__MAIN_TEXT__

Page 1


I have always imagined that paradise will be a kind of library.

| J o r g e L u i s B ORGES


FEATURED DESIGNERS

01. Agustín Garza 02. Amanda Halbrook 03. Ana Llorente 04. Andrew Byrom 05. Andy Cruz 06. Ania Borysiewicz 13. Cristina Pandol 14. Davey Whitcraft 15. Dennis Reed 16. Gail Swanlund 17. Haven Lin-Kirk 18. Holly Hampton & Deborah Sussman 24. Jonathan Ng & Jean-Marc Durviaux 25. Joseph Shuldiner 26. Juilette Bellocq 27. Julie Markfield 28. Kate Brown 29. Keith Knueven 35. Margi Denton 36. Margo Chase 37. Mark Caneso 38. Martin Venetzky 39. Merlin Lembong 40. Meryl Pollen 41. Michael Bierut 47. Paul Marciano & Leslie Oki-Yoshimura 48. Rebeca Méndez & Darren Namaye 49. Renée Cossutta & Judith Lausten 56. Steve Rachwal 57. Susan Parr & James Moore 58. Susan Silton 59. Thomas Lee Bakofsky & Eric Junker 60. Tim Biskup 65. Vesna Petrovic 66. Willem Henri Lucas 67. Paul Marciano & Yu Tsai


07. Anne Burdick 08. Anne Swett 09. April Greiman 10. Brian Roettinger 11. Brooklyn Brown 12. Clive Piercy 19. Jayme Odgers 20. Jeffery Keedy 21. Jeremy Bigalke 22. Jessica Fleischmann 23. John Clark 30. Kit Hinrichs 31. Lauren Mackler 32. Lisa Wells 33. Lorraine Wild & Haruna Madono 34. Marci Boudreau 42. Michael Worthington 43. Mick Hodgson 44. Milton Glaser 45. Noreen Morioka & Volker Durre 46. Patrick Li 50. Robbie Conal & Debbie Ross 51. Mear One 52. Shepard Fairey 53. Shannon Losorelli 54. Sean Adams 55. Stefan G. Bucher 61. Timothy Moraitis & Greg Lombard 62. Tom Mossman 63. Tom Recchion 64. Tracey Schiffman & Alex Kohnke


A LIFE IN PRINT

BY DAVID MAYES In a time of great change in communications technology—the

of art in a certain time and place. This library represents a

supposed death of print—this library presents the vital world of

collection that has never been together before—and probably

ink-on-paper graphic design in 2012 Los Angeles.

never would be outside of this form. Building a comprehensive

The project had been rattling around in my head for years. Starting at Westside Print Works in the late eighties working with Kim Baer, Joe Molloy, and other great designers, I often saw pieces tossed into the sample drawer and felt a sense of wonder at the collection gathered. These samples sat in my closet until 1999 when I came to Typecraft, where I have seen an explosion of incredible art by talented designers.

set of specifications, samples, and experiences serves a higher collective purpose while creating a resource for designers and design students shaping the future of communications media. Some of my favorite work for the AIGA-LA Board has been advocating for scholarships. Student work is vital and essential. The AIGA Voice Conference in 2002 made me aware that design has the power to change the world. Although that seems obvious

Lorraine Wild has said that catalogues from gallery shows and

to me now, it was a revelation then. I thank Robbie Conal for

museums are often the only remaining evidence of a gathering

urging me to go to that conference.


I love the ideas that designers bring to my attention, and I find

specifications gathered here is remarkable. This catalogue is a

great joy in bringing people together and introducing them to

beginning: a teaser, if you will, for bringing out the many other

one other. This is the beauty of AIGA events: when the design

pieces that will one day find their places in the library where

community comes together, it evolves. This library is an extension

they belong.

of that: when a person sees who is represented here, there is connection. This project can help strengthen and support the profession by bringing us together in celebration of our best work.

