Jamie Cullum indulges his passion for typography with The Eighty-Eight
The 64+4pp magazine, which contains essays by Sophie Dahl, as well as short stories, interviews and pictures, was curated by Jamie Cullum and assembled by Simon Tapscott and graphic designer Kate Monument, who also worked on Cullum’s first album Heard it all before. “The magazine isn’t about me necessarily, but about things that I’m interested in,” said Cullum. “I’m really interested in journalism and writing, and I know so many writers, so I thought I could have a go and get some friends involved. “Not many people know that I did English literature and typography, so I got to indulge my passion for fonts and design.” It also includes an exclusive rollfold sheet music throw out featuring a transcription of a previously unavailable song titled ‘Don’t wait to love’, which was transcribed by bandmember and multi-instrumentalist Tom Richards. The 8pp music sheet was folded to 260x200mm portrait and alligned to the top of the inside back cover of the 270x210mm magazine. The cover was printed on 350gsm Rives Linear Bright White, while the text was printed on 110gsm Edixion offset with a 16pp coloured section on Coloraction Pale Salmon (Savana); the music sheet throw out was printed on 140gsm Edixion offset. The magazine was printed 4/4 using standard process offset inks plus neon yellow special (PMS 809U); the 16pp coloured paper section was printed black only. Pages were sealed throughout and a circular sticker was applied to the outside cover. PCP produced 3,100 copies of The Eighty-Eight using a Mitsubishi 3H/6+c for the cover and a 10 unit Heidelberg SM102 B1 perfector for the text. According to the company, the main challenge in producing the magazine was aligning the 8pp sheet music throw out to make sure it fell short of the binding edge as well as the trimmed edge and so the folds fell accurately between the song sheets. The Eighty-Eight is available to order from myplaydirect.com/jamie-cullum and will be sold at venues on the Momentum tour....
read moreJamie Cullum indulges his passion for typography with The Eighty-Eight
The 64+4pp magazine, which contains essays by Sophie Dahl, as well as short stories, interviews and pictures, was curated by Jamie Cullum and assembled by Simon Tapscott and graphic designer Kate Monument, who also worked on Cullum’s first album Heard it all before. “The magazine isn’t about me necessarily, but about things that I’m interested in,” said Cullum. “I’m really interested in journalism and writing, and I know so many writers, so I thought I could have a go and get some friends involved. “Not many people know that I did English literature and typography, so I got to indulge my passion for fonts and design.” It also includes an exclusive rollfold sheet music throw out featuring a transcription of a previously unavailable song titled ‘Don’t wait to love’, which was transcribed by bandmember and multi-instrumentalist Tom Richards. The 8pp music sheet was folded to 260x200mm portrait and alligned to the top of the inside back cover of the 270x210mm magazine. The cover was printed on 350gsm Rives Linear Bright White, while the text was printed on 110gsm Edixion offset with a 16pp coloured section on Coloraction Pale Salmon (Savana); the music sheet throw out was printed on 140gsm Edixion offset. The magazine was printed 4/4 using standard process offset inks plus neon yellow special (PMS 809U); the 16pp coloured paper section was printed black only. Pages were sealed throughout and a circular sticker was applied to the outside cover. PCP produced 3,100 copies of The Eighty-Eight using a Mitsubishi 3H/6+c for the cover and a 10 unit Heidelberg SM102 B1 perfector for the text. According to the company, the main challenge in producing the magazine was aligning the 8pp sheet music throw out to make sure it fell short of the binding edge as well as the trimmed edge and so the folds fell accurately between the song sheets. The Eighty-Eight is available to order from myplaydirect.com/jamie-cullum and will be sold at venues on the Momentum tour....
read moreJamie Cullum indulges his passion for typography with The Eighty-Eight
The 64+4pp magazine, which contains essays by Sophie Dahl, as well as short stories, interviews and pictures, was curated by Jamie Cullum and assembled by Simon Tapscott and graphic designer Kate Monument, who also worked on Cullum’s first album Heard it all before. “The magazine isn’t about me necessarily, but about things that I’m interested in,” said Cullum. “I’m really interested in journalism and writing, and I know so many writers, so I thought I could have a go and get some friends involved. “Not many people know that I did English literature and typography, so I got to indulge my passion for fonts and design.” It also includes an exclusive rollfold sheet music throw out featuring a transcription of a previously unavailable song titled ‘Don’t wait to love’, which was transcribed by bandmember and multi-instrumentalist Tom Richards. The 8pp music sheet was folded to 260x200mm portrait and alligned to the top of the inside back cover of the 270x210mm magazine. The cover was printed on 350gsm Rives Linear Bright White, while the text was printed on 110gsm Edixion offset with a 16pp coloured section on Coloraction Pale Salmon (Savana); the music sheet throw out was printed on 140gsm Edixion offset. The magazine was printed 4/4 using standard process offset inks plus neon yellow special (PMS 809U); the 16pp coloured paper section was printed black only. Pages were sealed throughout and a circular sticker was applied to the outside cover. PCP produced 3,100 copies of The Eighty-Eight using a Mitsubishi 3H/6+c for the cover and a 10 unit Heidelberg SM102 B1 perfector for the text. According to the company, the main challenge in producing the magazine was aligning the 8pp sheet music throw out to make sure it fell short of the binding edge as well as the trimmed edge and so the folds fell accurately between the song sheets. The Eighty-Eight is available to order from myplaydirect.com/jamie-cullum and will be sold at venues on the Momentum tour....
