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[Treehouse presents]

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[Exercise Your Creative] 

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Hey, what's up? Mat Helme here with another exciting episode of EYC.

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In this epidsode, we're going to be taking a look at the process

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of creating a custom postcard for Treehouse. 

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The project objective was to create a custom postcard which has an interchangeable badge 

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on the back of each postcard as well as an area for a hand-written message. 

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I was given this task by the User Growth team here at Treehouse. 

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I really love designing for these guys, because they always allow me 

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to push the envelope when it comes to creativity.

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My thought going into the project was this: 

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I knew right off the bat I wanted to make this project letterpressed. 

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Reason being, any card or item that's letterpressed always adds value to it. 

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Also I wanted to make this piece appear old-fashioned, almost antique-like. 

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Maybe give it a wooden texture somehow. 

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Now, when they told me we needed to make a postcard, 

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I knew we needed to give it another purpose. 

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The reason being is this: Whenever you get a postcard in the mail, 

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you do 1 of 2 things. 

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1, you hang it on the fridge, or second, you'll throw it in a pile of paper. 

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So I knew we had to have another purpose for this. 

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This is when it hit me: Let's create a custom postcard

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that turns into a picture frame of Mike the Frog at Treehouse. 

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This way, they can put it on their desk, and it won't be lost in a pile of paper somewhere. 

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Now, I know I can create that wooden frame and give it that antique look. 

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So first I head to the web, and I grab as many pictures and ideas as possible. 

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I want to keep in mind,  I want these 3 things: I want old, I want brown, and I want wood. 

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Also, I went and got samples from Mama's Sauce. 

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Now, Mama's Sauce is 1 of my favorite hand-craft printers. 

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These guys are like the best-kept secret in the hand-craft printing industry. 

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Reason being, there's no guidelines. 

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There's no downloaded template, and put your graphics in. 

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So after gathering all of my inspirational pieces from the web, 

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I went ahead and dumped them into Photoshop 

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and created six 8½ x 11 layouts that I would then print and glue on foamboard. 

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This way I'm not printing out every picture, hand cutting each 1 of them, 

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and then placing them on the mood board. 

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It would just take longer; this is just a faster way to do it. 

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[?Slow keyboard music playing?]

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Then I fastened it to the wall in front of the sketching desk 

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and added any other print pieces I had on hand to use as inspiration. 

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Our next step is mocking up the postcards. 

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The tools I used for this were construction paper,

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marker, glue, cutting board, and Exacto blade. 

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I wanted to create this mockup for a number of reasons. 

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1, to see if we could actually make it work.

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Second, to make sure the team was on the same page as me as far as the design goes. 

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And third, to see how much this would actually cost. 

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So I went ahead and made a quick mockup by simply cutting the construction paper out

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and placing the content that's needed on the back 

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and making a quick illustration on the front just to pitch my idea, and they loved it. 

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So now we're ready to move forward. 

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The next step is sketching. The tools I used for this were:

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a pencil, a piece of paper, and the environment that I had created 

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with the mood board I had hung up. 

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For the front, I wanted Mike the Frog at Treehouse Island

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as if her were posing for a photo. 

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So I split the illustration up into 2 pieces. 

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I had the island, which I had to create, which is going to be the background, 

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and then I have Mike the Frog. 

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By splitting it up, I'm able to move Mike the Frog around on top of the complete background. 

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To draw Mike the Frog, I used an old sketch I did for the T-shirt as reference. 

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[?Fast music playing?]

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Once I felt I had a solid sketch, it was then time to move on to the inking. 

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The tools I used for this were tracing paper and an ink Bristol brush. 

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I simply put the tracing paper over the sketch and began inking with the Bristol brush. 

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I used the thick-to-thin line technique, as I usually do with my illustrations in Illustrator. 

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The basic rule for the thick-to-thin line technique is that wherever the lines meet 

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or wherever there's a drop shadow, the line will be a little bit thicker,

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whereas the end points of the lines will be thinner. 

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The same rule goes when we create it in Illustrator, 

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and you'll see this in the technique breakdown. 

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[?Fast music playing?]