I am forever grateful to Haven Lin-Kirk for understanding that this is more than just a collection of print samples. This catalogue exists only because Haven, Steve Child, and the students of

Typecraft is an integral part of printing in Los Angeles. We do the

USC Roski Fine Arts 432 put so much work and spirit into

work Beatrice Warde’s poster describes: “From this place words

making it possible. The people who forged this body of work

may fly abroad, not to perish with the writer’s hand but fixed in

deserve to be recognized as they shine their light on future

time, having been verified in proof.” We are also building a place

generations of designers.

where designers can be inspired by what is possible with ink, paper, and craft. This important collection is a snapshot that not only depicts our community, but also illustrates the state of the art in printing technology. It is a catalogue of past innovations as well as a resource to fuel the future of print design.

I am also grateful to our partners and clients. Let us record the work that brings us all together. I have been inspired and schooled by the innovation, beauty, and drama of the design community. I hope to give back to this community, to contribute to that very best part of design: the power it has to change the

All of the pieces here have stories in them: battles fought, editorial

world. To those who are practicing at the top of your field: thank

arguments, squabbles over color, the struggle for perfection…

you for letting Typecraft work with you in the trenches. I hope

Let us harness all that went into this gathering to make us better

that this collection and documentation of great work will assist

designers, better printers, better people.

all of us in building an even better future.

To be able to search the library for the Mohawk job, the Peachboard job, the 1/1 or the 8/8… will be incredible. Let

Pasadena, California

us document the art and commerce, for the array of printing

June 2012


:

Printing in Los Angeles

A Design Love Story BY LOUISE SANDHAUS Like many designers today, when I think “technology” my head

designer. Like Brian Roettinger’s book for David Kordansky

spins. It whirls with tangential technical knowledge that blows

Gallery, Aaron Curry: 23 Collages, where the images are

haphazardly into the designer’s domain—causing all sorts

designed to align with other images on the page beneath thus

of chaos. A wild storm of software upgrades, new platforms,

requiring precise die-cuts and exacting French-folds. Or Davey

and emerging media puts graphic design competencies into

Whitcraft’s colorful, pitch-perfect symphony of papers, inks,

constant ecstatic flux. What’s easy to overlook—or try to ignore—

and threads (yes, threads) for the USC School of Architecture’s

is that graphic design is a field that has always been married to

IDWRK Book 10/11.

technical knowledge. In fact, graphic design as a professional practice didn’t exist before the industrial revolution. While the soft “artistry” of graphic design may see itself as far afield from the hard domain of machines, it is those machines that are our dance partners.

An especially complicated duet was choreographed between Juliette Bellocq and Typecraft’s Joe Nuñez on a booklet for Otis College of Art and Design. The artwork uses a four-color process file, but substitutes fluorescent inks for the cyan, magenta, and yellow presenting a risky trapping challenge. Bellocq upped the

Thanks to David Mayes and Typecraft Wood & Jones, Los

ante by requiring hand-worked binding that allowed a folded

Angeles hosts many lively pas de deux between printer and

poster to wrap the book as its cover. Her final challenge was a


smaller book-within-a-book with exacting alignments between

he was working at Westside Print Works in Santa Monica. The

the texts in each of the two differently scaled volumes. Touché!

Los Angeles graphic design scene of the 80’s was populated

Stefan G. Bucher pushed it to the brink for a Lynda.com project, performing more of a pas de trois—with the binder joining the waltz to work out such complexities as a slip-case comprised of a heavy textured fabric, a moiré patterned book cover, and floppy, rabbit-eared pages that had to be hand-tied.

Oh, those designers! It was in 1986 that Mayes began encouraging printer-designer partnerships. It’s hard to imagine that designers and printers weren’t always made-for-each-other combinations like peanut butter and jelly or hearts and flowers, but finding printers who were whole-heartedly compassionate—or even mildly sympathetic toward designers—was not easy; much less finding printers who saw themselves as co-conspirators in creative productions. Not that it’s so different today. Recently, the young designer Jessica Hische saw the need to “speeddate” designers with those printers willing to collaborate. Her efforts resulted in Inker Linker, a website that identifies creative relationships for those designers not fortunate enough to have a Typecraft in the neighborhood.

with the likes of of Kim Baer, Joe Molloy, Deborah Sussman, April Greiman, Allison Goodman, Denise Gonzales Crisp, Greg Clarke, David Coleman, Dave Schroer, Josh Freeman, Annmarie Dalton, Gary Wexler, Shani Ginsburg, and Lucy Goodman, and many others all seeking a printer with whom to collaborate. While Los Angeles printing harkens back to at least the 19th century, in the 1980s it was part of the emerging graphic design