read moreDoochy boosts productivity with new bookletmaker and trimmer
The KASfold Sprint 3000 bookletmaker has helped the Brighton company build its premium notebook business, while a TR2 in-line trimmer enabled it to automate the fold, staple and trim processes, said Alia Roberts who co-directs Doochy with Jess Humphries. Total investment in the machines was around £7,000. The company’s clients include the National Gallery and Fenwick, and Doochy also supplies clients across Europe. It aims to move into leather binding in the near future. “We bought the kit to speed up the process; we started two years ago with £50,000 and hope to have a£100,000 turnover within two years and grow from there,” said Roberts. Ashgate Automation supplied both machines, said Roberts, adding: “Previously we trimmed the fore-edge of the notebooks with a guillotine but the on-line trimmer is faster. We take an ordinary product like a ring binder or a notebook and enhance it with our off-the-wall design skills. “These are sold by us on-line and through the retail trade in the UK, mainland Europe and Japan. Doochy makes two sizes of notebook A5 and A6.” Roberts described the end result as “that all-essential pocket notebook needed by every creative thinker, artist, list maker and doodler.” The Kasfold Sprint 3000 booklet maker is manufactured by KAS Paper Systems in Dunstable. The setup provides the firm with a far more efficient way of producing its notebooks. “It is designed for short runs, which suits us well,” Alia continued. “It should last us a lifetime because it is well made and can produce up to 1,500 notebooks an hour whereas we are currently only making a few hundred a day, packing and labelling them ourselves.” Doochy also runs an Ideal guillotine and a Duplo DFC-12 collator....
read moreDoochy boosts productivity with new bookletmaker and trimmer
The KASfold Sprint 3000 bookletmaker has helped the Brighton company build its premium notebook business, while a TR2 in-line trimmer enabled it to automate the fold, staple and trim processes, said Alia Roberts who co-directs Doochy with Jess Humphries. Total investment in the machines was around £7,000. The company’s clients include the National Gallery and Fenwick, and Doochy also supplies clients across Europe. It aims to move into leather binding in the near future. “We bought the kit to speed up the process; we started two years ago with £50,000 and hope to have a£100,000 turnover within two years and grow from there,” said Roberts. Ashgate Automation supplied both machines, said Roberts, adding: “Previously we trimmed the fore-edge of the notebooks with a guillotine but the on-line trimmer is faster. We take an ordinary product like a ring binder or a notebook and enhance it with our off-the-wall design skills. “These are sold by us on-line and through the retail trade in the UK, mainland Europe and Japan. Doochy makes two sizes of notebook A5 and A6.” Roberts described the end result as “that all-essential pocket notebook needed by every creative thinker, artist, list maker and doodler.” The Kasfold Sprint 3000 booklet maker is manufactured by KAS Paper Systems in Dunstable. The setup provides the firm with a far more efficient way of producing its notebooks. “It is designed for short runs, which suits us well,” Alia continued. “It should last us a lifetime because it is well made and can produce up to 1,500 notebooks an hour whereas we are currently only making a few hundred a day, packing and labelling them ourselves.” Doochy also runs an Ideal guillotine and a Duplo DFC-12 collator....
read moreUnusual moves as major groups trade sales directors
Alison Kaye, who was group sales director at book printer CPI UK, is leaving to join rival St Ives. However, Kaye is not moving to St Ives’ book business. Instead, she will become sales director of its exhibitions and events wing Service Graphics. Meanwhile Tanya Dunbar, who was sales director at St Ives’ book printing operation Clays, has been recruited by CPI. She will take up an as-yet-unspecified senior role at the group, although PrintWeek understands she will not necessarily be directly replacing Kaye. Both women are currently on gardening leave and will potentially be out of action for 12 months, unless the two groups come to an agreement to shorten the terms of their respective contracts. A St Ives insider said Clays was likely to look at its internal structure and the potential opportunity to adapt that “rather than just recruiting a Tanya replacement.” Dunbar had worked at St Ives for more than 20 years, having joined the group as a graduate trainee. Kaye had been at CPI for about eight years. She previously worked in sales at St Ives Clays prior to joining Antony Rowe and then moving up to a wider group role at CPI....
