CATEGORY

Offset

RANK


PRODUCTION DETAILS

Quantity

2,000

Page Count

64 + cover

Number of Colors

Cover CMYK + 3
End pages 1
Interior CMYK + 1

Binding

Perfect bound

Dimensions

10.75 × 10.75

Paper Stock

Cover Stardream, Bronze, 105lb cover
Neenah Classic Crest, Epic Black, DTC
End sheets Stardream, Bronze, 81lb text
Interior Scheufelen, Heaven 42, Soft Dull, 100lb text

Special Techniques

Interior Spot custom-mix of gloss and satin varnish


DESIGN CREDITS

Jennifer Mahanay, Annaka Olsen

Photographers

Devin Ehrenfried, Ross Floyd


TAGS

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LINKS

wright20.com
gasink.net

Catalog for/by WrightCatalog for/by Wright


CLIENT

Wright is a Chica­go, IL-based auc­tion house spe­cial­iz­ing in mod­ern and con­tem­po­rary art and design. Auc­tions are metic­u­lous­ly curat­ed across the spec­trum of twen­ti­eth and twen­ty-first cen­tu­ry design.


BRIEF

This book was cre­at­ed to show­case a col­lec­tion of icon­ic Har­ry Bertoia Son­am­bi­ent sculp­tures from The Stan­dard Oil Commission’s mon­u­men­tal instal­la­tion in Chica­go. Wright’s own his­to­ry of pro­mot­ing the works of Har­ry Bertoia required that the book thought­ful­ly rep­re­sent the pieces with author­i­ty.


APPROACH

A large square for­mat was cho­sen so that the mon­u­men­tal sculp­tures could be illus­trat­ed with gus­to. Metal­lic sheets reflect­ed the mate­ri­als Bertoia used for the son­am­bi­ent sculp­tures. A cus­tom-mix of gloss and satin var­nish was cre­at­ed by our print­er to set off the pho­tos just right. The Heav­en 42 body stock is cool and smooth, print­ing our fine-detailed pho­tographs with ease. For the cov­er, two pass­es through the press enabled us to demon­strate the metal­lic nature of the works, fin­ish­ing with a bold black foil, abbre­vi­at­ing the title to sim­ply: Bertoia.

PRODUCTION LESSONS

As an alternative to doing a casebound book, we worked with Graphic Arts Studio to create a duplex cover for added bulk. Being a large square format—we wanted to avoid floppiness, while also not going too thick, which could cause separation in the gluing of cover and body. The cover stock’s metallic finish served the sculptures well. Printed in two passes: first with two hits of white and allowed to dry, and a second pass with five colors—the printer balanced the densities just enough to allow some of the metallic sheet to come through, while providing enough base to get dimension in the five-color pass.

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