DESCRIPTION House Industries / Alexander Girard Book CLIENT House Industries DATE February 2009 DESIGN CREDITS Art Direction: Andy Cruz Design: Andy Cruz, Bondé Prang Photography: Carlos Alejandro, Herman Miller, Vitra, Wright Auctions, Coach Photography Illustration: Alexander Girard, Marilyn Neuhart, House Industries Typography: Kenny Barber, Ben Kiel, Hannes Famira, Laura Meseguer Copy: Rich Roat PRINT CREDITS Printer: Hank Grabowski, DPCI Bindery: Bindery Associates TYPE CREDITS Girard Fonts by House Industries

QUANTITY PRODUCED 1,000 (hardcover) PRODUCTION COST Too much PRODUCTION TIME Ha! Update: US$39,227 (source) DIMENSIONS: WIDTH × HEIGHT × DEPTH 8.5 in × 8.5 in PAGE COUNT 64 PRINT METHOD Offset and Foil Stamp PAPER STOCK First signature: 80lb linen text Second Signature: 80lb French Paper, butcher orange NUMBER OF COLORS First signature: 4-color process plus metallic gold Second signature: 3 spot colors (opaque white, orange and black) Linen cover: 1 spot color (metallic gold) VARNISHES First signature: Spot varnish BINDING Smythe sewn Once cover was glued to board it was foil stamped with the House/Girard factory logo in white (2 hits) OTHER "Other" is always sweat, developed or discarded when it comes to a House print Job. (See below for more)

House Industries is most notably known for their innovative type design and their clever and unique packaging systems for their work; but an often overlooked aspect is their dedication to amazingly printed products. Whether it’s the packages themselves, the promotional catalogs or even their No. 10 envelopes, the House Industries crew knows how to take care of (printed) business. Their latest project is the wonderfully quirky and fresh collection of Girard Fonts, based on the illustrative and textural work of Alexander Girard. While the type families would be enough of a visual jolt, House Industries created a limited edition — only 1,000 copies — book with stuff from the 4-year-process of putting together this new collection. The book uses a lot of linen paper. Linen paper is hard to make look good. Much harder to make it look this good.

Co-founder Andy Cruz here expands on the “Other” production detail that made this book even more fun to produce:

For this project we got a bad batch of linen stock that decided to fan-out all over the press. After a valiant attempt to chase the 4/c process, metallic gold and spot varnish registration we decided to pull the job and kindly ask the paper supplier to send us a better skid of stock. When the job was off-press we had another chance to spend more/fix some things we screwed up on by adjusting a few traps and color builds that didn’t translate well once the job went from proof to the actual paper. We were back on press a few days later and the only surprise this time was how strong the varnish was once it dried. For the spot color pages we did the standard House Industries dense black, orange and opaque white overprinting extravaganza on the French Paper’s Orange Butcher. I wanted to find a linen stock for the cover that we could run offset but didn’t look like an execu-planner you’d find at Staples. After getting clearance from the bindery on adhesion, I asked the printer if they wouldn’t mind printing the paper on the glue side instead of the recommended print side. The glue side had a nicer color and more tactile finish. Fortunately It didn’t break the press.