CATEGORY

Mix

RANK


PRODUCTION DETAILS

Quantity

1,500

Page Count

140

Paper Stock

Domtar Cougar, Smooth White, 80lb text
Vellum Pink, 100lb cover
Vellum Fushia, 60lb text

Number of Colors

CMYK + 2

Dimensions

5.25 × 7.875 × .5

Binding

Perfect Bound

Special Techniques

Offset
Foil Stamp
Embossing


ADDL. DESIGN CREDITS

Creative Director

Will Miller

Designers

Nick Adam, Ohn Ho, Greg Calvert


ADDL. PRODUCTION CREDITS

Finisher

Delta Press, Inc.


TAGS

, , , , , , , ,


LINKS

Firebelly Design
Graphic Arts Studio Inc.
Public Media Institute

Book by Firebelly Design for Public Media InstituteBook by Firebelly Design for Public Media InstituteBook by Firebelly Design for Public Media InstituteBook by Firebelly Design for Public Media InstituteBook by Firebelly Design for Public Media InstituteBook by Firebelly Design for Public Media Institute


CLIENT

Pub­lic Media Insti­tute (PMI) is a non-prof­it, com­mu­ni­ty based, art and cul­ture orga­ni­za­tion locat­ed in the neigh­bor­hood of Bridge­port in the city of Chica­go, IL. Their mis­sion is to cre­ate, incu­bate, and sus­tain inno­v­a­tive cul­tur­al pro­gram­ming through the pro­duc­tion of social­ly engaged projects, arts fes­ti­vals, spaces, exhi­bi­tions, and media.


BRIEF

PMI and Fire­bel­ly col­lab­o­rate every year on the annu­al TYPEFORCE exhi­bi­tion. The cat­a­log is meant to be a record of the expe­ri­ence and show­case of the work.


APPROACH

Can an exhi­bi­tion cat­a­log cap­ture and pro­vide the phys­i­cal excite­ment of a moment while hon­or­ing tra­di­tion, the show­cased typo­graph­ic artistry, and artists indi­vid­ual con­cep­tu­al nar­ra­tives? By tak­ing a UI approach to the book’s design we cap­ture the phys­i­cal ener­gy of being one of the 1,000-plus atten­dees dis­cov­er­ing new works at the open­ing recep­tion. Each year Fire­bel­ly rede­fines this task by guid­ing the read­er’s atten­tive­ness in an effort to hon­or and cel­e­brate each of the can­on­ized artists. The stu­dio’s third cat­a­log explores new heights in fun­da­men­tals by unit­ing his­to­ry with the dis­cov­ery of con­tem­po­rary methods.

PRODUCTION LESSONS

The interior is paginated by content types—using multiple paper stocks gave visual cues guiding the reader across sections. This meant using three different CMYK mixes to ensure our reds were identical across the three paper types. Our emboss plates needed to accomplish very different effects—communicating our intent with the craftsmen hand-tooling these pieces took place outside of files, and offline. We’d discuss examples of naturally rough stone that had been embossed and shared videos of chisels hitting solid-slabs achieving dimensional cuts.

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