“ It’s hard to imagine that designers and printers weren’t always made-foreach-other combinations like peanut butter and jelly or hearts and flowers.” scene—one that boasted a few luminaries-in-the-making, both imported and home-grown. Attractive weather; that oh-so-light, cheap, and ample studio space; a few strong graphic design education programs; and “the industry” (meaning, of course, Hollywood) made L.A. the premier city of the left coast for graphic production. But as for Graphic Design—and, mind you, I’m talking capital “G” and capital “D” Graphic Design, the kind for which one goes to school, earns a degree, and engraves on

The story of this artists-meets-machine bond—or at least

the door—that’s more of a recent history, and one that was just

the one that David realized in this collection—begins when

getting a solid foothold in the ’80s. (The small “g” and small “d”


graphic design of commercial art had been decking the halls,

for both the designer and the printer to strut-their stuff. And

roaming the streets, and haunting the sides of buildings since

strut they did!

way-back-when.) The Los Angeles Graphic Design scene came to its own in fits and starts because it required clients willing and able to hire Graphic Designers. This was a vital part of the development of this great romance.

The work published in this catalogue represents only a small dip into the archive that David and Typecraft Wood & Jones has pulled together and only a tiny toe-dip into the vast expanse of Graphic Design. It is a grouping that performs

In this archive you’ll notice a lot of work for galleries, schools,

several roles, defies simple conclusions, and indicates multiple

museums, and other cultural institutions. These were the clients

possible directions of meaning and relevance.

that gave creative leeway to designers as compensation for

“ It was the start of dream design projects—opportunities for both the designer and the printer to strut-their stuff. And strut they did!”

These are random highlights selected simply because they

small printing budgets and even smaller design fees, or just for

the beautiful, the awesome, or just a fond memory. What

the sake of an interesting designer-client collaboration. This

the archive at large represents is possible databases of Print

important part of L.A. design history hails back to the founding

Production History, Graphic Design Trends, and Los Angeles-

of Arts + Architecture, the acclaimed, internationally-circulated

Based Graphic Designers. Then there are the clients and

caught the attention of the USC class launched by Haven Lin-Kirk and led by Steve Child. Or they were dear to Mayes’ heart. Or they were honored names or works that may catch the public’s eye. They represent the “wow,” the illustrious,

landmark publication that showcased the local art and design

the professional organizations—most significantly the L.A.

scene while providing a venue for producers of furniture,

chapter of AIGA — and before that The Art Directors Club of

lighting, building supplies, and other materials to hawk their

Los Angeles. And last, and perhaps the most near and dear

wares. It was the start of dream design projects—opportunities

database of all—Labors of Love.


AgustĂ­n Garza VIDALTA Six Page Presentation Folder Classic Crest Duplex Avalanche/Indigo 120 lb Cover 6/0 CMYK + 2x PMS Insert: McCoy Silk 80 lb Cover 6/6 CMYK + 2 PMS Diecut | Glue and Fold


Amanda Halbrook FLUIDESIGN 94 page booklet + 4-page cover Finch Fine iD Bright White: 80 lb Text & 100 lb Cover 4/4 | CMYK | UV Coat cover | Score | Perfect Bind


Ana Llorente Typecraft White Ink Party Invite and Poster Wrapped Booklet

Classic Crest Epic Black Digital 80 lb Text 4/4 Indigo | CMYK + White 4 hits Die score | Hand fold


Andrew Byrom UCLA Extension Dean’s Holiday Card Kromekote Foil Gold 13 Pt C1S Cover 1/1 | PMS Blue (Opaque, Hard Dry) Laser Diecut | Score | Fold


Andy Cruz AIGA/LA House Industries Poster 80lb Uncoated White Smooth 80 lb Text | 3/3, 3 PMS | Trim & Fold


Design is as much an act of spacing as an act of marking.

| Ell e n L u pt o n


Ania Borysiewicz ASIAPHILE, INC. Catalog - 24 page + Cover + Fold outs Topkote Dull: 111 lb Cover + 100 lb Book 4/4, CMYK + Satin Aqueous on the cover Diecut, Saddle Bind


