Showing posts with label Anthony Dearlove. Show all posts
Showing posts with label Anthony Dearlove. Show all posts

Monday 4 April 2022

Jobs from the past - Number 149

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 and this one is from 2014 (although printed in 2015!)...

Dalziel and Pow - A Year in Review 2014

Every year Dalziel and Pow produce a yearbook to examine and appraise the company's work over the previous year. This would be a big ask for most companies, let alone one that has such a varied and diverse portfolio of work, over just a period of one year. Producing a book like this every year not only shows a commitment to the work that they have produced for clients but is also an historical record, which is an increasingly important factor in these days of electronic on-line impermanence!
This book is just a peerless production. The subject matter and images are superb and the creative direction, design, print production and binding make the publication absolutely superlative. In the beginning is their company statement and you can't get a clearer, or brighter image!
https://www.dalziel-pow.com/news/brand-new-company-book
Size of the book is 305x245mm, portrait, with a limp bound, 4pp cover and a 104pp text. It is printed on our lovely Omnia 320gsm (cover) and 150gsm (text). The pantone special (fluoro) yellow, is flat, matt and tactile just like you would want it and with a real intensity of colour.
Click on images to enlarge

I hope the images will do the talking...

Click on images to enlarge

...and here we go for the plug about the paper!  - As you can see from the images here, there is loads of colour and images with CMYK dark areas - lots of ink going down and it looks great on the Omnia, reproducing bright vibrant colours as well and the lighter more subtle tones as well, whilst retaining all that detail in those dark areas (in my opinion- but I would say that wouldn't I?)

Included within the 104pp page count are the first and last pages which have both been printed in the special pantone yellow which form 'end papers'.

An important feature that makes all the difference to this publication is the binding. It is a square backed limp bound book but the binding type that is used is called OTAbinding. This is a method of bookbinding that offers an elegant binding solution with advantages over conventional soft cover binding. One of the main advantages is that it lays flatter than a conventional section sewn book. It mimics the construction of a case bound book, so the spine of the text is free from the cover (see image below). It is this that results in the text and whole book laying flatter.

You can read more about it here: https://www.diamondprintservices.com/ota-binding/

The only visible difference between conventional binding and Otabound is the second crease (see above). Omnia 150gsm is very bulky paper, so the 104pp text gives the book a spine of 12mm.

Creative direction and design is by Dalziel and Pow. The main designers on the project are Kane Davis and Robin Gillard. One would expect their own book to be excellent and this publication is simply exceptional.
 
The book was printed by Team Impression in Leeds and just from the print point of view alone, it is superlative. The images are strikingly consistent and the finishing and binding are exemplary. A truly outstanding piece of print work. 

...my thanks to Simon Bucktrout at Team Impression for kindly sending me over some file copies.

And some bang up to date news is that Anthony Dearlove has just joined Team Impression, to service clients from his London base - good luck and best wishes to Anthony.

www.dalziel-pow.co.uk
www.team-impression.com

Posted by Justin Hobson 04.04.2022

Tuesday 4 August 2020

Jobs from the past - Number 129

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 and this publication is from 2016.
 
Money Talks - The Great Swindle by Santiago Montoya

In February 2016, contemporary Colombian artist, Santiago Montoya, presented Money Talks at the Halcyon Gallery, London, which incorporated his mid career museum retrospective The Great Swindle. Montoya reinterprets paper currency as both a canvas as well as a raw material, exploring the added value beyond its very surface. Montoya’s use of money as an artistic medium, also opens a dialogue on the void between state propaganda and reality itself.
This is the literature which presents the work of Santiago Montoya by the Halcyon Gallery in collaboration with AMA (Art Museum of the Americas) in Washington ...and yes, it looks like a bundle of cash!
This wonderfully deceptive design is actually 48pp folded broadsheet. It is concertina folded vertically and horizontally. The flat size is 398x625mm folding down to 157x65mm and gives the 'wad' of notes a thickness off 4mm. The below image reveals the reverse side.
Click on images to enlarge
In this below image you can see the whole dollar side of the sheet unfolding...
Click on images to enlarge
Above is the dollar side and below is the story about The Great Swindle with a foreword by the Curator José Luis Falconi:
Click on images to enlarge
For would be forgers out there, you will be interested in knowing that this piece of literature is printed on Redeem 100% Recycled 80gsm and is printed offset litho, CMYK on both sides and as you can see from the detail image below the print result is excellent. Redeem is an uncoated paper with a wonderfully neutral tone that somehow gives a lot to the right publication.
The paper band or what is called a "currency strap" in the US, around a 'wad' of notes which is around 4mm thick, finishes the deception perfectly.
Design is by the team at the Halcyon Gallery and the printing and finishing is by Push Print based in London with Anthony Dearlove handling the project.

https://www.halcyongallery.com/
http://www.push-print.com/
Posted by Justin Hobson 04.08.2020

Friday 28 December 2018

ZRS

ZRS Architekten are a Berlin based architecture and engineering practice specialising in the use of natural building materials, especially Earth, Timber and Bamboo. Formerly, Ziegert, Roswag, Seiler Architekten engineers, London based designer, Dan Cottrell created a new visual identity for ZRS, uniting their previously separate offerings and positioning them as a modern, forward-thinking and holistic company. The new logotype, stationery, publications and website were developed to coincide with the company's 15th birthday.
This 16pp broadsheet is one of the publications produced for their anniversary, showing a selection of their projects from 2003-2018. 

The finished size is 176x125mm folding out to 500x352mm.
The front side shows individual projects, allowing the space on the inside to be used for a large scale image (below) - showing the interior of Firmengebäude Flexim, Berlin.
The publication is printed offset litho on our Offenbach Bible 60gsm ...and it looks and feels absolutely gorgeous - it flops and folds in a delightful way when handling the publication as I hope these images demonstrate.
The 'birds eye' image, below shows the concertina fold...
Visual Identity and design is by Dan Cottrell.
Printing is by Push Print based in London with Anthony Dearlove handling the project ...and the reproduction on our Offenbach Bible 60gsm is exceptional, as usual.

https://zrs-berlin.de/
www.dcottrell.com
http://www.push-print.com/
Posted by Justin Hobson 28.12.2018