CATEGORY

Mix

RANK


PRODUCTION DETAILS

Quantity

2,000

Page Count

20

Paper Stock

Booklet: Neenah Clearfold Velum
Cougar Smooth
Slipcase: Curious Skin, Black
VIP Invitation: Cordenons Wild, 314lb cover

Number of Colors

Booklet: 4
Slipcase: 2
VIP Invitation: 2

Dimensions

Booklet: 5.375 × 8.875

Binding

Thread saddle-stitch

Special Techniques

Offset
Letterpress
Foil Stamp


ADDL. DESIGN CREDITS

Art Direction and Design

Jennifer Mahanay


ADDL. PRODUCTION CREDITS


TAGS

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LINKS

Wright
Classic Color
Rhoner Letterpress

Invitation for/by WrightInvitation for/by WrightInvitation for/by WrightInvitation for/by WrightInvitation for/by WrightInvitation 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 suite announced the open­ing of Wright’s gallery in New York, NY, and includ­ed a VIP invi­ta­tion to the open­ing night cel­e­bra­tion of the Decem­ber 2013 Design Exhibition.


APPROACH

The suite includes a foil stamped slip­case, let­ter­pressed invi­ta­tion, and a book­let fea­tur­ing items in the exhibition—all mailed in an A10 black enve­lope, foil stamped with Wright’s logo and address. A slip­case with both white and black foil stamp­ing empha­sized the addi­tion of Wright’s New York loca­tion. The small run of VIP invi­ta­tions were let­ter­pressed with a split-foun­tain to cre­ate the col­or gradient—no two pieces were alike. The book­let was print­ed on vel­lum cre­at­ing a lay­ered com­po­si­tion of sil­hou­ettes and type. Spine sewing with gray thread com­plet­ed the book­let design to cel­e­brate the exhibition.

PRODUCTION LESSONS

The split-fountain printing for the VIP invitation was a delicate process—it was wonderfully executed by Rohner Letterpress—balancing the gradient across the run and keeping the text legible. The paper stock and press were switched on the fly to gain better color coverage. Rohner then mounted the finished pieces to our original, thicker stock. Also notable, reversing out the text from the ink in the background meant that the lettering was raised—the opposite of what is usually encountered with letterpressed pieces.

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