Anne Burdick ART CENTER COLLEGE ART CENTER COLLEGE OF DESIGN Super Studio Design Research Book - 96 Pages + Cover Cvr: 160 lb Finch Fine Smth Cover: Finch Fine Smooth, Bright White 160 lb Text: Jefferson Velvet 100 lb Book & Glama Natural Clear 40 lb | 4/4 | CMYK Wire-O Bind | Shiny Silver on the 14” with 11” of wire centered


Anne Swett OTIS COLLEGE OF ART & DESIGN Superficiality Catalogue - 108 pg + Cover Cover: Brushed Silver Metallic 12 Pt. C1S Cover Text: Finch Fine Soft White Smooth 80 lb Text 5/5 | CMYK + PMS w/split fountain Foil Stamp | Smyth Sew with Soft Cover


April Greiman MADE IN SPACE SVA Exhibition Booklet - 70 page + Cover Cover: Curious Skin 017 Green 100 lb Cover Text: Metallic Pearl, Cromatica Green and Blueberry 4/4 | 1/1 & 1/0 Foil Stamp Cover | Wire-O Bind


Brian Roettinger DAVID KORDANSKY GALLERY Aaron Curry Book - 24 French Fold Pgs + Cvr + Flaps Text: Cougar Opaque White 100 lb Text Cover: Cougar Opaque White 100 lb Cover Text: 4/1: CMYK/BLK & Flourescent Cover: 1/0, BLK + Satin Aqueous Diecut all pages | French Fold | Perfect Bind


Brooklyn Brown OTIS COLLEGE OF ART & DESIGN Fashion Benefit Journal 134 Pgs + 11 Dividers Front & Back Covers Dividers + Covers: Solutions Recycled White 100 lb Cover Text: Topkote Dull 70 lb Book Dividers + Covers: 2/2, 2 PMS Text: 4/4 | CMYK Diecut | Trim, Collate | Printed Rubber Band Bind


Clive Piercy AIR CONDITIONED Led Zepplin Book - 58 Pgs + Pocket + Cover Finch Fine iD, 100 lb Cover + 100 lb Book + 100 lb UltraDigital Matte 100 lb Book 4/4 | CMYK Side Sew Bind


Cristina Pandol William Morris Endeavor Oscar Invitation Canaletto Grana Grossa Bianco, 111 lb Cover 5/5, CMYK + PMS 877 Metallic Diecut, Score, Foil Stamp & Fold


Davey Whitcraft USC School of Architecture IDWRKS Book - 172 Pages Self Cover Finch Opaque Bright White 40 lb & 80 lb Text Topkote Dull 80 lb Book 5/5 | CMYK + PMS 811 Smyth Sew with Cardinal Thread & Exposed Spine


Dennis Reed LOS ANGELES VALLEY COLLEGE No Laughing Matter Catalog - 60 Pg + Fly Sheets + Cover Cover: Blade Saver 90 lb Chipboard Text: Topkote Dull 80 lb Book Cover: 2/1 | PMS + K Text: 5/5 | CMYK + SGV Diecut Cover & Fly | Score | Concealled Wire-O Bind


Gail Swanlund USC ROSKI SCHOOL OF FINE ARTS Undergraduate Lecture Series Poster Finch Opaque Bright White 80 lb Text 3/0 | Two 2-PMS Split-fountains + 1 PMS, 5 PMS’ total Trim & Fold


Haven Lin-Kirk USC Fisher Gallery Material Affinities Catalog 56 Pgs + Cover Cover: Tan Peach Board Text: 100 lb Endeavour Velvet Book 4/4 | CMYK Blind Deboss Cover | Score | Fold, Perfect Bind


Holly Hampton & Deborah Sussman Sussman Prejza & Co. MoAd Book - 28 Pg (14 French Folds) + Cover Cover: McCoy Silk 130 lb Cover Text: McCoy Silk 80 lb Cover 5/0 | CMYK + PMS + Pencil Aqueous Wire-O Bind | Silver in two 2.75� sections


Jayme Odgers Frederick Weisman Museum, Pepperdine University Peter Lodato Exhibition Catalogue 56 Pgs + 8-Pg Cover Cover: Gainsborough Pewter 88 lb Cover Text: Strobe Dull 100 lb Book Cover: PMS 854 + White | 2/0 Text: 4/4 | CMYK Perfect Bind


Jeffery Keedy 2010 COLA Book - 120 Pgs + Cover Cover: Topkote Dull 111 lb Cover Text: Topkote Dull 100 lb Book 4/4 | CMYK + Satin Aqueous on Cover Foil Stamp Cover & Perfect Bind


Good design is good business. | T h o ma s J . W at s o n J r .