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When I'm finished, I take a photo with my iPhone, 

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and I'm ready to bring this into Illustrator. 

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Now, before I begin designing the postcard, let's take a look at the technique breakdown. 

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Before we begin illustrating the postcard, I want to show you the techniques 

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I will be using throughout the design. 

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I like to refer to this technique as a thick-to-thin pen technique. 

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You really only need 2 tools: the pen tool and the width tool, 

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and there's really only 1 rule you need to follow.

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And that's when the 2 paths intersect, or 3 paths, or more, 

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basically those paths need to be a little bit thicker than the end points. 

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And I can show you in a quick example. Say, if we make a smiley face with the eyes closed. 

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[?Slow music playing?]

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There's 1 eye, there's 2 eyes, and let's create the mouth. 

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[?Slow music playing?]

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And we'll do a line for the teeth. There we go. 

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And some smile marks

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right at the ends of the cheeks there. All right. 

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So let's make these halves intersect here. Zoom in. 

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Select tool, and make them touch. Perfect. 

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And good. Line all these up, and there we go. 

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Now let's duplicate this so we can look at it in comparison. 

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Zoom out, center these in here inside the art board, nice. 

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All right. So we'll use the thick-to-thin line technique with the right face here. 

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So like I said, the end points usually want to stay pretty thin, 

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and then wherever there's a drop shadow or wherever it would intersect--

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so that would be like the lower part of the eye here. 

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If the light's shooting down, it would cause a shadow underneath the eyes. 

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So that would be thicker, and then wherever this intersects here, that would be thicker

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usually because it causes a shadow; so what we can do is select both of the eyes

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and change that width profile from uniform

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and make it go from thin to thick. 

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Now, what I want to do is make this a little bit thicker, and this a little bit thinner over here.

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So I'll press shift w. What that does is it grabs the width tool over here. 

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So we're able to actually make that thicker, make that thinner, make that thinner. 

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And you can see that right there is much different than this over here. 

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And we can actually do the eyes a little bit different, just to give them a little bit more 

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of a characteristic from one to the other. Nice. 

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And the smile. So with this, with these end points, we want to make these really thin, 

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and then this really thick where it intersects, like so. 

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Same on the other side. 

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And this middle would be thicker because there would be more of a drop shadow. 

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And this would be a little bit thicker out here. 

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And this here. Grab it. There we go. Nice. 

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Now for the bottom part of the mouth, we're going to make this really thick down here 

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because there would be a drop shadow and this still thick but not as thick. 

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So what we can do is actually up the stroke like so, and that right there is pretty good. 

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Now let's just make the bottom a little bit thicker, 

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and thin it up here and here, and same goes for the teeth. 

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Now the teeth, we want this thin and this thick out here. 

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So again, let's bump up the stroke, 

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and then we can make this in the middle just a little bit thinner. 

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Perfect. Let's up the strokes a little bit. There we go. 

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Nice. Now let's take a look at these in comparison. 

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For the back of the postcard, I'm going to be using a significant amount of text. 

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Now, in most cases, when you send a file to the printer and there's text in it, 

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you want to create that text into an outline, because if the printer doesn't have that font, 

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it won't show up correctly. 

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So as an example, I can take a word like "create" 

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[?Slow music playing?]

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and as you can see here, it says create clearly. 

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But if we switch the view to paths or outline, we don't see any paths or outline. 

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Now let's look at that in comparison to this rectangle. 

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You can clearly see there's paths here. 

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Now when we switch back over to preview, you see the fill.

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So what we want to do is take this text and turn it into an outline. 

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We can do that by simply selecting the text and create outlines.  

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This also can be done by going to type and create outlines. 

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So now when we shift over to the view of outline, you can see create now has an outline. 

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Now I like to do this for most of my artwork. 

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So anything that goes to print, if it has paths like what we just created with the smiley faces, 

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you can see these paths are the same thing, 

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and that's because we're in outline view. 

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Now if we switch back over to preview, it looks much different. 

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So what we want to do is take this set, object, path, outline stroke, 

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and now when we look at it with an outline, you can see there's actual outlines. 

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Now when they cut the plate for letterpress, if this were going to letterpress, 

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it would cut these paths. So what we want to do is merge these. 

