A love letter to print

AUTHOR:  
Published:  November 7, 2012
Desktop
A love letter to print

desktop launches showcase November issue — the issue features 6 sections, 5 paper stocks, 6 special finishes, 14 interviews and project reviews and 9 industry opinions

desktop is pleased to reveal a very special issue this month – a love letter to print.

The desktop team has been working hard to create a showcase print and paper issue which artfully demonstrates a range of printing techniques, embellishments and paper stocks to enhance any printed project. Each section is dedicated to a technique and stock, illuminated through interviews with leading designers and industry experts, and through selected project displays.

According to desktop’s publisher, Joanne Davies, the drive behind producing the issue is to create an inspirational piece for the creative industry. “In a changing landscape with all things digital, it can be easy to forget how beautiful, creative and important paper and print is in showcasing artistic works. We hope this special issue of desktop will inspire and influence the imagination of the creative community.”

Buy this issue now or subscribe by calling 1800 804 160, or visiting niche.com.au.

The November issue

The issue is divided into six sections:

Special Inks — printed on K.W.Doggett Fine Paper Strathmore Supersmooth / Ultimate White White / 176gsm, this section includes special inks by Southern Colour / extended gamut process + PMS 802. It features projects from and interviews with Katja Hartung (Toben) and Sophie Tatlow (Deuce Design), and industry commentary from Adrienne Teague (Southern Colour).

Special Inks

Special Inks

Foiling — printed on BJ Ball / Opal / 120gsm, and foiled by Goldcraft. It features projects from and interviews with Sam Painter, Pat Santamaria and Billy Ryan (Babekuhl) and Luke Brown, and industry commentary from Mark Steur (Goldcraft).

Foiling

Foiling

Embossing — printed on K.W.Doggett Fine Paper Rives Design / Natural White / 120gsm, and embossed by Foilmasters. It features projects from and interviews with Suzy Tuxen (A Friend of Mine) and David Pidgeon, and industry commentary from Matthew Murcott (Foilmasters).

Embossing

Embossing

Die Cutting — printed on BJ Ball Sundance / Natural White / 216gsm with die cutting by Avon Graphics. It features projects from and interviews with Kellie Campbell-Illingworth (Parallax Design) and Marita Leuver (Leuver Design), with industry commentary from Tate Hone (Avon Graphics).

Die Cutting

Die Cutting

Special Papers — features projects from and interviews with Jonathan Wallace (Alter) and Andrew Ashton (Work Art Life), and industry commentary from Catherine Doggett (K.W.Doggett Fine Paper), Tony Bertrand (BJ Ball Papers) and Rohan Dean (Spicers Paper).

Special Papers

Digital Printing — printed by a Fuji Xerox iGen4 EXP Press on Silk-hd Matt – 170gsm. This section features a photo essay of the Melbourne Museum of Printing by Hilary White, an interview with Barrie Tucker and industry commentary by Stephen Ball (Fuji Xerox).

Digital Printing

The magazine was printed by Southern Colour, bound by The Bindery and features a cover designed by Matt Huynh and textured by Tafeda. All title pages designed by Mark Gowing and Jacob Ring. A huge thanks must go to all others involved in the production of this piece.

desktop's November cover designed by Matt Huynh

For further information or high res imagery,
please contact:
Alison Copley
desktop deputy editor
03 99494986
alison.copley@niche.com.au

Photography: Bruce Read.

One Response

  1. I dig desktop magazine, very much. And I absolutely love all things print, books make me weak at the knees! Accumulating books and publications for shelves as beautiful objects to occasionally muse and read over feels good!

    However all I want to do with this months issue is chop it up and re use all its beautiful stock! There are some interesting stories on techniques and embelishments etc, but it is ultimately missing one basic element which this industry should encouraging whole heartily – environmental sustainability. We all want this industry to continue to thrive, and its great to see so much research and development going in to keeping the industry prestiges and present. Still, to bring out a publication like this and not focus, if not wholly, the largely on sustainable and ethical print practices is pretty irresponsible and reckless.

    “First things first”, with the technical developments we should also be realising more and more the developing role of the designer as informer and mediator for a better world. As such Adrienne Teague says “forward thinking and responsible print manufacturing”, and “not simply resounding to (the client), but forecasting them to create a business that has long term sustainability” – why can this not be in the environmentally sustainable sense as well. Designers were not even given a chance to expand on the issues of sustainability, only one Sophie Tatlow refers, “Many of our clients request, or we encourage, the most enviro , sustainable option”. How, where, who and what can we help this to manifest even more. There was a real lack of consideration in the line of questioning.

    Once we as designers become more informed on sustainable practises which we can refer to the client, the more recycled sustainable stock becomes widespread, variable and economical, but we know that right? If we want a sustainable industry we have to look further than what has been addressed in Love Letters.

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