Showing posts with label saddle stitching. Show all posts
Showing posts with label saddle stitching. Show all posts

Wednesday 20 September 2017

The Bristol

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 city's vibrant harbourside, The Bristol’s contemporary exterior overlooks the busy harbour. With 187 well appointed guest rooms and 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.
Click on images to enlarge
The size of the brochure is 260x185mm, portrait and is saddle stitched. The cover is printed on an uncoated 300gsm board. 
The brochure is saddle stitched using three stitches:
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.
Click on images to enlarge
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 wedding venue and the reproduction of the fine voile used on the chairs. An ordinary feeling silk or gloss coated paper wasn't an option, so Omnia fitted the bill perfectly.
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-bristol-hotel
http://bravenewworld.co/
http://www.21colour.co.uk/
http://www.carolinelking.com/
Posted by Justin Hobson 20.09.2017

Tuesday 30 May 2017

Paul's pocketbook portfolio

This is an interesting concept - rather than a big flashy studio brochure , Paul Grogan has deliberately produced a "pocketbook portfolio". The size is A6 105x148mm) landscape and is saddle stitched. The 4pp cover is on our Colorset 120gsm and 36pp text is on 90gsm, which means that it sits nice and flat.
The cover is printed on Colorset Flint 120gsm, printed digitally in white ink - very effective.
Click on images to enlarge
The text is printed in colour, also digitally printed on our Marazion Ultra 90gsm. This is a lightweight paper with a matt coating but which has an amazing bulk, tactile feel and excellent opacity for 90gsm. It feels just right for this project, because it just flops over wonderfully and sits nice and flat.
Click on images to enlarge
As you can see from the image below, it really does sit nice and flat, the overall thickness is under 2mm thick, so it really can fit in a pocket.
An excellent example of a cost effective, simple piece of promotional collateral.
 
Paul Grogan lives and works in the Manchester area. Digital printing and finishing is by Galloways Printers based in Poynton using their Heidelberg Linoprint press, which is toner based digital.
 
Posted by Justin Hobson 30.05.2017

Thursday 27 April 2017

Hawkins Brown

This is the brochure for Hawkins Brown, an internationally-renowned award winning practice of over 200 architects, interior designers, urban designers and researchers. Design is by Shoreditch based studio, Huddle.
The size of the publication is 310x230mm, portrait and is saddle stitched. It has a 4pp cover on 280gsm and a 28pp text on 120gsm, all printed on our Omnia. As you can see from the image above, it looks like there are four separate brochures, however they are all the same brochure, just featuring different covers ...and this is what Huddle say about the covers:
"The covers of the new practice brochures break with convention by featuring ‘abstract’ close-ups of structural elements of Hawkins\Brown projects, reflecting how the practice does things differently. And because each brochure’s colour picks up on a colour from its image, the secondary colour palette is in effect infinite, yet is a flexible, coherent and distinctive asset for the practice."
Click on images to enlarge
As you can see from the above images above and below, inside there are lots of colour images and solids throughout - and it just looks (and feels!) just beautiful on the Omnia - no mottle - just gorgeously even, solid areas. The four colour images look amazingly detailed and vibrant.
Click on images to enlarge
Of course, the solid colours used on the front covers, wrap around to the back cover giving a satisfying display of rich tones.
You can read more about this project on this link here.

Creative Director is Louise Desborough. Lead designer on the project is Tom Ward, together with Mike Bone and the account handler is Nicole Posner. The superlative print is by Leycol handled by Richard Davey.

Posted by Justin Hobson 27.04.2017

Monday 18 August 2014

What is ...Loop Stitching?

What is ...Number 8
Regular followers of this blog will know that in the middle of the month, I publish a "What is ....? post. The article covers various aspects of paper, printing and finishing in greater depth. However, many of these subjects are complex, so these posts are only intended to be a brief introduction to the topic.

What is ...Loop Stitching?
Loop stitching is a variation of wire stitching or 'saddle stitching' (or a staple, as some would call it). In the way that it holds paper together, it performs exactly the same function as a normal staple finish but it is formed from a continuous length of wire (as is most commercial stitching) rather than a pre-formed staple and the wire forms a loop on the spine of the job.
 
