What is ...manila, or is it manilla?

What is ...Number 20

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 ...manila, or is it manilla?

Manilla paper and Manilla board are two products which get talked about a lot but it seems to me that most people have a perception of what they are but aren't actually sure what they really are!

Manilla board

Manila is a type of buff-coloured fibre which comes from a plant called Musa textilis, which is a relative of a banana tree, native to the Philippines. It is often referred to as Manila hemp or Abacá, although the term Manila Hemp is incorrect as it is not hemp ( which comes from the plant Cannabis Sativa, which is no realtive of the banana). It is likely that the 'hemp' name was attached because both Hemp and Manila were major sources of fibre for both papermaking and ropemaking and it is likely that the words then became connected - this was back in the 19th century.

Manila fibres, which are hard fibres, are long and strong and it is for these properties that it was used for specific papermaking uses, where are hardwearing, durable paper or board was required. In it's unbleached state, it produces a buff coloured pulp which makes a brown shade of paper or board, which became synonymous with brown envelopes and files.

Here is a typical manila envelope:

Click on images to enlarge

Traditionally, manilla envelopes often have a 'basketweave' pattern, which is produced by a woven woolen felt on the paper machine

Basketweave pattern

Manila or Manilla? For some reason in the world of paper, Manila (the spelling of the capital of the Philipines) has had an extra L added to it and it is known as Manilla. Having researched this, I have found no reasonable explanation for this whatsoever other than it is likely that it was 'anglicised' - maybe the English just thought the word should have two L's!

The term Manilla paper and board, now describes either a light brown colour or a smooth type of coloured board. Sadly it is unlikely that Manila fibres will be found in either! Brown envelopes, which are called manilla enevlopes are usually just made from poor quality 100% recycled fibres and manilla file board is usually from normal wood pulp fibres. Where Manila fibres are used is in specialised paper products such as tea bags, filter paper and banknotes.

Posted by Justin Hobson 18.08.2015

GREY GOOSE Boulangerie François

This summer, GREY GOOSE Boulangerie François, in partnership with Harvey Nichols, has created the World’s Most Intimate Martini Bar. Hidden inside a beautifully designed camionnette (a vintage Citroen delivery van) GREY GOOSE has created a luxurious space reserved for the select few to experience the mixing of a their own bespoke Martini.

The 'van' is visiting London, Edinburgh and Manchester.

Click on images to enlarge

This 4pp invitation is 210x120mm, portrait and is printed on our Omnia 320gsm, which is a very bulky board with a subtle, natural texture and tactile surface. Reproduction is superb with the colours bright and vibrant.

The invitation has been digitally printed on an HP Indigo press. The colours are strong and punchy and the invite has a matt, tactile look and feel - in fact I can honestly say, every bit as good as litho!
Although Omnia was never originally developed for digital, we now keep it as a stock item with "sapphire treatment". This treatment is often applied to more unusual papers and provides a "key" so that the inks (which are different to litho inks) work on the paper surface. The great thing is the job just doesn't look and feel like a 'digital' job.

Centre spread:

Outside back cover printed in a gorgeous, rich blue:

The Boulangerie François concept was developed and implemented by London based branding agency Ragged Edge  founded by Max Ottignon.

 

Print and finishing is by Essex based digital printer, Ashwyk. Thanks to Joe de Wykerslooth for sending me some file copies.

 

https://www.greygoose.com/uk/en/camionette.html

http://www.raggededge.com/

www.ashwyk.com

Posted by Justin Hobson 14.08.2015 

...and now for something not about paper!

Cai and Kyn is a design partnership run by two brothers, who are also both dad's and they have just launched a blog dedicated to dads who have a passion for design. The content varies from Q&A’s with industry leading design dads - finding out how they manage work and family life to super cool kid and dad related Apps, books, products and clothing.

