Reconstruction

...just the cover makes the difference!

Here's an interesting project which is well worth a look, because of the interesting design concept and the way the cover is used to add to the quality and feel of the whole project.

 

This 48pp guide was produced to accompany an international touring exhibition called Reconstruction: Cultural Heritage and Making of Contemporary Fashion. This exhibition is touring around the world and is funded by the British Council.

Click on images to enlarge

Size of the publication is 210x130mm, portrait. The 48pp text is printed on a 130gsm printers "house silk" which, as you can see from the image below, is perfectly acceptable and the economical choice.

The cover however, is what really makes the difference to this publication. It is printed on ZETA, Linen, white 150gsm and I hope you'll be able to see the embossed linen texture in the image below...

Click on images to enlarge

The exhibition was designed by Pippa Nissen and design studio Kellenberger-White, who produced the literature. A really interesting aspect is that Kellenberger-White also developed a new typeface in response to the theme of the exhibition. The typeface is based on an observation by Alan Fletcher who spotted a modular grid on the reverse of a Russian Post Office envelope. Kellenberger-White drew a new alphabet originating from that grid, which was previously only drawn for numbers.

 

The grid is reproduced on the outside back cover of the catalogue....

...and of course the use of a linen embossed paper is perfectly in keeping with the "grid" concept and makes the catalogue look and feel very special.

Inside back spread:

 A very interesting project and you can read more here: http://kellenberger-white.com/project/reconstruction/

Creative directors at Kellenberger-White are Eva Kellenberger
and Sebastian White.
www.kellenberger-white.com
https://design.britishcouncil.org/projects/reconstruction/

Posted by Justin Hobson 08.06.2018

Terror and Wonder: The Gothic Imagination

Terror and Wonder: The Gothic Imagination
 is a recently opened exhibition at the British Library. It is the UK’s largest exhibition of Gothic literature, celebrating the many British literary masterpieces in the genre, as well as modern interpretations of the Gothic in pop culture today.

Exhibits include handwritten drafts of Mary Shelley’s Frankenstein, Bram Stoker’s Dracula, the modern horrors of Clive Barker’s Hellraiser and the popular Twilight series, highlight how contemporary fears have been addressed by generation after generation. On display are posters, books, films - and even a vampire-slaying kit - demonstrating the dark shadow the Gothic imagination has cast across film, art, music, fashion, architecture and our daily lives.

Although this post is not about using a large amount of paper, it is about using the RIGHT paper! The captions printed for each of the exhibits are printed on Redeem 100% Recycled, 240gsm and mounted onto 3mm displayboard.

Graphic design for the exhibition is by Kellenberger–White. They needed a material that was a neutral white, that had an old look and feel without being all faux and 'parchmenty' - and they chose Redeem 100% recycled which gives the captions the perfect look. 

Here's what Kellenberger-White say about it....

Working with London-based architects OMMX, Kellenberger–White designed a comprehensive scheme of exhibition graphics, which included a special neon entrance sign, introduction and section panels, captions, as well as a section by section colour scheme, developed in partnership with the architects and the British Library exhibition team. The design deliberately played on the visual mood of the exhibits – for example the rooms and corridors dedicated to Dracula were lined from floor to ceiling in a deep blood red. The exhibition graphics sought to enhance the eerie tone of the exhibition rooms. Using the new typeface Stanley Bold, characterised by its sharp counter forms, the text panels were produced on hand-painted wooden panels – evocative of bucolic Victorian churches and school halls, while their layout and proportions subtly hinted at the ultimate Gothic motif of tombstones.

Kellenberger–White redrew a special hairline font that was optimised for neon production. The neon enriched the special characteristics of the chosen Stanley font, while also evoking the image of nighttime street scenes and seedy alleyways frequently occupied by modern day characters of the Gothic underworld.

You can read more about the exhibition here:

http://www.bl.uk/events/terror-and-wonder--the-gothic-imagination?ns_campaign=gothic&ns_mchannel=bl_website&ns_source=carousel&ns_linkname=gothic_more_link&ns_fee=0

Exhibition design is by London-based architects OMMX. Graphic design is by Kellenberger–White. Production Lighting is by DHA Designs Exhibition. Photography is by Max Creasy. Exhibition captions produced by The Keyboard Group.

Graphic design team is Eva Kellenberger
, Sebastian White and Mina Demiren.

www.kellenberger-white.com

www.officemmx.com/
http://www.thekeyboardgroup.com/

Posted by Justin Hobson 23.10.2014

Frieze Film 2012

Frieze Film is a programme of artist films screened to coincide with Frieze London. Curated by Sarah McCrory, in 2012 the commissions included five new films by Bertrand Dezoteux, Patricia Esquivias, Jimmy Merris, John Smith and Wu Tsang & Nana Oforiatta-Ayim. This piece of promotional literature is the touring programme and works as both an information leaflet and a promotional poster (front and back film stills by Linder)

The size is  A5, landscape (148x210mm) and is a 16pp broadsheet format folding out to 592x420mm. The material chosen is our Avebury Recycled Wove 135gsm, which is a neutral white shade and very tactile. The material suits the muted colours in the film stills and is beautifully tactile.

Reverse side:



The job was printed and finished by Bethnal Green based print cooperative, Calverts. If you haven't come across them, maybe you should have a look. Unusually for a print company, they are a worker's cooperative, therefore the management, tasks and profits are all shared equitably - almost sounds too good to be true!

  

http://www.friezefoundation.org/film/

www.kellenberger-white.com

http://www.calverts.coop/.

http://www.print.coop/print

Posted by Justin Hobson 14.12.2012