Peter Zelchenko

Portfolio > Flat Work > Print Products

Print Products. Because I work outside the box, and because I don't like waste and am often on a tight budget, I've often had to do a lot of elaborate systemic planning before sitting down at the computer and executing a design plan. Apple's Chinese staff were very experienced at printing, but they didn't have a good sense of identity programs. I showed them how important it is to develop a consistent plan. And I am in constant contact with my printers, getting samples, doing tests, before I send any files.

These very colorful brochure designs had two completely different timelines. The design on the left, for Northbrook-based HPLC equipment manufacturer Vostok Technologies, took weeks and weeks. The photograph alone was a major effort, taking hours of planning for lighting and focus. The one on the right, for Hong Kong's AdCenter graphic production facility, owned by my friend Wilson Chung, I produced in about 30 minutes. (Wilson is known as "the Mike Bruno of the Far East" because of his famous books in Chinese on graphic arts.)

EPmedia was the major electronic publishing show in China. My EPmedia logo is a great pun: "EP" stood for "electronic publishing," and it also happens to be the Chinese glyph yin, which, conveniently, means "print."

For EPmedia96, I designed a pretty solid mark, but more importantly I introduced what probably was the first formal identity system developed in and for mainland China. Some of these designs were my own, many done in collaboration with Lin Xingang, a young Chinese designer who was scary good. And brilliant. The mark had to be reproduced millions of times in sizes from a half inch to 10 feet tall, in magazine ad series, on folders, bags, walls, envelopes, everything.

Photo of Lin Xingang and me in front of a massive sign we made to display on the ChinaPrint expo center building. Just to show that the mark scales nicely. (And to see old Lin again!)

An interesting wedding invitation project (done for my sister). I challenged myself (not to mention Red Star's Jeff Coufal, who printed it) with a thoroughly vertical design, based on the orientation of the Chinese painting which the clients provided. Scoring proved impossible on Jeff's Heidelberg, so I had to do it manually. Note the coordinated envelope calligraphy.

For Reform Chicago, a concept for a series of printed newsletters. I had to come up with workable colors based on the number of issues, and lots of other details are implicit in this design. Good newsletter planning always seems easy, but it is probably one of the most difficult and constraining media, since you often have only the two sides of paper.