CATEGORY

Offset

RANK

Judge's Pick


PRODUCTION DETAILS

Quantity

500

Page Count

32 + cover

Number of Colors

Cover 1
Interior CMYK

Binding

Saddle-stitched

Dimensions

6.25 × 9.25

Paper Stock

Cougar, Opaque
Glama

Special Techniques


TAGS

, , , , ,


LINKS

commercialartisan.com
faulkenberg.net

Booklet for Self-promotion by Commercial ArtisanBooklet for Self-promotion by Commercial ArtisanBooklet for Self-promotion by Commercial ArtisanBooklet for Self-promotion by Commercial ArtisanBooklet for Self-promotion by Commercial Artisan


CLIENT

Com­mer­cial Arti­san (Indi­anapo­lis, IN) is the graph­ic design stu­dio of broth­ers James and Jon Shol­ly. Com­mer­cial Arti­cle is their off­shoot pub­li­ca­tion. They are a tra­di­tion­al, print-based stu­dio that focus­es on work for arts orga­ni­za­tions, not-for-prof­its, foun­da­tions, and schools.


BRIEF

Com­mer­cial Arti­cle is an ongo­ing pub­li­ca­tion that explores the lives and work of less­er known design fig­ures from Indi­ana. This issue spot­lights an architect/architectural ren­der­er named Leslie Ayers, who brought tremen­dous style to his projects, many of which no longer exist out­side of his draw­ing archive.


APPROACH

Our pur­pose is to doc­u­ment the lives and work of design fig­ures from Indi­ana that we feel haven’t received the recog­ni­tion they deserve. We’re explor­ing region­al design his­to­ry via this irreg­u­lar­ly pro­duced pub­li­ca­tion. We have pub­lished five issues that show­case graph­ic, prod­uct, and build­ing design. It is our goal to con­tin­ue to col­lect and share these sto­ries as long as we’re able to find them.

PRODUCTION LESSONS

The production of this piece is fairly straightforward, but I wish I had been cautioned to select a different size. Our 6.25 x 9.25-inch size is an awkward fit for the sheet size our printer can utilize. If we had scaled the piece down to 6 x 9-inch, we would have been able to include more pages per sheet and thereby get a bigger publication for our money.

Judge’s Comments
I’m usually attracted to the unusual in design competitions. Sometimes I find myself thinking, “if I haven’t seen it before, then it is amazing.” So much of what is entered in a design show strictly echoes what is considered the latest design trend or philosophy or idea. In this particular show, because it was emphasizing printing process, I found my personal judges’ pick to actually be the one piece I felt the most familiar and comfortable with. It demonstrated everything I miss about printing that is not being exploited currently—duotones, varnishes, and smart hard-line graphic techniques. Surely, this was produced digitally (the entire printing paradigm has shifted completely at this point). But this really looks like what would have been considered a truly GREAT piece of graphic design production and printing from 20–30 years ago. As a result it simply looks fresh. I guess I so miss the quality of good printing and the amazing things that only printing can do (as opposed to what a computer can do) that I fell in love with this piece. — Art Chantry

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