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We can do that by selecting it, opening up our pathfinder and select merge, 

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and all of our paths line up. 

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So moving forward, we're going to be using the technique of 

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the thick-to-thin line, and then taking all of our artwork, creating a new file

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and then merging and outlining all of the text and paths. 

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With that said, let's get started. 

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[?Synthesized music playing?]

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Now that the print file is set up, the front and back are in different layers, 

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I'm ready to send it off to Mama's Sauce. 

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Here we are at Mama's Sauce in Orlando, Florida, 

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where we're getting our custom postcards printed for Treehouse. 

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To my left we have Brooks, who is the director of marketing for Mama's Sauce. 

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Brooks, how're you doing? >>I'm doing pretty good. >>All right. 

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Brooks, can you tell us a little bit about Mama's Sauce and what you guys do here? 

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Sure. Yeah, Mama's Sauce is a screenprint and letterpress print shop, 

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specializing in customizing art processes for the strange ideas that designers come up with. 

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[Mat laughing] And that exactly was my thought when I was designing for the postcards. 

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I didn't know exactly what I was going to be designing, but I knew 

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I wanted to come to Mama's Sauce because there's no guidelines when it comes to printing. 

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These guys can basically fabricate and customize anything. 

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So with that said, Brooks, can we head on inside and take a look at the process?

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That's my favorite. >>All right. 

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[?Slow bass music playing?] 

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?Oh the right thing to decide?

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[?Slow bass music playing?]

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So the first step in printing the Treehouse postcards is screenprinting, 

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because it runs on a larger sheet; so we can get the big sheet done, 

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then bust it down to smaller sheets to run on our other presses

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that have different tolerances and specifications. 

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All of the screenprinting is handled by our master screenprinter, Jesse Adams.

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Jesse, do you have anything to tell us about the screenprint of the Treehouse postcards?

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The first thing, every time, is to check over the art. 

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Make sure it's up to spec. 

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Our processors have very definite limitations, >>Uh-huh. (affirmative)

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>>and we have to always make sure that we're working 

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well enough within those that we can guarantee that we'll output--what we output is top quality. 

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[Mat] Sure, sure. Yeah. Like up to how many colors can you do without getting too, 

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I guess, gnarly with the actual print? Do you know?

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[Jesse] From a theoretical sense, there's no limit. >>Okay. 

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>>From a practical sense, going more than 6 gets a little crazy. 

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>>Little crazy? >>When you put water-based ink onto a sheet of paper, 

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>>Uh-huh. (affirmative) >>Paper changes shape. 

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It grows, it expands from the added moisture content and then the moisture drying out of it.

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And you're always kind of balancing what you're actually doing, what you're putting on the sheet 

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with how it's going to affect the physical properties of the paper. >>Okay. 

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[Brooks] All right, so the next step in printing the Treehouse postcards

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was the letterpress printing. So we've printed the screenprint on a large sheet, 

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cut it down to a smaller sheet, and this allows us to save on printing costs 

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as well as maximize our impression strength on a smaller area. 

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And all that printing is handled by Hogan, our letterpress printer. 

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[Hogan] This is a Heidelberg Windmill, and it is from about, anywhere from 1954 to 1956. 

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>>Okay. >>Around there. So right now we have the press running in sort of a neutral mode.

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>>Okay. >>It's a clutch-driven press, so you can see the fly wheel over here

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is just spinning and the press isn't moving. >>Okay. 

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>>And that's because the clutch isn't engaged yet. 

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[Mat] Okay, so you've got your roller set, right, and then we load it back, 

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so now you're applying the ink? Is that correct?

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[Hogan] So it's kind of cool. The good thing about letterpress that's a little different

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than screenprint is the amount of ink that it takes for us to print. 

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It's far, far less. >>Oh, really? Very cool. 

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>>And we put the base right in here; so we have your card, 

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and we use the same registration corner, so it'll go in the slot here, 

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and what we do is set these suckers to grab the sheet. 

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And it will actually feed the sheet down, and then they pick it back up and pull it out. 

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>>Awesome. 

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[?Slow bass music playing?] 

