Warren du Preez and Nick Thornton Jones are regarded as two of the industry’s leading artists within image making and film. Their distinctive approach in visual communication and experimentation has resulted in striking and highly original artworks for the worlds of beauty, fashion and music.
IMMORTAL is a body of work from their collaborations over the past year. It is a realisation of ideas from across the media of photography, art, music, fashion, and film.
Limited edition lithographic prints from the IMMORTAL exhibition were required as a boxset for sale during the exhibitions.
The printed elements were to be a showcase – affordable but special. The stunning images, all highly detailed, ranged from monochromes, through rich and subtle metallics and colours, to startling electric images containing vibrant violets, greens, reds and oranges. The photographers wanted to convey the depth, range and essence of their work within the box set.
Warren and Nick wanted to work in collaboration with Park from an early stage; we first met them in July 2016 so they could outline the idea, explain the ethos surrounding the exhibition and to perform some early Indigo tests on iridescent stocks.
Park proposed the three materials that were ultimately chosen which would best help convey the original imagery. These included a hybrid sheet, a high gloss art and two iridescent sheets – a platinum and a mother of pearl.
The images were very high resolution and some contained vibrant greens, reds, violets and oranges. Had these images been reproduced using conventional four colour process, the power, vibrancy and luminosity would have been dulled. To ensure this did not happen, and that the images were accurately conveyed, Park applied the following:
*Heptachrome (seven colour) printing
*Specific profiles for each image
*Special inks and coatings
*Three creative papers each which best conveyed each image
Heptachrome printing comprises 4 colour process plus 3 extra colours, with the 3 extra colours being reproduced as separate channel rather than as integrated colours. The extra colours chosen were 021 orange, pantone green and pantone violet. This ensured that the oranges, greens and violets contained in the images were reproduced colour accurately and that their vibrancy and luminosity was captured.
To further enhance the colour accurately and to maximise the depth of colour, specific profiles were created for each image. Where, for example, an image contained a bias of one colour, say red, we added the red 032 channel to those areas of the image. This ensured that the areas of deep colour within the images were accurately conveyed.
Different screenings were applied to the images - either a fine stochastic screen, a conventional screen or a hybrid mixture of conventional and stochastic. A stochastic screen was applied to ensure highlight and shadows remained smooth and a conventional screen was applied in the mid tones were colours needed to be more controlled.
When producing the monochromes, we used a type of duotone. There were two plates, each with a different screen angle. One plate contained a standard mono image with a 5% highlight dot, and a 90% shadow dot. The other plate contained a silhouette of the image, which when combined with a standard image, enhanced the shadows, edges and details areas to create a deep mono image with extra detail sharpness and contrast. On the poster, the black border was made up of a four colour black to achieve a deep dense black. On the Sejaku, the silver square sitting behind the title was created by printing in solid silver.
High pigmented Japanese TOYO inks, were used on the hybrid and gloss sheets to further enhance vibrancy and allow a wider use of the colour gamut.
A gloss coating was applied to the gloss stock to further enhance the images, and a coating invisible to the naked eye was especially created and applied to the iridescent sheets to enhance drying on these slow drying stocks and ensure the launch date was hit.
The final result was ‘knock out’. The power, luminosity, detail, depth and hue of colour of the original images was truly captured and reproduced in this magnificent box set.
Duplexed invitations for the launch were produced to a very high standard, within an exceptionally fast 36 hours reflecting Park’s ability to produce a great speed when required.
*The images were conveyed in print with an accuracy that stunned Warren and Nick, and the creative world
*The detail depth and range in character was captured and accurately reproduced through careful application of a range of different screen profiles, specialist inks, and unusual materials
*The high level of detail and depth of colour achieved on the iridescent stocks was exceptional
*Monochrome images had a unusual depth and contrast, achieved through the use of two blacks printing in negative and positive
*The hue and vibrancy of the electric images was accurately captured and conveyed by the use of innovative heptachrome (seven colour) printing and specialist high pigment TOYO inks
*Detail was retained on the hybrid sheet X-per through careful choice of screens, profiles and ink
*The brochures and posters were presented in a beautiful eye catching box, of which there were four different versions carrying different colour schemes and images
*All the above was achieved within a seven day working turnaround in order to meet the launch dat
*Invitations produced to a very high standard within an exceptionally fast turnaround
This publication won a Print, Design and Marketing Award for Creative use of Substrates
To discuss your publication with Park please contact Alison Branch on: email@example.com
“With seven-colour printing onto iridescent stocks utilising specially-formulated high-pigment inks and stochastic screening, it’s a hymn to the printer’s art”.
“The experimental photographers call their work “the de-familiarisation of surrealism”. In Immortal, their beautifully produced new series of photobooks, the pair explore this idea with portraits of the human form shot with a dizzying intensity of colour and lights, as if a fever dream had been rendered on paper”.
Mick Moore - British Journal of Photography
“The final result was a “knock out”. The luminosity, detail, depth and hue of the colour of the original images were captured on prints that seem, quite genuinely, to stand between photography and fine art – as tangible as it is surreal”.
Warren Du Preez and Nick Thornton Jones