They've only just started the blog but there's already lots of interesting stuff - take a look Dads and Design . You can subscribe to the newsletter and follow on twitter, facebook etc The objective is to try and build a collective of dad’s that are all adding content, bringing their own experience and expertise, and adding to the overall voice of the blog. So if you’re interested, or know of anyone who you think might be interested please get in touch with Cai and Kyn through the blog.

There's a really interesting article by Jamie Ellul of Supple Studio about making time for the family, while still running a successful studio. Very interesting.
http://www.dadsanddesign.com/life/why-is-it-so-hard-for-designers-to-work-less/

 Have a read and enjoy ...(I'm sure Mum's are welcome too!)
http://www.dadsanddesign.com/

Posted by Justin Hobson 13.08.2015

Cranbrook Prospectus

Cranbrook is unique school in the state sector, as the only state grammar school in the country that is 13+, co-educational and caters for both day and boarding students. Situated in the village of Cranbrook in Kent, the school is a highly regarded are desirable school in the local area. This outstanding school prospectus is worthy of one of the top schools in the country.

The format is a combination of a folder and saddle stitched brochure which work hand in glove.

The 4pp folder has a 75mm glued pocket on the inside back cover. The folder is produced on our Colorset Nero 350gsm (100% Recycled) and is printed offset litho in one colour (pantone gold).

The folder (open below) with prospectus in the pocket.

Click on images to enlarge

Size of the prospectus is A4, portrait with a 4pp cover which is cut short on both front and back. The cover is printed on our Colorset Crimson 270gsm (100% Recycled) and is printed offset litho in one colour (pantone gold) and hot foil blocked in metallic gold foil

 The crisp hot foil blocking 'lifts' the quality of the whole production without in any way looking 'bling' which, when overused, gold foil blocking can do. The combination of the print and foil is perfect.

The 20pp text is printed offset litho in CMYK on our StarFine White 150gsm. StarFine is a quality, uncoated paper and as the images show, the reproduction is excellent - great detail for an uncoated paper, colours are bright and vivid.

You can read more about the project here:http://www.wearetangerine.co.uk/project/cranbrook-school/

Another thing worth pointing out is the neat parallel creases on the folder. It's this sort of attention to detail that makes all the difference to literature such as this....

Branding and literature design is by Maidstone based consultancy We are Tangerine. Design director on the project is Claire Hobbs. The printing is by Paddock Wood based printer Typecast Colour.

http://www.cranbrookschool.co.uk/

http://www.wearetangerine.co.uk/

http://www.typecast.co.uk/

Posted by Justin Hobson 11.08.2015

De La Warr Pavilion is 80

Recently the De La Warr Pavilion partnered ISTD for the International Typographic Awards – and Ivan Chermayeff was made an Honorary Fellow of ISTD. Chermayeff, the son of Serge Chermayeff, one of the Pavillion’s original architects was asked whether he would be willing to design a logo to mark the iconic building’s 80th year.

...and here is the end result:

‘The goal is always to make something simple and memorable,’ comments Chermayeff, ‘you must be as clear and direct as possible.’ With this ethos, of his new symbol for the Pavilion's anniversary he says, ‘Not many numbers have three circles. Eighty has them – two on top of each other and one alone next door’.

Ivan Chermayeff is one of the most significant American graphic designers of the past 50 years. It is a real coup for DLWP to have a logo designed by Chermayeff who, with his partners Geismar and Haviv, has created some of the most enduring and iconic corporate symbols such as Mobil and Chase Manhattan Bank, along with many other instantly recognizable hallmarks of design.

Clare Playne FISTD and the team at Playne Design were commissioned to implement the 80th anniversary identity. Clare says that adding ‘De La Warr Pavilion’ in different lock-up combinations keeps the targeted years in alignment, and gives immediate recognition of what the symbol represents. Interestingly, the circles also reference the structure of the Pavilion’s two main staircases and echo the iconic Auditorium ceiling.

Fast outdoing major city venues in showcasing design, recent shows include Chermayeff's recent ‘Cut and Paste’ exhibition, two consecutive ISTD typography exhibitions and the Ladybird by Design exhibition, earlier this year. The DLWP is filling a much felt void in exhibiting graphic design.