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So our next process after the letterpress is the die cut, 

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because we're actually going to have stands that go on the back of the postcards

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allowing us to turn it into a picture frame. 

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And our friend Rob here is going to show us exactly how he die cuts the back. 

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>>Yeah. So basically what we have in the press is a die, which is a block of wood

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that has cut rule and score rule built into it. 

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So once we put a piece of paper down on the platten, it pushes together with the die

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and pops out from the sheet of paper the actual back stand, 

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and puts a score straight into the side of it so that you can fold it easily

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>>Nice. >>so that it'll work. 

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>>So you're actually getting the actual crease and cut in 1 shot. 

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>>Mm-hmm. (affirmative) >>Awesome. >>Yeah. >>Very cool. 

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And this machine is the--? >>This is the Kluge. >>The Kluge. >>Mm-hmm. (affirmative) 

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[?Slow bass music playing?] 

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[Mat] Now, Brooks, before I leave, can we take a look at some of the print projects 

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you guys have done in the past, to really show where the creativity can go?

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Yeah, sure. The ones that kind of pushed the envelope a little bit. 

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I'll start with this beauty here, designed by Clark Orr. 

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He came to us with this concept for a themed show at Gallery1988, 

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and for lick-able wallpaper from the movie we all know and love. 

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>>Yeah. That's awesome. >>Already sort of pushing some of the limits 

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in some ways, in terms of numbers of colors and some tight registration, 

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but we decided to take it a step further.

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We ran it by Clark, and he was really into the idea. 

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So we actually mixed this with some fragrance oils. 

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We did a lot of research in what would work well with water-based ink, 

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and so we actually developed different fragrances for each of the colors on the poster. 

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>>That's amazing. So you can sniff the print? >>Oh, yeah. Do you want to--?

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>>Yeah, I want to sniff it. >>This is legal in most states. >>Wow. 

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>>Yeah. >>That's awesome. >>Yeah. So that's nice. 

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We like keeping that 1 around. It is not super tasty, though. 

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So we didn't make it all-the-way lickable. >>Aw, we need to make it, make lickable ink. 

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>>We're working on it. We have our best man on it. >>Yeah, snozberries. >>Exactly. 

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This is a real fun 1, by our friend Mike Casebolt. >>Yup. 

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>>A really fun wedding invite where you have the forest here, opening up. 

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And so optimizing with our custom die cut, custom folds, multiple colors inside and out, 

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and then it has space for the response card, for the directions,

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and the accomodations information. >>All separate pieces. >>Right. 

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Casebolt just using the process to the zenith of its potential. 

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And then over here, this 1 was designed by our designer here, Austin Petito, 

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and this was actually my personal wedding invitation for my bride and I. 

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>>Okay. >>And then, so when you take out the invite, everything's waiting for you

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like a little surprise. >>That's awesome. >>And you've got the RSVP here, 

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it's letterpress 2-color, the accomodations, registry information inside there, 

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and then some Florida jasmine just to represent--because we had an outside wedding, 

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>>Right. Yeah, sure. >>Kind of going with the Almanac and collecting specimens, 

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>>That's awesome. >>Little figures for everything there, and we did 

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the custom die cut here and stacked 13 sheets deep.

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My wife and I were actually in the back just spraying and hand placing this adhesive. 

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You can see the thickness that was created just by individual die cuts. 

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>>Yeah. >>I think we die cut over 2,000 sheets just for 120 invites. >>Wow. 

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It was an adventure. [Mat laughing] but yeah. >>That's awesome. 

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>>There is a lot of different ways you can go with it. >>Awesome. 

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Well, I really appreciate it. >>Sure. >>And I'll be back soon to pick up the postcards. 

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>>I like that. >>All right. >>Thanks, Mat. >>Thanks, Brooks. 

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[?Slow bass music playing?]

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[Some time later. . .]

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[?Soft drumming music?] 

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As you can see, the final product turned out amazing. 

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Mama's Sauce did a great job constructing the design and making it happen. 

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Even the packaging the cards came in just shows the TLC that they put into their products. 

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I'm super excited with our final product and had a lot of fun with this project. 

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Until next time, have fun, and Exercise Your Creative.