Tuesday, 12 December 2017

The Kensington

The Doyle Collection is a carefully curated collection of eight Irish family-owned luxury and urban hotels. Each hotel has a strong identity that is closely connected to its location. Set in the heart of one of London’s most desirable neighbourhoods, The Kensington’s grand stucco fa├žade is characteristic of this affluent 19th Century district. With 126 guest rooms and 24 suites, this is a wonderfully luxurious hotel.
Branding agency, Brave New World  undertook an extensive re-branding exercise of the parent brand and of each individual hotel. The work included everything from strategy to interior design, website, high-profile advertising campaigns and the literature for each hotel.

The size of the brochure is 260x185mm, portrait and is saddle stitched. The cover is printed on an uncoated 300gsm board.  
Click on images to enlarge
The text material chosen was our Omnia, which would beautifully reproduce the photography with the rich interiors and exteriors superbly  ...and it looks wonderful! The 20pp text is on Omnia White 150gsm, printed offset litho in CMYK throughout.
The brochure is saddle stitched using three stitches:
Image reproduction is paramount but it was also important that the publication also projected the tactility of the interiors and in the image below the detail of the upholstery and the extraordinary reproduction of the mirrored surfaces. An ordinary feeling silk or gloss coated paper wasn't an option, so Omnia fitted the bill perfectly.
Click on images to enlarge
Omnia is a very bulky paper but with a 20pp text and the saddle stitching, it lays nice and flat allowing each spread to be enjoyed without 'fighting' against the binding.
Branding and creative direction is by Brave New World. The designer on this project is Caroline King. Print by 21 Colour, based in Glasgow.

https://www.doylecollection.com/hotels/the-kensington-hotel
http://bravenewworld.co/
http://www.21colour.co.uk/
http://www.carolinelking.com/
Posted by Justin Hobson 12.12.2017

Thursday, 7 December 2017

Fenner Paper 2018 Diary

If you are a wonderful customer and therefore a deserving user of our papers! ... you will be receiving your new 2018 diary in the post next week. Here's a sneak preview...  
 
As in previous years, the diary is 230x162mm, portrait and retains the popular 'month to view' format. The cover board is printed offset litho in two special pantone colours on Colorset 270gsm.
The 40pp text is simply printed in one colour, offset litho, on our lovely Offenbach Bible 60gsm, which has a superb opacity and a good writing surface making this an ideal paper for a diary or notebook.
 
The diary has been produced in collaboration with the London Centre for Book Arts (LCBA) and features cover artwork by William Luz.

Tucked into your diary will be a handy Chromolux desk calendar to celebrate the fact that the Chromolux range from Zanders is now available through Fenner Paper! 
www.londonbookarts.org
Posted by Justin Hobson 07.12.2017

Monday, 4 December 2017

Jobs from the past - Number 98

Regular followers of this blog will know that my first post of every month is a "job from the past" so that I can show some of the really good work from years gone by...

Amnesty International Concert - 1998
This is a concert programme for a concert held in Paris on 10th December 1998 to celebrate the 50th Anniversary of the declaration of human rights. The concert features artists such as Peter Gabriel, Tracy Chapman, Youssou N'Dour, Shania Twain, Alanis Morissette and Radiohead to name just a few. 
London agency Stocks Austin Sice was briefed with the job - as well as being a programme, the brief was to empower the concert-goer. Contained within the programme were a set of postcards that could be detached and posted to leading government officials and politicians to protest against the unjustified holding of certain campaigners (don't forget, this was the pre-internet/email age).

When I was being consulted about the paper, Marek asked me if there was any binding which would have an industrial look and feel and would reflect the barbed wire used in the illustration (by John See). I suggested an industrial "Box staple". These flat staples are used to hold solid and corrugated boxes together as they are stronger than glue.
These flat staples are "stab stitched" through the whole book as you can see in the images above. Seriously industrial and they work a treat!

The below image shows the opening spread, with the perforated, tear out, postcards which are printed (in metallic ink) on our brown range, Kapok 400gsm.
The flap opens out to reveal a quote by Ken Saro-Wiwa:
The below image shows some of the postcards torn out - it was a really great idea.
Below shows the detail of one of the cards with the neat perforation. The cards were printed in black and two metallics, a silver and a bronze.
The size of the publication is 340x230mm, portrait. The extent is a 22pp text (which you can do because it is made up using 2pp pieces) plus front and back covers and 2 pages of perforated cards. The text and cover is printed on our Optimale Blanc Naturel, 250gsm and 140gsm. This was chosen because it had the right feel but also because it was 100% recycled and the production of the publication was sponsored by The Body Shop, so it had to be a recycled product.
The publication is printed offset litho, CMYK throughout. All the solids are made out of CMYK.
There are 6pp of collage images from the work of Amnesty International over fifty years.
The below images show detail of the box staples. With improvements in gluing technology it means that these box staples are used less and less in packaging, so it's harder to find people who have the equipment and who are prepared to do it.
Reverse side:
The report was designed by Stocks Austin Sice (SAS). Creative Director is Nick Austin. Designer is Marek Gwiazda. It's a superb example of a well executed and crafted piece of literature which has stood the test of time.

So where are they all now? SAS was a consultancy founded when three partners left Michael Peters in 1989 and I remember the three partners setting up their company in offices above a bank in Maida Vale. After sustained growth, they sold out to the MSL group in the mid noughties (I think).

Marek Gwiazda is now based in Bristol and runs his own studio and you can read more about this project on his website here:  http://www.marekdesigns.com/folio.php?f=12

The programme was printed by Principal Colour, who are still based in Paddock Wood in Kent.

http://www.marekdesigns.com/
www.principalcolour.co.uk
Posted by Justin Hobson 04.12.2017