In order to learn how to appreciate the importance of paper in a graphic project, designers must be totally conversant with this material’s technical and aesthetic characteristics. For this reason, centres or schools that provide training and qualifications for these professionals must strive to address the main substrates in the publishing and packaging sectors. One of the schools that actually does this is Salesians Sarrià, thanks to its weekly student training sessions and the yearly expert Guarro Casas master class.
María José Fernández teaches at this centre, on the Middle-Level VET training cycle in Digital Pre-printing and the Higher-Level VET cycle in Design and edition of printed and multimedia publications; she has also been a specialist in graphic and technical production materials in publishing design and graphic and multimedia projects for 28 years. She is also one of the coordinators of students’ in-company work experience, which gives them a first-hand look at the reality of the graphic arts industry. In this interview, we talked to the teacher about the need to convey to the students all the aspects related to the paper substrate for the projects and the technical and aesthetic conditioning factors that they need to be aware of before they start hunting for a job.
María José Fernández teaches at this centre, on the Middle-Level VET training cycle in Digital Pre-printing and the Higher-Level VET cycle in Design and edition of printed and multimedia publications; she has also been a specialist in graphic and technical production materials in publishing design and graphic and multimedia projects for 28 years. She is also one of the coordinators of students’ in-company work experience, which gives them a first-hand look at the reality of the graphic arts industry. In this interview, we talked to the teacher about the need to convey to the students all the aspects related to the paper substrate for the projects and the technical and aesthetic conditioning factors that they need to be aware of before they start hunting for a job.
How important is learning about materials to students?
It is of vital importance. The students come to the school thinking that design is the most relevant part of the process, although in the course of their training they learn to appreciate and respect the need to choose the right paper for each and every project. Initially, they find it difficult to cope with certain technical terms, since most of the students are seeing these things for the first time ever. To overcome these barriers, the young designers not only work with theoretical questions, they also handle and print them and produce models that resemble the reality and the needs of the market.
This is why Salesians Sarrià likes to work on the basis of projects, many of which are real. I am talking about challenges posed by companies that the students have to tackle by applying the most suitable materials. Indeed, in our briefings, one of the key points is to choose the material that is the best match for the situation in question and for the desired outcome.
What technical aspects do they need to know for their profession?
The students are required to analyse the physical and functional characteristics of printing substrates, establishing their basic details by means of mechanical and physical strength tests. It is very important to choose the right type of paper for the quantity and the format defined by the different approved suppliers. The school attaches particular importance to ensuring that they learn how to interpret manufacturers’ catalogues and websites.
Nevertheless, it is not only about the substrate: they also need to learn about the different printing systems, and inks, varnishes and glue, in order to gauge the compatibility between the papers and their graphic project.
It is also essential that future designers analyse the quality of procedures and materials, with selected samples that can be applied to the different projects, always taking the client’s needs into account. This is why quality control parameters are part of the training of graphic designers and technicians. Some examples of quality control include the direction of the fibres or grain, the type of fibre we are working with, manufacturing processes, grammage, thickness, specific volume, strength, roughness, whiteness and opacity, to name but some.
Are there any other aspects that they need to know?
There is one last aspect that the students learn to control: the chain of custody of each and every one of the materials and the fulfilment of environmental sustainability criteria. Whenever possible, they should use recyclable papers that comply with European and worldwide industry certifications.
As a matter of fact, Salesians Sarrià has been acknowledged as a member of the UNESCO Associated Schools Network (XEAUC) with a view to promoting cooperation and international peace through education in schools, which is why we attach great importance to this international organisation’s global environmental guidelines. Working with sustainable papers and procedures is one of the school’s objectives so as to teach our students to work for a healthier, more sustainable and supportive world.
How do aesthetic concerns affect the development of graphic projects?
For some time now, society has felt the need to develop this type of details in graphic projects, which have become a strategic tool, since a product’s appearance increases its value. Understanding the users and knowing their lifestyles and habits is a marketing strategy. Design is not merely an aesthetic proposal, as its importance is based on efficiently covering consumer needs.
Therefore, when we develop graphic projects, a product’s appearance involves intrinsic characteristics related to line, colour, form, texture, typographies and, evidently, materials adapted to each product. This is why each specific case must be linked to an aesthetic aspect in which every last detail is examined and taken care of and where technical function is vital. We need to understand both our customers and consumers in order to hit the aesthetic bull’s-eye and also get our technical and functional development right.
In summary, a design will work if the work flow and the procedure of all the phases are performed correctly, aesthetic and technical considerations are “pampered” and provided that all the relevant verifications have been performed during the process.
How can selecting one type of paper or another help to convey the idea or concept behind the project?
For a technical process to be brought to fruition and the finished product to be positively received, great consideration must be given to the materials that will be used during the design phase. Many people believe that printing substrates and systems are not actually chosen until the final stage, but nothing could be further from the truth, since what we want is an optimal and decisive result with regard to quality parameters in companies.
During the creation stage, the paper or papers must be chosen with the utmost care in order to convey ideas and concepts properly, since materials evoke life philosophies, behaviours or emotions to which end users can relate.
How can students train further in this area?
The Higher-level VET is a magnificent training option for anyone who seeks an interesting professional future. After this cycle, the natural follow-up is a University degree offering training in design or else a VET in Project Development Engineering.