The Best of Brochure Design 12

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© 2013 by Rockport Publishers

All rights reserved. No part of this book may

be reproduced in any form without written

permission of the copyright owners. All images

in this book have been reproduced with the

knowledge and prior consent of the artists

concerned, and no responsibility is accepted

by producer, publisher, or printer for any

infringement of copyright or otherwise, arising

from the contents of this publication. Every

effort has been made to ensure that credits

accurately comply with information supplied.

We apologize for any inaccuracies that may

have occurred and will resolve inaccurate or

missing information in a subsequent reprinting

of the book.

First published in the United States of

America by Rockport Publishers, a member of

Quayside Publishing Group

100 Cummings Center

Suite 406-L

Beverly, Massachusetts 01915-6101

Telephone: [phone]

Fax: [phone]

www.rockpub.com

Library of Congress

Cataloging-in-Publication available

ISBN: 978-1-59253-833-1

Digital edition published in 2013

eISBN-13: 978-1-61058-782-2

10 9 8 7 6 5 4 3 2 1

Design: Public, San Francisco

publicdesign.com

Printed in China

Contents

003 Introduction

Public

004 Small

040 Luxury

Julia Hoffmann, Museum of Modern Art

New York, New York

058 Medium

062 This Brochure

Was NoT supposed

To happeN

Martin Venezky, Appetite Engineers

San Francisco, California

152 Large

170 sTrucTure aNd

creaTiviTy

Guto Evans, Elfen

Cardiff Bay, Wales

198 Extra Large

214 iT Needs

To Be exquisiTe

Dave Young, Studio 2br

London, England

222 Directory

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Introduction

We’ve all heard the “end of print” declaration for years. Lately, it seems as if we’re run-

ning a horse-and-buggy company hoping that the automobile won’t catch on. Nowhere

has this been more apparent than in the world of the print brochure. Once a mainstay of

our business, nowadays they are the rarity. Etc, etc, etc . . .

But wait. Along comes Rockport Publishers with its Best of Brochure Design series and,

“Boom!” we’re transported into a world where a fascination for

the analog is still at full throttle. In an almost nostalgic state, we experience the simple

joy of turning pages, unfolding, scale, ink, and paper, of texture, and of physical presence.

There is something so wonderfully human about the printed brochure. It demands our

interaction. You can touch it, pick it up—it has weight—even smell the ink. You sense the

artful hand, the care and craft. It sits there

on your table, not moving, and when you come back the next day, it’s still there.

A well-executed brochure allows multiple facets of a company’s personality to shine.

The format forms and informs the narrative. The pacing and rhythm shape the experi-

ence. Brochures feature and showcase not only design and brand but photographers,

illustrators, writers, fonts, materials, texture, and color—

and the art and craft of printing.

We should really have called this book The Best of Brochure Design Sent

to Public. The more brochures that came through our doors, the better they got.

We began to wonder how many more examples of envious talent and beauty

were out there that had not made their way to us.

In our studio, at this moment, are boxes filled with well-planned, artfully executed, and

thoroughly creative objects from around the world. The process of reviewing this work

has left us feeling slightly awkward for judging it, lucky for the opportunity, and truly

inspired and energized by the experience.

Todd, Te ss a, Nancy, Lindsay, Nick, Dave

Public

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