Cut fold techniques for promotional materials pdf download

The book provides a one-stop source for novelty promotional materials, many appearing in print for the first time. Following the elegant, easy-to-follow style of Paul Jackson's other titles for Laurence King, Cut and Fold Techniques for Promotional Materials is an essential resource for marketing professionals and design students, and an inspirational guide to anyone looking to enhance the presentation of their product or service.

More Details. Paul Jackson 75 books 7 followers. Librarian Note: There is more than one author in the Goodreads database with this name. Search review text. Imposition A number of pages are Larger , more complex products like books require larger sheets that have to be folded and cut to make signatures. In diagrams, these two folds are shown with a dotted line and a dashed line a solid line is a cut. In various combinations The operator places the material under a straight blade and cuts off the unwanted extra paper.

Unconventional materials and techniques are finding their way into promotional initiatives in inventive combinations. Boortz , Contracting Officer of Dotti Griffith. Printing Specialists : Occasionally camera copy ' for fold - ins may be up to 81 x Il inches. The cut -ups, fold -ins, intersections, and collages experimented with by Burroughs and remade by Berrigan are the They the work will fit within the guide wraps around the fold will back are perfect for quick copy materials lines of what has been planned.

If Do not confuse the terms template The ideas run mainly to cutting the blanket in half to get multiple sections , switching blankets and other variations The book is arranged in five sections : sales techniques , promotional ideas , ways to increase sales , specialty But when thermographed products such as business cards are folded , folders with rubber rollers are employed , in order to avoid flaking or peeling.

Likewise , when stacking the cut cards , there should not be enough pressure applied Author : United States. Committee on Agriculture, Nutrition, and Forestry. Subcommittee on Foreign Agricultural Policy. Skip to content.

Some designs are interactive toys that turn inside out or reveal hidden faces when played with, others are more practical, offering ingenious ways to fold-up letters, brochures and posters, or to create novelty envelopes and leaflets. All the designs will enhance a message or presentation, grabbing attention in ways that simple printing can never achieve.

Following the elegant, easy-to-follow style of Paul Jackson's other titles for Laurence King, Cut and Fold Techniques for Promotional Materials is an essential resource for marketing professionals and design students, and an inspirational guide to anyone looking to enhance the presentation of their product or service. Superstars are simple and quick to fold; based on geometrical solids, the forms are surprisingly sturdy.

You can make large and impressive decorations bring on Christmas! Work cleanly and you will work more accurately, with more care and with more motivation. The one relatively expensive item is a self-healing cutting mat.

It is pure vandalism to cut through paper or card on a tabletop and the alternatives of wood or thick card quickly become rutted and problematic. A specialist cutting mat will ensure that every cut line runs straight and smooth. Buy the biggest you can afford.

If it is looked after carefully, it will remain in good condition for a decade or more. When you choose your own card, try to work with something between and gsm. For pop-ups which are unusually large or unusually small, try heavier or lighter weights. If you are printing onto your pop-up design, a card with a smooth surface generally prints better than card with a textured surface. If you are printing with a computer printer, your choice of card may be severely restricted.

Despite this, if you are using a card recommended for laser or digital printing, the results should not only print excellently but also cut and fold well too. If you are using a commercial offset printing company to mass-produce your design, then be aware that not all cards that print well will also cut and fold well. Any pop-up design when manipulated from 2-D to 3-D and back will put a small strain on the point where a cut ends, so if the card is weak, it will tend to rip from that end point.

It is better to instead use a more expensive, more compacted card. These cards are usually stronger than aerated card and will cut and fold more reliably. When choosing a card stock, ask for a few small samples and try making pop-ups from them. A preferred card will soon emerge. If you are die-cutting your pop-up, a three-way discussion between the die cutter, the printer and yourself should help you choose a good all-round card. If you are making pop-ups by hand, consider using unusual card.

The best way to make an exciting choice of material is to contact a local paper merchant and ask to be sent a set of sample books.

By working in such a hands-on way, you will come to better understand the structure of how pop-ups work than if they were always drawn using a computer. Nevertheless, you will sooner or later probably need to draw a pop-up design on a computer, perhaps also adding surface graphics such as text, illustration, or imported images. Pop-up designs, with all their parallel lines, are usually very simple to draw, so any basic vector software will be able to cope very easily with your needs.

If you are adding surface graphics, use an appropriate application such as Adobe Illustrator, or one of the many less expensive or freeware alternatives. However, you will probably save time in the long run if you irst make it roughly, not bothering too much with copying exact measurements or shapes.

When this roughly made sample is in your hand, you can quickly understand its structure and then create it more carefully, perhaps making subtle changes so that the cuts and folds work better with your idea. A good general size for practice card is A6 approx. Save more time by using a supply of ready-cut rectangles, such as postcards or index cards. Blocks of several dozen or even several hundred of these cards can be bought very inexpensively from ofice suppliers.

If you are planning to do a lot of pop-up work, they can save a huge amount of time in cutting larger sheets down to size and so help to make pop-up sketching quicker, more luent, uninhibited and more fun. Note how quickly and freely it has been cut, folded and even repaired with tape.

Use your geometric equipment to make sure that lines which should be perpendicular to an edge are exactly so, that measurements which should be equal are exactly so and that parallel lines are parallel.

Draw as many construction lines as you wish. You can erase them later. A strong tip is to erase any unwanted lines before you cut and fold anything, so that only the cut-and-fold lines you need remain visible.

Check and double-check your folded sketch to be sure that you have erased all the unwanted lines. Use the back edge of your cutting knife to make the folds, as described on page After you have made the fold lines, make the cut lines with your knife, also described on page When all the folds and cuts have been made, carefully erase all the pencil lines.

Step 1 Step 2 This is a carefully drawn version of the Erase all the unwanted construction lines, rough pop-up made overleaf. Note how all the construction lines are made full length — whether needed or Cut and fold the lines according to the not — creating, in this design, six equal instructions on page The heavier lines will be cut. Follow this sequence carefully and it should become an easy a Pop-up process. As with all hand manipulation skills, practice will make perfect.

Never try to mountains and which are valleys. Make the longest folds irst. Do this patiently, all the folds forming simultaneously.

To one fold at a time, noting whether it is do this, latten the folds at the back of mountain or valley. Press it lat care to make creases only where they to strengthen all the folds. Any errors in are needed. Compare how it looks with the initial rough version seen on page You are strongly advised to work through it slowly, making as many of the examples as you can.

If you do, you will begin Chapter 3 with a thorough understanding of what makes a pop-up work, the many possible crease pattern variations for any single cut and how any of the examples can be rotated or lipped for display. Without this understanding of the fundamentals, it may be dificult to design your own pop-ups or to create variations on designs from the book.

One tip is, as you make the examples, to write on each what is distinctive about it. By doing so, you will understand more clearly what you have made and be able to compare easily one design against another without reference to the book. As you will see, it is astonishing how many different pop-up forms can be made from one simple cut.

So, although this is a chapter of basic techniques, it is a creative chapter, and a chapter which offers unlimited possibilities.

Indeed, if this were the only chapter you were to read, it should give you more ideas than you could ever make, whereas to skip ahead and only read one of the later, showier chapters might severely limit your ability to design a full range of pop-ups. This spread explains those principles. Only those combinations of folds and cuts described here will create a pop- up that can collapse lat and open to three dimensions, repeatedly. Other combinations may make corrugated surfaces, interesting in their own right, but they will not fold down lat and open to 3-D in the manner of a true pop-up.

Fold Fold Cut Cut 2. They are contrasting because whereas folding will always contract a sheet, cutting will always open it.

They are opposites, yet mutually complementary, like the two sides of a coin. They cannot be unconnected. It cannot be the same fold both fold will divide the cut into two equal above and below the cut. The choice of which crease pattern to use is at the discretion of the designer.

The 2. Construction 2. This will be the into accurate quarters. This is the shown. It is essential that the cut begins completed Basic Construction. The and ends exactly on the quarter lines. These four variations may be considered the core of Pop-ups all pop-up structures. Create the three valley folds and one in 2. Then press all four folds simultaneously to create Form One.

The method for making the folds and collapsing the pop-up into shape is described in 1. Create the three mountain folds and one above in 2. Then press all four folds simultaneously to create Form Two. The method for making the folds and collapsing the pop-up into shape is described above in 1. Then press all four folds simultaneously to create Form Three.

Create the three valley folds and one above in 2. Then press all four folds simultaneously to create Form Four. However, the fold patterns are less intuitive 2. Note that the valley and mountain folds have swapped positions, compared to the pattern above in 2.

However, the compensation for the Pop-ups extra work is that they create more visual interest than their symmetrical 2. Gutter Gutter Gutter Gutter This symmetrical pop-up shows a horizontal cut that This asymmetrical pop-up shows the cut extending extends equally left and right of the gutter, so that the further away from the gutter on the right side than on valleys which extend down the card from the ends of the the left. To compensate for this asymmetry, the mountain cut are equidistant from the gutter.

When popped into fold gutter moves to the right, thus separating the gutter 3-D, both pop-up surfaces will be the same size. When popped into 3-D, the two pop- up surfaces will be different sizes that is, asymmetrical, not symmetrical. Note that the two surfaces of equal. The construction method will ensure these distances are equal. The exact centre. This is the gutter. Cut a horizontal line near the top of the card which connects the left-hand and right-hand vertical lines.

Then press all four folds simultaneously to create the inal 3-D form. Note how there are four vertical lines, whereas the construction for the Symmetrical Pop-up has only three see step 2.

Note that in each example, every valley and mountain can be folded the opposite way, so that the number of possible variations will double from four to eight. Which Way This is because each design can be rotated and relected — that is, turned Around? If the design is asymmetrical, these four possibilities will double to eight. This is because an asymmetrical design can be remade as a mirror image, thus doubling the set of display possibilities for what is essentially the same design.

So, for each new design that you make, turn it over and around in your hands and view it from all sides. Set it down on a lat surface in a variety of positions, as described above. The design will often change dramatically as it is manipulated from one display position to another and a poor design may suddenly come to life when seen from another frontal point of view.

If the cut was mirrored, the total number of different-looking pop-ups when the left-hand and right-hand designs were displayed together would double to sixty-four. Even the simplest pop-up can offer great potential for creativity, as this example of one cut with sixty-four display possibilities shows.

The two pop-ups seen here are the same. They look different because one is sitting and the other is standing. Look closely at illustration 2. Also, each of the eight crease patterns can be rotated and turned so that any pop-up can be stood up and viewed from many different frontal viewpoints.

However, for reasons of space, only one example of the eight and only one frontal view of it will henceforth be given. So, in the chapters that follow, you are strongly encouraged not only to make the single example given, but also to make some of the seven other possible alternative crease patterns and to experiment with frontal viewpoints. It shows how the cut can be changed to become almost any cut line you can imagine, how the shape of the card need not be a simple rectangle, how the size of the pop-up can be changed relative to the size of the card and how the folds need not be parallel to each other.

These are not new technical ideas — they will follow in later chapters — but variations on the essential elements that create any pop-up. In combination, these variations will hugely expand your creative possibilities, but without introducing anything fundamentally new. Please read this chapter with care and make as many of the examples as you can in preparation for Chapter 4.

So, a cut line can connect any circle on the left with any circle on the right. The only limitation is your imagination and the constraints of a brief. It is well worth experimenting with crazy cuts, with cuts that push the limits of what you think may or may not work and to experiment widely with ways of collapsing a pop-up shut with different combinations of valley and mountain folds see Chapter 2.

Note how in the lower two examples, sections of each quarter line have been removed — they are unnecessary. However, the pop-up may be placed anywhere on the card. For example, the right-hand illustration shows the same pop-up construction placed left of centre. Even the simplest pop-up construction will gain interest if placed imaginatively on the card and will create opportunities for an interesting graphic surface.

Thus, even with just one cut, the endless combinations of the shape of the cut against the shape of the card could provide a lifetime of creative work. Sometimes, the background card may need extending to protect these protrusions. This technical section will help with the design of stronger and more secure pop-ups. When collapsed lat, the pop-up is contained within the layers of the background card and is held strongly and securely out of sight. When vs Card Size collapsed lat, the pop-up will be hidden deep within the layers of the background.

This will give added security to the pop- up, but it also makes the pop-up structure smaller and thus less prominent. Thus, opening the card to reveal the pop-up within will be less dramatic than 3. When collapsed lat, part of the pop-up will protrude and be vulnerable. This means that C when the card is collapsed lat, two small rectangles will protrude from the card that are very vulnerable.