more information.

Posted by Debra Rizzi

Rizco Design was one of the first 100 people to participate in Toppan Printing Company’s Earth Day 2009: Where Green is the Color of Print Competition where end-users were encouraged to visit Toppan’s site and find a tree image after learning about Toppan’s valuable environmental certifications including ISO and FSC.

As a reward, ten native pine, fir and cedar trees will be planted by The Arbor Day Foundation in the Plumas National Forest in northern California. The trees will help repopulate the thousands of acres that have been destroyed by fire in recent years. These trees will clean the air, grip the soil and provide food and shelter for bears, bald eagles, lynx, gray wolves and many more threatened animals.

For more information about Toppan Printing visit www.ta.toppan.com and to donate to rebuilding the Plumas National Forest visit www.arborday.org/join/tictim/forests/plumas/

We thank Toppan for including Rizco Design in this effort to preserve and renew the environment.

Question is “To Goe or Not To Go?”

Designers ask, Pantone delivers. “Is it possible to create a greater selection of brand colors?” “Why are certain colors problematic when you print?” “Are inks going to become more environmentally-friendly?” The answer is “yes” and its called “Goe.”

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Pira International, Surrey, UK, a third party research firm, was commissioned by the Foil Stamping & Embossing Association (FSEA) to conduct the study and produce the findings, which have been compiled in a 14-page study.

To conduct the study, foil stamped paper/board was utilized from both the more traditional hot foil stamping process and also the cold foil process. The evaluation included foil decorated product that represented 25 percent post consumer waste up to 100 percent post consumer waste, meeting levels that far exceed normal conditions. “It has become quite apparent that this study is extremely important to the long-term health of our industry and association,” stated FSEA Executive Director Jeff Peterson. “We are very excited with the positive findings of the study and are making every effort to communicate these findings to the graphic arts and packaging industries as quickly as possible.”

Along with the findings, the study describes the pulping and screening methods used in the research, and provides a complete analysis of the reporting results from the testing methods. The main conclusion from the study validates the recyclability of paper products decorated by both the traditional hot stamp and new cold foil processes. In addition, the study finds that neither hot nor cold foil-decorated products would give rise to problems found in other decorating processes that may render the decorated paper products unsuitable for recycling.

The Foil Stamping & Embossing Association is committed to providing its members and the industry at large with the tools to address the expanding number of questions regarding the topic of sustainability. The complete copy of the study is available for distribution. To obtain a copy or to receive further information, contact the Foil Stamping & Embossing Association at (785) 271-5816 or e-mail jeff@fsea.com.

Breaking Down The Facts

Hot vs. Cold Foil – Defining the difference
Cold Foil Printing is an in line process that works on rotary letterpress and rotary flexo presses closely duplicating hot foil stamping, typically used by label manufacturers. Cold foil printing is faster, more efficient, and does not require the costly dies associated with hot foil stamping. Household consumables, scented candles, wine labels, and cosmetic packaging are the most popular.
www.gocold.com/what_is_cold_foil.htm

Foil stamping uses heat and metallic film in a specialty printing process that produces a shiny design on paper, vinyl, textiles, wood, hard plastic, leather, and other materials. Instead of using magnetism, plates, or inks to print words and shapes, foil stamping uses dies, or sculpted metal stamps. The heated dies seal a thin later of metallic leaf onto a surface. The foil comes in a wide roll, large enough for several passes, backed by Mylar. The hot die works similarly to a letterpress. Once heated, it presses the foil against the substrate material with enough pressure that the foil sticks only in the intended places, leaving a slight imprint.  www.wisegeek.com

Defining the difference between INGEDE and FINAT recycling measures
Two types of recycling measures were tested which include the INGEDE Method 12 and FINAT FTM-19 method. for each method the industrial conditions were replicated to provide a standard case for deinking and ‘standard’ recycling.

The INGEDE (Internationa Association of the Deinking Industry) Method 12  assesses the recyclability for printed products that have adhesive applications. In this method deinking chemicals consisting of 0.6% sodium hydroxide, 1.8% waterglass, 0.7% peroixde and 8.8% surfactant  are used to remove ink from the pulp. The material is pushed thrugh a screen where particles are collected. This process DOES NOT reevaluate the materical passed through the screen during the downstream process. The rejected material is collected and assessed. www.ingede.de/ingindxe/methods/meth12pe.pdf

The FINAT (International Federation for Self Adhesive Labels) FTM-19 applies typicalpaperboard recycloing conditions and evaluages the contaminants in the pulp before AND after the screening process. This method does not focus on the rejected particals caught by the screen, but instead reviews the material that passes through the screen and measures its contamination, if applicable. This process is more labor intensive and costly since all material is collected and retested.

As per the FSEA’s report “the reason for the amalgamation of both methods is to combine the quantification of basic repulplability of the INGEDE approach with the measurement of the contaminants prior to screening inherent in the FINAT method, whih method also provides an assessment of potential problems in contamination of paper machine drying cylinders or felts by stickies.”

Recommended use of repulped foil decorated material include:
• Use in recyled grades that could not cause aesthetic problems such as fluting medium, inner plies of solid boards, book binding boards andwhite-top liners, spirally-wound tube and core stock
• if centrifugal cleaners effectively remove metallic particles then bleached foil decorated stock could be used in bleached grades depending upon the fibre source. Unbleached fibre could be used for linerboards, sack kraft and bag grades.

About Pira:
Pira International is a leading commercial consultancy, testing and meida business which specialized in retail supply chain technologies related to industries such as packaging, paper, plastics, printing, publicshing and consumer goods. Pira has established a reputation as one of the key knowledge providers in these industry sectors. www.piranet.com/