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It Needs to Be
Dave Young
Studio 2br
London, England
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Studio 2br aims to provide large organizations with a
clear-thinking, plain-speaking graphic design craft. We’re
passionate about print and naturally attracted to the pro-
cesses involved in literature design. Of course we recognize
that digital and print media must coexist today: All three
projects submitted for this book exist online as microsites
and in PDF format. Even so, there’s still nothing designers
like more than the smell of ink in the morning.
The growth of digital media only helps to reinforce our belief
that if you’re going to create a piece for print, it needs to be
exquisite. This is not to say every project needs to be printed
in twelve colors, foiled at Hogwarts, and thread-sewn by
elves. Some of the work we’re most proud of is straightfor-
ward four-color work on newsprint. But attention to detail is
key: anything from making sure the fit on the last press pass
is perfect at 2:00 a.m. on a Saturday morning, to rewriting a
paragraph several times to lose that awkward widow. Details
like this make all the difference.
The strength of print is that you can have sensory attri-
butes—texture, weight, the rattle of paper, even the smell.
We aim to capitalize on these qualities. For example, for
this year’s Ernst & Young Global Review, we used a super
matte laminate on the cover not only to make the document
durable and seal the ink, but also to give it a finish that feels
soft and almost seductive to the touch. Spot matte and gloss
varnishes on images and information graphics elevate the
overall look and feel of the brochure, and in turn enhance the
strength of the communication.
Asking questions
Over the years we’ve found that the corporate world often
seems to lack the sophisticated approach to design found
in the retail world. We see no reason why companies in the
financial sector can’t present themselves with the confi-
dence of a retail brand from an aesthetic point of view, but
also through the quality of the writing.
Writing is an essential part of our process and something
that influences all our designs. An example of this approach
can be found in our Give & Go project for Deutsche Bank.
The client wanted to communicate the wide range of
opportunities available to employees to take part in corpo-
rate citizenship-related activities—from volunteering and
charitable giving to exhibitions and events at galleries and
museums. We created Give & Go as an overarching theme
to promote any citizenship-related project or event, using
familiar language to convey accessibility.
We approach each project by asking what the client is trying
to achieve and who the client is trying to communicate with.
If you have clear answers to these questions, you’re halfway
there before you’ve even begun.
Unexpected answers
Doing the unexpected can transform how a brand is per-
ceived, and this is an area where corporations can learn
a lot from how retail brands communicate and package
their products. When Deutsche Bank wanted a brochure to
celebrate the launch of a new permanent exhibition—the
BrandSpace at its Frankfurt headquarters—we helped cre-
ate something as out of the ordinary as the experience the
bank had created.
The BrandSpace is built around dramatic, anamorphic
interior design and lighting and innovative touch-screen
technology. Reproducing the architecture’s sense of chang-
ing perspectives in print involved a unique approach to
photography called panography, a collage of photos that cap-
ture the anamorphic concept. The format of the brochure was
inspired by the scale of the space. Producing a piece of print
that, when opened, would have a flat size of 26.6 x 37.6 inches
(677 x 956 mm) seemed an appropriate way to replicate the
BrandSpace experience. Lastly, the brochure needed to be
mailed to an influential audience, so we packaged it in a
clay-coated, fluted board box that was screen printed with
one of the 3D logos we designed for the bank.
Long live the brochure
Our love for the printed piece is enduring and is clearly
shared by the other designers who have contributed to this
book. Books like this are a great homage to the humble bro-
chure. Even without some of the bells and whistles of print’s
digital mistress, we believe their relevance is as important
as ever.
It Needs to Be
Dave Young
Studio 2br
London, England
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