Jeremy Bigalke Curatorial Assistance E. O. HoppĂŠ Book - 226 Pgs + Cover Cover: UltraDigital Matte 130 lb Cover Text: UltraDigital Matte 100 lb Book 4/4 | CMYK Perfect Bind


Jessica Fleischmann

18TH STREET ARTS CENTER Collaboration Labs - 124 Pgs + Cover Cover: UVelvet 80 lb Cover Text: UVelvet 70 lb Text 4/4, CMYK Perfect Bind


Jim Drobka Los Angeles County Museum of Art Degenerate Art Catalogue 464 Pgs + Flys + Cover Cover: 12 Pt. Springhill C1S Cover Text: Productolith Dull 80 lb Book Fly: Tuscan Antique 65 lb Cover Cover: 3/1 3 PMS + BLK + Laminate Text: 4/4 CMYK Smyth Sew with Soft Cover


John Clark AIGA/LA 2010 Emerge Poster Mohawk Pegasus Brilliant White 100 lb Text 4/0, CMYK Trim & Kraft Wrap


Jonathan Ng & Jean-Marc Durviaux DISTINC Ovation Awards Program Book - 28 Pgs + Cover Cover: Carnival Vellum Coco 100 lb Cover Text: Finch Opaque 80 lb Text Cover: 1/0 Indigo White Text: 2/0, BLK + PMS 876 3 Foil Stamps: Copper, Bronze & Gold on Cover Saddle Bind


Joseph Shuldiner Julienne’s Restaurant Julienne’s Cookbook - 192 Pages + Hard Cover Finch Fine Bright White Smooth 100 lb. Text 4/4, CMYK Smyth Sew, Case Bind & Apply Dust Jacket


Juliette Bellocq OTIS COLLEGE OF ART & DESIGN Graduate Graphic Design Book - 16 Pg + Small Booklet + Poster Wrap Cover Cover: Via Cool White 80 lb Text 16 Pg + Small Booklet + Poster Wrap Cover Text: Porcelain Eco Silk 80 lb Book 5/5 | 4 Fluorescents + Metallic Saddle Bind


Julie Markfield CMG The Regency Club Press Kit Classic Crest Duplex Sawgrass / Recycled Natural White 120 lb Cover 6/0, CMYK + PMS 871 + PMS + Satin Aqueous Diecut, Glue & Fold


Kate Brown University of California New Hire Kit Folder Starbrite Opaque 100 lb Cover 4/4 + Aq, CMYK + Satin Aqueous Diecut, Glue & Fold


Keith Knueven AIGA/LA AIGA Logo Book - 72 Pg + Cover Cover: Navajo Brilliant White 80 lb Cover Text: Navajo Brilliant White 80 lb Text Cover: 5/0 | CMYK+PMS Text: 4/4 | CMYK | & 2/2 PMS + Black


Kit Hinrichs AIGA/LA Pentagram Papers Event Poster McCoy Silk 80 lb Book 5/5 | CMYK + PMS 032 Red + Satin Aqueous Trim & Fold


It makes me feel guilty that anybody should have such a good time doing what they are supposed to do.

| C ha r l e s Eam e s


Lauren Mackler PUBLIC FICTION Public Fiction Magazine - 64 Pgs + Cover Cougar Opaque 80 lb Cover + 70 lb Text + Springhill Gray Opaque 50 lb 2/2 | 2 PMS Saddle Bind with Copper Stitches


Lisa Wells MICHAEL KOHN GALLERY Twombly Basquiat Catalog - 38 Pages + Cover Cover: Finch Fine Vanilla 80 lb Cover Text: Luna Matte 100 lb Book Cover: 2/0 | 2 PMS Text: 4/4 | CMYK Perfect Bind


Lorraine Wild & Haruna Madono Armory Center for the Arts Speaking in Tongues Catalog 48 Pg Self Cover Booklet + 38 Color Plates Booklet on Cougar Opaque Natural 80 lb Text 2/2, Black + PMS Plates on UVelvet 80 lb Cover 4/0, CMYK Saddle Bind Booklet & Collate Plates


