Our story

Yannis Bakirtzidis -the inventor of Print Odyssey- has been in the printing business in executive and managerial positions for almost 20 years. His 2-decade experience gave him a substantial insight regarding the relationship between graphic design and printing. What he realized was that most graphic designers are unfamiliar with a vast, unexplored field or techniques provided by today’s printing.
So, after Typodemons -a publication aimed to create a passage that would improve the communication and ease the process for both the designers and the printers- came up with the idea of Print Odyssey. An all-in- one guide for modern printing, aimed to unlock every graphic designer’s potential in this specific field. A four-part kit (Paper Size, Binding, Folding, Special Finishing) which gives a precise and complete image of every process, along with examples of known and not-so- known techniques. A one-of- a-kind practical creativity boost, which helps you go beyond your previous work in terms of printing specs.
Print Odyssey can be the traveling companion for every designer who wishes to explore the deep waters of typography, in order to guide and lead him (or her) sound and happy to his or her Ithaca.
Dear fellow graphic designers and printing industry professionals, you have already a pretty good idea what Print Odyssey is.

So, I will only take the opportunity to write to you about how its idea was born and brought to you.

I’ve been in the printing business for almost 2 decades. And it definitely runs in the family, as my father was a book binder, owning a small shop. Since I was 14 I became familiar with the process. The machines, the stitches, the knives. Assisting, regulating, helping in every way possible in exchange for my allowance. That shop literally took me to places, as I used most of the money to travel.

The fascination of all these new images, plus the potential of working practically anywhere in the world, made me decide to become a graphic designer. As it was proved though, the Greek design market wasn’t big enough at the time. That led me to start the next best thing: A printing house, which would perfectly complement my dad’s shop.

As time went by, I quickly switched from my first single-color machine to new, more improved and advanced ones. From printing simple business cards and leaflets, I was soon getting large-scale publication contracts. Besides the obvious excitement, I was more than pleased to work with talented, new or established graphic designers. Plus, I had the chance to become familiar with the challenges, obstacles and problems they were facing during the printing process. A complicated process to be honest, yet with a vast spectrum of possibilities for every single one of them. Possibilities, to which many of them were unfamiliar with.

This led me to write Typodemons. My aim was not to publish just another book, but to create a passage that would improve the communication and ease the process for both the designers and the printing professionals. Its uncomplicated language and detailed imagery made it an international best-seller. An accomplishment for which I am equally happy and grateful.

While I was gathering material for the sequel of Typodemons, I realized that even though every designer had access to a plethora of new digital tools, he had almost no perception of the potentials present-day printing could provide them with. Besides their color charts or magnifiers, they had almost no tools or samples to present or test their work. Plus, everyone knows A4 paper size. Or a 2-fold. But how many know about the Omega binding? Or the blue foil blocking? So, since the designer wasn’t coming to the printhouse, maybe it was time to bring the printhouse to the designer.

The idea was simple. A kit that would contain in the form of samples almost every paper size, folding, binding and post-print method available. The idea seemed good, because every one of the designers I used as a small focus group had the same reaction: “- Definitely yes. When will it be ready?”. So, it was more than obvious that such an idea needed an equally fine implementation. And that’s when Dolphins entered the equation. An established, multi-awarded Greek graphic design firm, and the people responsible for Typodemons’ layout.

The Odyssey’s creation process was a fascinating trip. And today, we are more than eager and happy to share its outcome with you. It can be an essential, practical tool as much as an instrument of inspiration. And since its improvement is a continuous path, feel free to share your feedback with us, whether is a remark, a comment or a recommendation. After all, ideas can truly blossom only when shared…

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27
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Who designed it

Print Odyssey is designed by Dolphins // Communication Design, an established, multi-awarded Greek graphic design firm based in Thessaloniki.
( http://dolphinsonline.gr/ ).

Why Print Odyssey?

Ulysses, Odyssey’s main character, made a 10-year trip full of mishappenings and tribulations. Yet, the outcome was -besides the happy ending- a sum of priceless experiences. We aspire to be the traveling companion for every designer who wishes to explore the deep waters of typography, in order to guide and lead him (or her) sound and happy to his or her Ithaca. Plus, Odyssey is a classic, worldwide-known, royalty-free work of literature. Its name, significance, ideals and origin were the best credentials for such an endeavor.

Paper sizing. Folding. Binding.
Special finishing.

Everything you wanted to know about printing. In one kit.
All it takes to take your future publications to a new level!

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