You can read more about the DLWP 80th here:
http://www.dlwp.com/80th-anniversary/

...and this is the article I wrote about the ISTD awards:
http://justinsamazingworldatfennerpaper.blogspot.co.uk/2014/10/istd-awards-2014.html

Just one more thing to add. Organisations like the ISTD and the De La Warr Pavilion can only survive if they are supported and yes, that means money. It is so important that we retain industry and cultural organisations such as the DLWP and ISTD and we must take every opportunity to try and encourage membership, thus ensuring their continued viability. If you aren't a member or a friend, look into it and think about supporting.
www.dlwp.com
http://www.ivanchermayeff.com/
www.playnedesign.co.uk
www.istd.org.uk

Posted by Justin Hobson 06.08.2015

Jobs from the past - Number 70

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...

Splash of Paint - 1999
"Why not go out on a limb... that’s where the fruit is" is a quotation from Mark Twain and forms the introduction for this excellent piece of print from over fifteen years ago. Splash of Paint are a design consultancy based just outside Reading and this was their promotional brochure produced in 1999.  

Click on images to enlarge

Size is 330x240mm portrait. The brochure is printed on our Neptune Unique SoftWhite and is just a beautiful piece of print. It has a 16pp text on 155gsm and a 6pp cover on 250gsm, but more about that later!

The brochure is three hole sewn but with a difference ...there are two banks of thread, making it six hole sewn in total! The thread is a natural colour.

One of the things that I'm sure you will be able to see from these pictures is just how exceptional the image reproduction is. The retouching is credited as being by Film Creative Services but I can't seem to find them online. The publication is printed offset litho in four colour process and the result is superb, it looks just as fresh and vibrant now as it did back then.

Earlier I mentioned it was a 6pp cover (with a difference). The extra flap is on the inside back cover but it is pasted down, which not only adds extra weight to the cover but allows the die cut tabs to pop out to hold either an A4 letterhead or card. Smart idea!

Below picture shows the exterior shot of the binding:

Design is by Splash of Paint and the creative director is Malcolm Hatton. Print production was by Alex MacLennan who is now a partner at Urban Print Support.

The project was printed  by a west London company called Fernedge, who were an excellent print company in their day. Pippa Redmond (Mustoe) was Managing Director at Fernedge. They ceased trading, having become Image Litho, in around 2003.

This brochure is exceptionally well printed and is still one of the best samples on Neptune Unique SoftWhite that I have in my collection. From my recent contact with Judith Evans at Splash of Paint, they still consider it as one of their favourites as well!

http://www.splashofpaint.com/

http://www.urbanprintsupport.co.uk/

Posted by Justin Hobson 04.08.2015

The Little Boy Lost

This limited edition publication is one of two publications produced by London based photographer  and artist Christopher Paul Sharpe.

This first book titled The Little Boy Lost (the second book is called Little Boy Found) contains images edited by Lu Bowan, with each of the photographs relating to the theme of ‘lost and found’ ...a very eclectic mix.

Size is 210x148mm (A5), portrait with a 4pp cover printed on Omnia 200gsm and 36pp text printed on Omnia 120gsm. 

Click on images to enlarge

 

The book is digitally printed on an HP Indigo press by Gavin Martin Colournet. Omnia is suitable for use on HP Indigo presses if it has been 'sapphire coated'. The colours are strong and punchy and the whole book has a matt, tactile look and feel, the effect of which is every bit as good as litho.

The book is 'singer sewn' with a white thread which is a perfect little detail that just adds to the overall effect of this beautifully produced little book.

Design is by Studio Thomson and the book has a limited print edition size of 150 copies. Print and finishing is by Gavin Martin Colournet.

http://christopherpaulsharpe.com/
http://www.studiothomson.com/
http://www.gavinmartincolournet.co.uk/

Posted by Justin Hobson 30.07.2015