In its last edition, Graphispag highlighted the necessary alliance between designers and printers to achieve quality and high-impact graphic products. Through two round tables, it was discussed how this collaboration goes beyond the technical, becoming a strategic factor to guarantee visual coherence and strengthen the brand identity. Printing has established itself as a key tool to communicate and differentiate products in an increasingly competitive market.
Print as an essential element of branding
Jaime de Haro, editor of IPMARK and moderator of the first round table, opened the debate by highlighting the importance of print in brand building and management. Enric Batlle, CEO and creative director of Batllegroup, stressed that colour is an essential element in a brand’s visual identity: “coherence and consistency are fundamental; that is why it is key that printers respect the chromatic codes.” As an example, he mentioned the case of Danone and its iconic Greek yogurt, whose visual identity has endured for 30 years thanks to a well-printed color.
Lluís Morillas, president of Morillas, emphasised the need to understand design in a strategic and sustainable way. He presented the case of Alta Bruma rum, a packaging project developed with recycled materials and based on the circular economy. “We don’t just design a label, but we think about the entire life cycle of the packaging,” Morillas explained. The circular economy applied to packaging design is a factor that today’s consumer is increasingly taking into account, looking for products that are not only attractive, but also environmentally responsible.
This focus on sustainability was also supported by Pepo Figueras, commercial director of Cideyeg, who highlighted the growing demand for ecological and recyclable materials: “The consumer is willing to pay more for an environmentally friendly product, but this requires everyone in the production chain to be aligned”. In this sense, the choice of materials and finishes plays a crucial role in the perception of quality and sustainability of a product. The application of biodegradable inks, water-based varnishes and recycled substrates are becoming more and more common, but they also require in-depth technical knowledge to ensure their correct application and durability.
In addition, the role of packaging in brand communication was addressed. Batlle mentioned that packaging is not just a container, but a communication tool in itself: “well-designed packaging is the only communication channel that the consumer has in their hands, so it is crucial that it is attractive, informative and reflects the essence of the brand.” He cited the case of ColaCao, whose packaging redesign managed to convey the history of the brand through its visual elements, materials and finishes.
The printer’s vision: an essential partner
Pepo Figueras provided the printer’s perspective, highlighting the importance of fluid communication with designers and agencies from the beginning of the project: “Many times we receive designs without taking into account technical limitations. If you consulted with the printer from the beginning, you would avoid costly mistakes.”
On the other hand, the problem of training in the graphic arts sector was addressed. Figueras lamented the lack of new talents in the field of printing and stressed the importance of encouraging new generations. In this sense, he said: “we have to get closer to schools and train future professionals who understand both design and production.”
To expand the training of the new generations, many printing companies have begun to collaborate with schools and universities, organizing workshops and practical training programs. This allows designers to better understand the technical possibilities and limitations of printing, while also allowing printers to keep up with emerging design trends.
Printing as part of the creative process
The second round table, moderated by Víctor Palau, editor and director of Gràffica, analysed the process of transforming an idea into a high-quality printed product. Josep Amat, commercial advisor at Vanguard Grafic, stressed the importance of printers also understanding the language of design: “We must stop being just executors and become advisors. The sooner we get into the project, the better the end result will be.”
Guillermo Rubio, creative director of Rubio & Del Almo, reinforced this idea by explaining how, in many cases, production can be an essential part of the creative concept: “Sometimes, the key to design is in how it is printed. It’s not just about aesthetics, but about understanding what materials and processes allow us to best convey the brand’s message.” As an example, Rubio mentioned a premium teeth whitening container in which the application of a specific metallic ink played a crucial role in the perception of product quality.
For his part, the dean emeritus of the Official College of Graphic Design of Catalonia, Jesús del Hoyo, emphasised the lack of training in graphic production within design studios: “you can’t design with your back turned to the technical reality of printing. It is a mistake to think that creativity ends on the computer screen. The reality is that what we design must be able to be produced in thousands of units with the same quality.”
The challenge of technological innovation
The conversation turned to new printing technologies and how they are changing the landscape of graphic design. Víctor Palau introduced the topic with an example of an innovative publishing project that combined algorithmic printing, invisible inks and QR codes to take the reader experience beyond printed paper.
Josep Amat explained that, although digital printing has advanced enormously, there are still technical challenges: “the digital world has created the illusion that everything is possible but the reality is that there are limitations. The key is to understand how to work with those constraints to create something truly innovative.”
In this sense, Guillermo Rubio stressed that “technology not only affects production, but also creativity itself and that, therefore, design must evolve along with technology.” “It’s not just CMYK anymore, we now have 3D printing, heat-sensitive inks, holographic finishes… Creativity must explore these new tools,” he concluded.
The role of sustainability in print
Another key aspect discussed at the roundtable was sustainability. With a market that is increasingly aware of the environment, brands are looking for eco-friendly solutions that reduce their environmental impact without compromising the quality of the design.
For Jesús del Hoyo, “it is not enough to print on recycled paper. Sustainability must be present in every phase of the design, from the selection of materials to the printing and finishing processes.”
Josep Amat spoke about how his company has implemented innovative techniques to reduce waste and optimize resources: “We are working with paper waste to print new products, reusing materials that would otherwise be discarded. This is not only ecological, but also provides a differential value to the product.”
In turn, Guillermo Rubio added that sustainability is also an opportunity for differentiation, ensuring that “a design that integrates ecological criteria not only responds to an environmental need, but also generates an emotional connection with the consumer.”
Towards closer collaboration
The roundtable concluded with a general consensus on the importance of closer collaboration between designers and printers. Víctor Palau summed up the debate with a reflection: “If we want print design to remain relevant in a digital world, we need to work together from the beginning of the process. Printing is not just a final phase, it is part of the creative strategy.”
Finally, Jesús del Hoyo warned about digital alienation and the loss of value of the physical: “if we do not educate the consumer on the importance of the tangible, we run the risk of losing an entire graphic and sensory tradition.”
Keys to effective collaboration between designers and printers
- Dialogue from the beginning: communication avoids errors and optimizes results.
- Mutual knowledge: Designers and printers must understand each other’s processes and constraints.
- Appropriate choice of materials: the selection of the substrate influences the final quality of the product.
- Print testing: The suitability of testing prior to mass production minimizes risk.
- Innovation and sustainability: integrating new technologies and eco-friendly materials brings value and differentiation.
- Continuous training: both designers and printers must be updated on trends, materials and technologies.
- Exploring new techniques: From algorithmic printing to invisible inks and QR inks, innovation opens up new creative possibilities.
- Joint work in prototype development: the trial and error phase with physical prototypes avoids last-minute adjustments and improves the final product.
- Adaptation to the customer’s needs: understanding the commercial and communicative objectives guarantees a production aligned with the brand strategy.
- Leveraging artificial intelligence: Digital tools can optimize processes without replacing the sensitivity of the human eye in the final details.
Graphispag made it clear that the success of a printed product does not depend only on design or printing technology, but on the effective collaboration between the two worlds. Designers and printers must become strategic allies to take creativity to its maximum expression with a final quality graphic product.
Cristina Benavides, Graphispag collaborator