Marci Boudreau Armory Center for the Arts Rauschenberg @ Gemini Catalog - 64 Pgs + Cover Cover: Pacesetter Opaque 100 lb Cover Text: Pacesetter Opaque 80 lb Text 4/4 | CMYK | + Satin Aqueous on Cover PUR Perfect Bind


Margi Denton California Institute of Technology The Optical Wow 8 Pg Self Cover Booklet Cougar Opaque 100 lb Cover 4/4, CMYK Saddle Bind, Attach Mylar Spinner with Grommet


Margo Chase Sun America Affordable Housing Partners Brochure: 12 page + pocket cover McCoy Silk 120 lb Cover and 100 lb Text 5/5 | 2 PMS + Metallic + Black + Dry Trap Spot Gloss Varnish Diecut | Fold | Stitch | Round Corner


Mark Caneso OTIS COLLEGE OF ART & DESIGN OMAG - 28 Pgs + Cover Cover: Cougar Opaque 65 lb Cover Text: Cougar Opaque 70 lb Text Cover: 4/4 + Satin Aqueous Text: 4/4, CMYK Saddle Bind


Martin Venetzky AIGA/LA Portfolio Day 2006 Poster New Leaf Opaque100 lb Text 4/0 | CMYK Trim & Kraft Wrap


Merlin Lembong JUST FOLK Bill Traylor Poster Topkote Dull 100 lb Book 4/0 CMYK + Satin Aqueous Trim and Kraft-Wrap


Meryl Pollen CALIFORNIA STATE UNIVERSITY, LOS ANGELES Marnie Weber Art Catalogue - 56 Pages + Cover Cover: Curious Touch Soft Whipped Cream 111 lb Cover Text: Balboa Velvet 112 lb Book 5/5 | CMYK + Spot Gloss Varnish Perfect Bind


Michael Bierut AIGA Los Angeles Mohawk Show Poster

Mohawk Navajo Brilliant White 80 lb Text 4/1 | CMYK | Black Trim & Fold


Michael Worthington UCLA Hammer Museum Thing Book - 104 Pg + Flexicover

Cover: Topkote Dull 80 lb wrappped over 2mm board Text + End Sheets: Domtar Titanium 100 lb Text & Natural 60 lb Text 4/4 | CMYK on Text | 2/0 on End Sheets | 4/0 + Laminate on Cover Smyth Sew & Case Bind


Mick Hodgson USC SCHOOL OF ARCHITECTURE Master’s Program Poster and Five Brochures Mohawk Options Smooth 100 PC White 80 lb Text 4/4 + Aq., CMYK + Satin Aqueous Trim & Fold


Design is about making things good (and then better) and right (and fantastic) for the people who use and encounter them.

|

M att B e al e


Milton Glaser AIGA/LA Milton Glaser Event Invitation Vintage Silk 100 lb Cover 4/4, CMYK + Spot Dull Varnish Trim


Noreen Morioka & Volker D端rre LA Louver Kienholz Catalogue

Cover: Topkote Dull 95 lb Cover Text: Topkote Dull 100 lb Book Cover: 5/1 | CMYK + PMS / BLK Text: 5/5 | CMYK + OA Dull Varnish Smyth Sew Soft Cover


Patrick Li MUSEUM OF CONTEMPORARY ART Dennis Hopper Book - 56 Pgs + Cover Cover: Finch Fine 130 lb Cover Text: Finch Fine 80 lb Text 4/4, CMYK Smyth Sewn Swiss Binding


Paul Marciano & Leslie Oki-Yoshimura GUESS? INC Third Decade Book - 242 Pgs + Cover 100 lb McCoy Silk Book 8/8, CMYK + Black + PMS + Grey + Varnish Smyth Sewn, Hard Cover Bind with Milano & Skivertex


Rebeca Méndez & Darren Namaye Art Center College of Design Art Center Access Booklet - 24 Pgs + Flys + Cover 9-1/8 x 5”, bind on the 5” Cloth Laminated Black Cover + Uncoated White 80 lb Cover 3/3, 2 PMS + Black Smyth Sew Soft Cover