read moreHaymarket contract renewal seals 50-year partnership with Wyndeham
Haymarket’s portfolio, which includes Autocar, FourFourTwo, What Car? and Stuff, is printed at all of Wyndeham’s web offset plants with most of the titles being produced by Wyndeham Heron. Wyndeham was also one of the printers for Haymarket Network’s LOCOG titles for last year’s Olympic Games. Wyndeham has also been awarded a new monthly title from Haymarket Network, published on behalf of Sports Direct. In total the printer will produce 16 titles, down from 23 at the time of the last contract renewal in 2011, including monthlies, a weekly and a bi-weekly title. Wyndeham Group chief executive officer Paul Utting said: “We have been printing for Haymarket for 50 years which is testament to the strong working relationship and deep understanding our businesses have cultivated over that time. “Our success producing the vast proportion of the 2012 Olympic materials endorsed our high levels of service.” Haymarket Media Group head of production Gary Charlton said it was hard to put a figure on print volumes and said print prices were confidential. But when Wyndeham last extended its contract with Haymarket, in 2011 until late 2015, the printer managed to agree increased print prices to take account of soaring raw materials costs. Charlton said: “Wyndeham approached us about a contract renewal, which we initially thought was early. But on reflection it made good sense to us as an organisation and it makes good sense to support a long-term strategic supplier....
read moreHaymarket contract renewal seals 50-year partnership with Wyndeham
Haymarket’s portfolio, which includes Autocar, FourFourTwo, What Car? and Stuff, is printed at all of Wyndeham’s web offset plants with most of the titles being produced by Wyndeham Heron. Wyndeham was also one of the printers for Haymarket Network’s LOCOG titles for last year’s Olympic Games. Wyndeham has also been awarded a new monthly title from Haymarket Network, published on behalf of Sports Direct. In total the printer will produce 16 titles, down from 23 at the time of the last contract renewal in 2011, including monthlies, a weekly and a bi-weekly title. Wyndeham Group chief executive officer Paul Utting said: “We have been printing for Haymarket for 50 years which is testament to the strong working relationship and deep understanding our businesses have cultivated over that time. “Our success producing the vast proportion of the 2012 Olympic materials endorsed our high levels of service.” Haymarket Media Group head of production Gary Charlton said it was hard to put a figure on print volumes and said print prices were confidential. But when Wyndeham last extended its contract with Haymarket, in 2011 until late 2015, the printer managed to agree increased print prices to take account of soaring raw materials costs. Charlton said: “Wyndeham approached us about a contract renewal, which we initially thought was early. But on reflection it made good sense to us as an organisation and it makes good sense to support a long-term strategic supplier....
read moreUnusual moves as major groups trade sales directors
Alison Kaye, who was group sales director at book printer CPI UK, is leaving to join rival St Ives. However, Kaye is not moving to St Ives’ book business. Instead, she will become sales director of its exhibitions and events wing Service Graphics. Meanwhile Tanya Dunbar, who was sales director at St Ives’ book printing operation Clays, has been recruited by CPI. She will take up an as-yet-unspecified senior role at the group, although PrintWeek understands she will not necessarily be directly replacing Kaye. Both women are currently on gardening leave and will potentially be out of action for 12 months, unless the two groups come to an agreement to shorten the terms of their respective contracts. A St Ives insider said Clays was likely to look at its internal structure and the potential opportunity to adapt that “rather than just recruiting a Tanya replacement.” Dunbar had worked at St Ives for more than 20 years, having joined the group as a graduate trainee. Kaye had been at CPI for about eight years. She previously worked in sales at St Ives Clays prior to joining Antony Rowe and then moving up to a wider group role at CPI....
read morePrinters speed date buyers at IPIA event
IPIA’s one day event ‘Meet the Trade Buyer, Meet the Trade Supplier’ at the Football Association’s new headquarters in Burton-on-Trent attracted 52 buyers and 48 suppliers. Chief executive Andrew Pearce said the key draw of the event, head-to-head appointments between buyers and suppliers, totalled a record 504 meetings, each lasting around 20 minutes. One of the most popular exhibitors was 3D Creation Lab, which showed off 10 3D printers. “The good news is there are a lot of people buying print out there,” he said. “There’s a definite swing from email communications, especially from a corporate perspective. Print was the poor relation for for a while but that has changed and it is now recognised as a crucial part of the mix again. Visitors were cautiously optimistic about the market – more so than last year.” Pearce added: “We are really pleased with the success of this year’s event, the 504 appointments between 9:15am and 5:15pm stimulated a lot of purchasing activity on the day and following the event. One company gave 30 quotes.” Ryedale Print Group sales manger Angie Francksen said she had two confirmed appointments following the event, six quotes and 13 follow-ups. Meanwhile, Pierce Communications’ procurement manager Barry Browne said he went to see specialist products. Other visitors included Printing.com production director John Prior, Andy Bleasdale of Office Depot and Paul Clarke of Mosaic Print Management. Suppliers included data specialists, paper merchants, trade finishers, direct mail service providers and social media and cross-media specialists....
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