The below picture shows a wire stitching machine, fed by a continuous roll of wire. 
The wire loop protrudes about 6mm from the spine and it's function is to allow documents to be held together and then files in a ring binder in one piece, rather than many loose, punched sheets. The picture below, shows the way the loops are held in a ring binder mechanism:
The ARB (Architects Registration Board) project (see below) was produced in 1999, designed by Cartlidge Levene - part of the functionality of these guidelines dictated that they could be kept in a ring binder and easily updated in the future.
Click on picture to enlarge
 ...and this picture show a ring binder with the contents, which are all loop stitched. An important point, not to be overlooked is the spacing between the loops, as this must be specified to the printer or finisher at the time of production. This is also often referred to as the 'pitch'.
Many binders have four rings and paper must be 'four hole punched' however it's worth remembering that you don't need to have four loops as two loops works perfectly in a four ring mechanism, as demonstrated below - that's certainly worth remembering!
 ...alternatively, you can just use the loops as an interesting finishing feature for purely aesthetic effect, even if it isn't being put into a ring binder, as this job for photographer, Andrew Douglas by Vince Frost.
From a cost point of view, it is more expensive than normal saddle stitching because the 'stitching heads' on the stitching line have to be changed and it just requires a bit more time to set up ...also, not all finishers have stitching lines that can loop stitch.
Posted by Justin Hobson 18.08.2014

Tuesday 18 March 2014

What is ...Singer Sewing?

What is ...Number 3
Regular followers of this blog will know that in the middle of the month, I publish a "What is ....? post. The article covers various aspects of paper, printing and finishing in greater depth. However, many of these subjects are complex, so these posts are only intended to be a brief introduction to the topic.
 
What is ...Singer sewing?
Singer sewing is a binding method which uses thread. Generally it is done in a highly visible way and often uses a coloured thread to highlight the binding.
 
The machinery used by the bindery for this is, in fact, very similar to a domestic sewing machine and like all the best sewing machines that our Mum's have, it's made by Singer! (other makes are available). It works in exactly the same way as a conventional sewing machine for cloth but with an industrial motor and a high strength needle. Researching this article, I understand that some machines will sew up to 10mm of paper - that's quite a lot!
 
Singer sewn projects have appeared often enough on this blog that I can easily illustrate it with these existing projects. The below picture shows a singer sewn publication:
http://justinsamazingworldatfennerpaper.blogspot.co.uk/2011/03/wrangler-bluebell-ss11.html
There are however two distinct types of singer sewing and unfortunately in the mysterious world of print terminology, it's not always clear what people mean or what terms they are using, so I shall try an de-mystify!
 
The project below has been finished over a "saddle", in the same way that a "wire stitched" or "saddle stitched" job is finished (or as most people out of the industry would call it - stapled with metal staples). The term saddle is used because it sits astride a saddle in the same way as a saddle sits on a horse. This then allows the machine to guide the thread or wire, accurately through the folded spine. As with wire stitching, there is a limit to how thick you can bind, because you have to consider the fold. 
http://justinsamazingworldatfennerpaper.blogspot.co.uk/2010/11/wrangle-bluebell-fallwinter-2010.html
However, you can also set it up so that the thread penetrates the whole thickness of the publication and is therefore visible on both the outside front cover and outside back cover. Normally the sewing is set in about 5-10mm in from the spine, as in the picture below. Often this is done with loose sheets of paper (as below) and there is no folded paper on the spine and the edge of the paper is visible on the spine. 
http://justinsamazingworldatfennerpaper.blogspot.co.uk/2013/06/coming-up-for-air.html
Both examples above are accurately described as singer sewn. However, I prefer to call the above example (that goes through the whole book) "Side Sewing" as I think it is more descriptive but it is also referred to as "Stab Sewn". Like most terminology in printing, it is as much useful as it is a hindrance. Most important of all is to communicate clearly what is required, either in words, drawing or picture.

I am often asked if this type of binding is a machine process or a hand process. The best way to describe it, is a "hand operated machine process" as unlike a truly mechanised process, the book has to be manually handled through the machine .

Another feature of the binding, is that you can leave the thread hanging, rather than having it cut flush in line with the edge of the book. This can work beautifully with the design, as with the project below:


http://justinsamazingworldatfennerpaper.blogspot.co.uk/2011/03/jobs-from-past-number-17.html
Not all binderies have a machine that can do this type of binding but there are a fair few finishers around the country that can handle this type of work. If you want a suggestion, just ask me...
 
Posted by Justin Hobson 18.03.2014