RenĂŠe Cossutta & Judith Lausten Pomona College Museum of Art Helen Pashgian Catalogue Cover: Topkote Dull 95 lb. Cover Text: Topkote Dull 100 lb Book Cover: 4/0, CMYK + Satin Aqueous Text: 4/4, CMYK Perfect Bind


Robbie Conal & Debbie Ross Read My Apocalips Poster Pacesetter Gloss 80 lb Book 4/0 | CMYK Trim & Kraft Wrap

Mear One Let’s Play Armagaddon Poster Pacesetter Gloss 80 lb Book 4/0 | CMYK Trim & Kraft Wrap


Shepard Fairey Hug Bombs & Drop Babies Poster Pacesetter Gloss 80 lb Book 4/0 | CMYK Trim & Kraft Wrap


Sean Adams AIGA/LA Members Blast Calendar - 12pg Self Cover Booklet Mohawk Navajo 80 lb Cover 4/4 | CMYK Saddle Stitch & Drill


A good designer may not have all the answers, but he knows which questions to ask.

| R u dy D u k e


Shannon Losorelli LA LOUVER GALLERY Fredrick Hammersley Catalogue 112 Pgs + Hard Cover McCoy Silk 100 lb Book 5/5: CMYK + Spot Gloss Varnish Foil Stamp, Smyth Sew, Case Bind


Stefan G. Bucher LYNDA.COM Gift Book - 240 Pgs + Coptic Stitch Bind Hard Cover Mohawk Premium Digital Neon 100 lb Text 4/4 | CMYK Coptic Stitch Bind & Shrink 1’s


Steve Rachwal STEVEN RACHWAL DESIGN 12 Post Cards

Topkote Dull 111 lb Cover 4/0 | CMYK + Satin Aqueous Trim


Susan Parr & James Moore REVERB Viceroy Anguilla Hybrid Booklet - 24 Pgs + Cover Cover: Mohawk Options Vellum Crystal White 80 lb Cover Text: Mohawk Options Smooth Crystal White 100 lb Text Cover: 2/2, 2 hits PMS 871 + Pencil Aqueous Text: 6/6, CMYK + PMS 315 + PMS 871 + Satin AQ Diecut, Glue, Foil Stamp & Saddle Bind w/ Gold Staples


Susan Silton SOS DESIGN COLA Catalogue 80 pg + 8 Pg cover Topkote Dull 111 lb Cover + 100 lb Book 4/4 | CMYK on Text + 4/0 on Cover, Foil Cover | Perfect Bind


Thomas Lee Bakofsky & Eric Junker BROADSTONE Hollywood Tower Brochure - 12 Pg + Fly Sheet + Pocket Cover Cover: Touche Black 24 Pt Cover Text: Environment PC100 White 80 lb Text Cover: Two Foils + Silkscreen Text: 5/5, CMYK + Metal Diecut, Glue, Fold, Stitch & Trim


Tim Biskup Flopdoodle Figure Company Puzzle Sheets - 4 versions 10 pt C1S Carolina Laminated to 46 pt. Chip Board | 5/5 | CMYK + PMS 877 Metal + Gloss UVLaminate to Chip & Diecut


Timothy Moraitis & Greg Lombardo BRC Imagination Arts United States Pavilion at Expo 2010 Shanghai 74 Pgs + Cover Book Text: Sterling Ultra Gloss 100 lb Book & Glama Natural Clear 40 lb Text: 4/4 + AQ Satin Litho & CMYK + White Ink on Indigo Smyth Sew Hard Cover, Foil and Deboss Cover on Brillianta Olive Green Cloth


Tom Mossman JUDITH VON EUER Book of Provence Photos - 112 Pgs + Cover Cover: Mohawk Superfine UltraWhite Smooth 130 lb Cover Text: Mohawk Superfine UltraWhite Smooth 100 lb Text 2/2 | 2 PMS Concealled Wire-O Bind


Tom Recchion The Box Gallery L.A. Free Music Society Poster

Finch Fine Bright White 80 lb Text 3/1 | 2 Fluorescent PMS + Black / Black Trim | Fold + 300 Flat


