Sara had developed a very unusual binding for the book. In collaboration with the binder, Sepeli in Ghent, Belgium, we were able make it work. After making a couple of dummies, we did some fine-tuning and, with the approval of the curator, decided on this binding.
This book was designed by Sara De Bondt, who lives and works in East London. She is one of the most outstanding upcoming young designers in Europe. She has been elected out of 5 other designers to design the catalogue of the “Interieur fair” in Kortrijk, Belgium. She designed the exhibition catalogue for the Design Biennale as well as this book, which provides an overview of all the most important artists who participated at the fair over the last 50 years.Sara De Bondt was interviewed by “Canvas” (a Belgian television broadcasting channel), who were covering the production of the book. The show aired in November 2010. Moniek Bucquoye, the director of “Interieur”, was thrilled with the book and the overall design which Sara De Bondt created.
“I was extremely impressed by the work of Cassochrome. They made several dummies for this publication, and suggested binding methods as well as paper stocks and printing techniques. They came to several meetings with the clients, were always on time, on budget and helpful and courteous. The several sections of the book refer to the different formats the catalogues have had in the past. Every 10 years the format of the catalogue of Interieur has changed, which means that in total there have been 4 catalogue sizes since their beginning in 1968. The 4 formats in the historical overview book accommodate 4 sections: introduction, historical overview, designer’s texts and facts & figures. Cassochrome also did research into the distribution of the book.
I am very happy with the printing, binding, and also the quality of the foil blocking, which isn’t always easy.”
The prepress was undertaken in collaboration with Sara De Bondt. She applied a unique technique, which consisted of making images with a grid in the third signature. Together, we finalized the prepress by making exact colour matching proofs, thereby altering the colours accordingly. We also applied a special calibration to the images for printing on the lessebo design and clairefontaine paper. We made impositioning proofs, which were sent to both “Interieur” and Sara De Bondt for a final check before printing.
Although the text could have been in PMS colours, we opted for printing the text in full colour with a very fine screen so no screens would appear in the text. Sepeli, Ghent, Belgium, finished the book.
The finishing was tread sewn with different sizes of transparent glue to make the tread visual.
The cover width on the back was made to the size of the last signature, whereas the cover width on the front was made to the size of the first signature. The cover height was made to the size of the first and last signature.
The cover could have been higher to protect the larger signatures but that was not an issue since the books were individually sealed. The book was printed in a run of 2.500 Copies.