CATEGORY

Mix

RANK

Best of Show + Judges' Pick

PRODUCTION DETAILS

Quantity

2,000

Page Count

224 + cover

Paper Stock

Cover: Mohawk Via, Jute Felt, 80lb cover
Body: Domtar Cougar Smooth, 80 lb text

Number of Colors

Cover: Multiple hits of 1
Body: HUV CMYK + 1

Dimensions

8.25 × 10.75

Binding

Perfect bound, PUR

Special Techniques

Offset
Foil Stamping
Embossing
Debossing


ADDL. DESIGN CREDITS

Art Director and Designer

Jennifer Mahanay

Photographers

Devin Ehrenfried, Ross Floyd

Retoucher

Todd Simeone


ADDL. PRODUCTION CREDITS


TAGS

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LINKS

Wright
Classic Color

Book for/by WrightBook for/by WrightBook for/by WrightBook for/by WrightBook 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 20th and 21st cen­tu­ry design.


BRIEF

This book show­cas­es rare car­pets from the 20th cen­tu­ry sold at Wright’s auc­tion on June 13th 2014, curat­ed by Nad­er Bolour of Doris Leslie Blau. The col­lec­tion rep­re­sents a large cul­tur­al and geo­graph­ic range of impor­tant car­pets from Scan­di­na­vian mas­ter weavers to rare French Art Deco works.


APPROACH

With over 150 car­pets from dif­fer­ent regions to show­case we set out to pho­to­graph many of the car­pets with art and design pieces to add a fresh vibe to the mate­r­i­al. Full-bleed details of car­pet pat­terns, vary­ing pho­to sets, and col­or­ful cap­tions off­set the rich tex­tiles. The book is orga­nized by region—spreads intro­duc­ing each chap­ter include illus­tra­tions of the geo­graph­ic region and large bold titling. The titling is set in His­to­ry, a robust type­face of vary­ing weights and styles that unpre­dictably com­ple­ments the dif­fer­ent eras and styles of tex­tile design.

PRODUCTION LESSONS

Classic Color worked with Wright’s design team to run tests on coated and uncoated papers before printing. With the UV press and HUV inks an amazing color range and detail came through on the uncoated stock, which we had been hoping to use for the body of the book from the start! The cover was printed with 4 plates of white, and run through the press a second time—8 total hits of white have the ink nearly sitting atop the paper with amazing contrast. To finish the cover, the Art Deco pattern was embossed and debossed, and finally the silver foil stamping was added for the text.

Judge’s Com­ments
This cat­a­log is as tac­tile and beau­ti­ful as it is infor­ma­tive. Wright has an out­stand­ing glob­al rep­u­ta­tion spe­cial­iz­ing in 20 and 21st cen­tu­ry design with top of the line com­mu­ni­ca­tions to their dis­cern­ing clients and dis­tin­guished col­lec­tors. The pre­sen­ta­tion of the cat­a­log is as impor­tant in the deci­sion mak­ing process and brand iden­ti­ty as the selec­tion and pre­sen­ta­tion of the items them­selves. The high­ly tex­tured embossed and foil stamped cov­er picks up on the design esthet­ic of the rugs in the auc­tion, the soft but stur­dy cov­er paper folds with a lux­u­ri­ous­ly large flap. The cov­er paper feels like a design­ers sketch book while the inte­ri­or paper is dull coat­ed to pick up the high qual­i­ty col­or pho­tographs of each item in the auc­tion. The design of the inte­ri­or is mod­ern, sophis­ti­cat­ed, and play­ful. The rug and room pho­tog­ra­phy styling is min­i­mal with well cho­sen accents. The detail pho­tographs are noth­ing less than design-porn. All togeth­er the cat­a­log made me want to buy every rug and keep the cat­a­log for design ref­er­ence. The in-house Wright design team cre­at­ed an inno­v­a­tive and orig­i­nal design object that is also a use­ful and clear ref­er­ence tool. — Gael ToweyHow is it that an auc­tion cat­a­log for car­pets can cap­ti­vate a room­ful of demand­ing and very par­tic­u­lar design­ers? Seduc­tion. OK, the mul­ti-lev­el emboss is over the top, but com­bined with the  stock and foil stamp­ing, we just could­n’t put it down. The images of the car­pets them­selves were a loopy library in them­selves, but care­ful thought­ful­ness went into the prop­ping and stag­ing of the pho­tos them­selves, adding up a delight that was visu­al, tac­tile, intel­lec­tu­al and thor­ough. The judges were actu­al­ly fight­ing over this copy. Fun­ny that Gael walked away with it. — Stephen DoyleAn auc­tion cat­a­log which proves to be just as desir­able as the pieces it con­tains. The lay­out includ­ed smart­ly art-direct­ed pho­tog­ra­phy, which was made for a pub­li­ca­tion I had a hard time putting down. The cov­er alone was a beau­ti­ful design to see and touch for its debossed and embossed foil on a paper with the right amount of tooth, and the col­or of wool. — John Ear­lesWell, again, each judge has a spe­cif­ic aes­thet­ic back­ground and the art­work I make these days is often inspired by the repet­i­tive imagery and full col­or found in earth­en­ware and tapes­tries, quilts and rugs. The book was clev­er­ly designed, it high­light­ed details of select­ed car­pets and blend­ed splen­did­ly all this imagery into one pub­li­ca­tion. Did I say blend­ed? Hmmm, like a car­pet? Excel­lent. And I’ve already ordered the cat­a­log for myself. — Jim Sher­radenExquis­ite atten­tion to detail, from choice of type­face, to bal­anced lay­outs, to smart pho­tog­ra­phy and jux­ta­po­si­tion of con­tent, makes for a cat­a­log all jurors envied. — Marc English

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