Your own way. Period.

With our clients, we often go where others keep their doors closed. We are not afraid of complicated solutions to fulfill the assignment. Sometimes so complex that the implementation is at the very limit of technical possibilities. But this is the only way to create a true Gesamtkunstwerk - an integral work of art. Like the book "I Believe" by photographer Alžběta Jungrová. An artefact that combines photography, graphic design, traditional and modern printing techniques, interactive concept and bookbinding craft.

Graphic designer Adam Uchytil approached us with the project of a photobook by the well-known Czech photographer Alžběta Jungrová at the beginning of last year. The publication was to be ready by the opening of her exhibition in the Old Laundry of the VFN in Prague. We met with Alžbětová in our showroom and she said right at the beginning that she wanted a "proper book", no compromises. For us, the concept was more or less a given from the beginning - the book had to draw the reader into the plot, allow him to enter the wild world of Elizabeth's characters, and the flipping through the colourful collages should perfectly complete the atmosphere. It was immediately clear that plain white paper and a classic book binding would not be enough for such an experience.

 With a book, everything starts with the cover. Elizabeth and Adam wanted the main motif to be a photograph printed in two layers of black cardboard with distinctive perforations using 86 circular holes. As the layered cover moves, the image changes, the motifs appear and disappear. In order to maintain the rigidity of such a visually morphing cover, we designed the cover as a special three-part construction with reinforcement underneath the perforations. The set is divided into separate front and back sections, the spine is lined with dark black cloth. The cover art itself, as well as the other screen-printed parts of the book, was realized by Jaromír Blahák, for whom nothing is impossible.

 The basis of the book is Symbol Tatami paper from Fedrigoni, which presents the offset printing technique in a literally fantastic way. Our colleagues from the Grafico printing house in Opava have bravely taken on this part of the complex work on their state-of-the-art machines. However, extra components of various materials are also inserted into the block, which play out a colourful wonderland. Stitching them together in a good way was not easy at all and if it wasn't for the energy of Pavel Bárta from Grafico, it would not have been possible.

 For example, we used pink and yellow, dyed-in-the-mass paper from Lessebo. On it we applied flat, inverted screen-printed graphics - signs and fragments of photographs in neon colours, until the eyes go over and one loses track of what is actually the print and what is the paper itself. The effect is enhanced by Takeo's Yupo mirror paper from Japan. As you turn the pages, it plays a game of reflections, mirroring the photos on the opposite page and even the reader themselves. Flipping through the book thus creates a literally cinematic effect. The transparent paper, or rather the Alinda foil (also by Takeo), with its black screen print, in turn, thanks to the interpenetration with the adjacent pages, gives rise to unexpected collages and adds new and new layers to the story. One is almost challenged: "How long is forever?"

 One of the other specialties is Pachica paper, again Japanese, which becomes transparent at the point of pressure during hot stamping. When used for text and fine linear motifs, skilled printers can work wonders with it. But it was not enough for us. The Japanese themselves shook their heads at the London trade fair last year, saying that we had created the same effect with a full-size circle ten centimetres in diameter. "Is it working? How on earth did you do that?" But that's just one episode in our own story surrounding Elizabeth's book. Each of these, meanwhile, would make for a separate newsletter for enthusiasts into unique improvisations based on classic printing techniques. So maybe next time...

Elizabeth's book is one long adventure for the printer. If there was time, it could easily turn into The Neverending Story. Good thing we were limited by the opening date. Absolutely none of the production stages of this book were simple or standard. But we don't like compromise anyway, and we're convinced that no shortcuts lead to real quality. We could have substituted some effects even in this exceptional book and approached the final impression in a more ordinary way. But it would have been noticeable in the end result. Only 100% quality parts will make a 100% quality puzzle. Elisabeth Jungrová wanted more. She wanted a "proper book". Thank you for approaching us. We understood each other perfectly.