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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.


The challenge

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.


Our solution

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

*Multi-screening technologies

*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 results

*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


The British Journal of Photography covered the printing of Warren and Nick's Immortal in their June issue.


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:

@ParkCommLondon #PrintedByPark

The Energy Equation

British photojournalist, corporate photographer and filmmaker, Mike Goldwater shot the striking and diverse images in ‘The Energy Equation’. 

Working in partnership with Black Sun plc, an internationally recognised stakeholder communications specialist, we created a stunning case-bound book in which the lay-flat binding displays Mike's amazing photography to maximum impact. 


The challenge

The brief to us was to showcase Mike’s stunning photography in great detail on the chosen smooth uncoated paper, and to produce 100 copies of the case-bound book.


Our solution

We were involved at a very early stage in the design process. Reviewing the proposed designs with Black Sun, we spotted that many of the photographs ran across double page spreads.

We were concerned that PUR binding (and to a lesser extent thread sewing) would result in a partial loss of image into the spine, which would reduce the impact of the photography.

Park’s solution was to suggest that the Energy Equation book be lay-flat bound to allow the photography to flow across a double page spread. The 'Lay-flat' method allows books to open completely flat, without breaking the spine or falling apart, allowing continuous flow throughout the book.

We printed the text at the highest resolution on the Indigo press, 1200 dpi, in order to maximise the detail retained from the photography.

The lay-flat binding was completed in-house under our own tight ISO 9001 quality control procedures.


The results

* A stunning book with maximum space for imagery, creativity and a seamless flow to the design

* Double page spreads displaying Mike's amazing photography to maximum impact

* Vibrant colour, contrast and lift throughout

* Strong intense, clean colours and rich blacks beautifully printed

* Clean, smooth solid coverage pages

* Well executed lay-flat binding


“The book looks really wonderful! Hats off all round - it’s a lovely object that showcases the images really well and reflects the flair for design and attention to detail that you guys excel at. I’m delighted.”

Mike Goldwater, Photographer


To discuss your publication with Park please contact Alison Branch on:




This publication has been shortlisted in the 'Photobooks, year books and hard cover reports' category for the Digital Printer Awards.

Made In Spode

Katya de Grunwald, photographer and artist, collaborates to make sophisticated, simple and elegant work for a variety of publications and clients.  She used Kickstarter to raise funds to produce her own photography project ‘Made in Spode’.  The project is inspired by a significant collection of abandoned moulds from a once thriving ceramic factory in Stoke-on-Trent, at the heart of the British Ceramics industry.


The challenge

Katya wanted something that captured, and preserved in print, the striking and beautiful history she had observed.  She wanted to create a book to be shared by those who worked in the potteries, collectors, people who appreciate a beautiful object or anyone interested in photography.

Funded via Kickstarter, she had a limited budget, but required a high quality production.  The limited edition book (500 copies) was published to coincide with an exhibition of the photographs during the British Ceramics Biennial in 2015 held on the original Spode factory site, in Stoke-on-Trent.

An original poem by Daniel Cockrill sits alongside the 52 photographic illustrations in the publication which was designed by Dominic Brookman of Kenosha Design.  Katya and Dominic approached Park and asked us to come up with ideas on how to enhance the design.


Our solution

Park proposed a rough, rugged feel with a “used” look for the cover and a coated stock for the text, so her images would show a good lift.  We chose a 2mm Nomad Board and recommended debossing the front cover.

We recommended a scatter digital proof, so that Katya could decide whether any retouching was necessary,  then followed up with a full set of hi-resolution Epson proofs on coated paper.

To enhance the rough and rugged feel, we suggested thread sewn binding with an exposed spine (naked binding).  Park produced a white paper dummy ahead of the final production to make sure Katya was happy with the suggested look.

To acheive the best colour reproduction and detail, we used our dedicated plate profile and hard drying inks adapted for coated materials.

Adhering to ISO12647 colour management targets, Park accurately matched the signed-off proofs while Katya and Dominic passed on press.

Print production and folding were completed in-house, while a member of the team supervised the naked binding and debossing at the outworkers.


The results

*The final product was a “work of art”, brought in on tight budget restrictions

*Sharp images, with good contrast and lift throughout

*Accurate folding, stitching and trimming


To discuss your publication with Park please contact Alison Branch on: