A perfectly pastel “testament to collaborations that work”

Published:  December 15, 2014
Lucy Waddington

In a collaboration between close friends and productive duo, photographer Brooke Holm‘s partnership with stylist Marsha Golemac has resulted in a publication called ‘Workbook’ — neatly summed up by K.W. Doggett as “a damn fine piece of creative.”

Holm had initially spoken to Catherine Doggett about her recent trip to North America and after some earlier discussions on working together, putting the images to print seemed like a good fit. Doggett then suggested bringing Golemac’s styling work into the equation and thus, a collaboration was born. Melbourne-based studio Ortolan became involved to provide some “graphic design prowess,” where paper was meticulously selected following “internal, democratic voting, a few production meetings, loads of phone calls and emails, and some more production chats.”

portrait workbook 1 workbook 2 workbook 6

Doggett mentions, “other than the offset printed Workbook, we also ran out a dry toner version and some postcards (two offset and one digital on an Indigo machine) to show the results you can achieve using both printing methods. This is becoming more important with the need to include print components in a campaign and both long and short runs. You want the paper to match between presses and with a bit of craftiness when it comes to production, you can achieve an excellent result.”

workbook 3 Workbook_Exhibition_MG_BH_1 workbook 5 Workbook_Exhibition_MG_BH_4 workbook 4

“A book of our work, specifically landscape images paired with conceptual images, was something both Marsha and I wanted to produce from the beginning of our workings together. An exhibition of our work was also high on our to do list, so once the book was confirmed, an exhibition naturally evolved,” says Holm in an interview following the pair’s show at Modern Times.

workbook-portrait Workbook_Exhibition_MG_BH_6workbook-blog1Workbook_Exhibition_MG_BH_5

Breaking down the steps of production, Doggett defines the key considerations:

  • A lot of work was done in the pre-press stages. It was crucial with the photographs particularly to take out any shadows, so we opened the mid tones. Not much had to be adjusted on press as a result.
  • We printed the offset book line screen not stochastic.
  • Strathmore (the selected paper) is a true white ie. not a ‘blue white.’ The Ultimate White adds a small amount of yellow into the mix, so be aware of this in the file preparation stage. You can compensate for it on press but you may as well do it before then.
  • For the offset job we ran the Smooth sheets on a coated profile and the Wove ones on an uncoated profile. The line screen was 225.
  • For the digital job we ran it on a coated profile as the colours were much more vibrant with this setting.


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