Tracey Schiffman & Alex Kohnke LOS ANGELES COUNTY MUSEUM OF ART Collectors Committee Invitation Mohawk Options Crystal White 80 lb Cover 3/7, 2x Grey + PMS 8403 / CMYK + 2x PMS + PMS Diecut, Hand Fold


Vesna Petrovic Armory Center for the Arts 20th Anniversary Show Catalog 62 Pgs + Flys + Cover UltraDigital Uncoated White 80 lb Text UD Felt 100 lb Cover; UD Linen 115 lb Text 4/4 | CMYK Diecut, PUR Perfect Bind


Willem Henri Lucas Morphosis Architecture Poster / Press Test Sterling Ultra Matte 100 lb Book + 3 other papers 4/0 | CMYK | C,M & Y are Special Mix 50% Fluorescent Deliver Flat

82


Paul Marciano & Yu Tsai GUESS? INC Guess Book - 68 Pages + Cover McCoy Silk 100 lb Book + 130 lb Cover Cover: 5/2 Black 2x + PMS Grey + PMS Red 2x Text: 3/3, Black 2x + PMS Grey Perfect Bind


Acknowledgements My wife Janet Orlandini-Mayes has listened to my babblings about this project for the longest and always been supportive and constructive with her thoughts. All that I do with my work is supported and made possible by her love. Haven Lin-Kirk believed in this, without her trust this would not have happened. For Haven to give her credence to this has taken the Library from an idea to a reality. I am immensely grateful to her for her support. Steve Child and all of the students in the class have dedicated their time and thought to this collection and their efforts are clearly worth it, thank you! Louise Sandhaus has been supportive and enthusiastic about the Library and been generous in considering what the importance of the gathering might be, thank you for your insightful, wistful words on the endeavor. Joe Nu単ez has given me many suggestions over the last few years as this has percolated. Joe has had to listen to hundreds of my hare-brained ideas and been quick to shoot down the kookier ones. This has made the end result that much better, thank you! Stefan G. Bucher has been a tireless friend, client, mentor, muse... etc, to me. He inspires me to do great work and to be a better person. Amanda Davis has been an essential part of documenting the work for this catalogue. I am impressed with how well she has come to know the work and distilled the specifications into our database. Steven Rachwal has been a loyal confidant and sounding board for many years, I am lucky to have such a mensch. Harry Montgomery and JJ Gish, the owners of Typecraft Wood & Jones, have supported this idea with their enthusiasm and thoughtfulness, with out them it would not be possible. Harry, JJ and Typecraft have always been supportive of the student and design community and I am lucky to have such a great place to work.


Colophon The headline type is set in Lubalin Graph by Herb Lubalin. Lubalin Graph is a slab-serif version of ITC Avant Garde. The first version of the typeface only included 26 capital letters. This was done because the font was to be used for logos. He finished the complete version in 1970. This is when the font became very popular. The secondary typeface is Avenir designed by Adrian Frutiger. Avenir is French for “future,” and takes inspiration from early geometric sans-serif typefaces Erbar (1922) designed by Jakob Erbar, and Futura (1927) designed by Paul Renner. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric typefaces. Design: USC Roski School of Fine Arts, Design Department, FA Class 432 Cody Boeger | Ashley Chang | Stephanie Chen | Kenny Cho | Billie Heitzman | Andy Huang Jina Hyun | Jessica Jaime | Cassie Leisz | Soo Oh | Christina Scamporrino Instructor: Steve Child Area Head of Design: Haven Lin-Kirk Photography: Christina Naguib www.christinanaguib.com Photo on Page 4: concept by Agustín Garza, Re-shot by Amanda Davis Editing: Katie Scrivner www.TheHollywoodScrivner.com The digital files have been prepared in Adobe Creative Suite 5.5 Printing: Typecraft Wood & Jones in Pasadena, California on the HP Indigo 5500 Press in CMYK inks. www.typecraft.com Paper: Mohawk Superfine iTone White Eggshell 120 lb Cover & 100 lb Text Binding: PURfect Binding by Young American Bindery All content and imagery is copyrighted by the original authors, this catalogue is for educational purposes only.


Profile for David Mayes

Typecraft Design Library  

A gathering of Los Angeles Graphic Designers who have printed with Typecraft.

Typecraft Design Library  

A gathering of Los Angeles Graphic Designers who have printed with Typecraft.

Advertisement