Sappi Field Studies Series Fashion

7/28/2019 Sappi Field Studies Series Fashion

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5746

^ good wi th shocking p ink

or somber g rey? With sequins o r lea ther?

With den im or s i lk? Lust ro by Sappi .

It capture of color, the fine

deta i l s o f fabr ic pat terns , and the luminosi ty

of skin tones. Lustro white in Gloss.

Du ll an d new Pa t in a m at te f in ishes offers

90 brightness for t rue color clar i ty.

Lus t ro Du l l , micro-embossed t o p r in t

smooth yet feel supple, also comes in an

elegan t Cream shade. Al l are made

wi th 10 % pos t - co nsum er was te f ibe r.

ve r sa t i l e and dependab le i t

is always in fashion.

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Fashion Fizzles


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Zootsuit(1940's)


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LUSTRO PATNA 8

LB.T

XT

BLACK,MATCH OLVE

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GO"


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Sack dress (1960's)


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Nehru jacket (1970s)


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LUSTRO PATNA 8

LB.T

XT

BLACK,MATCH GREEN

CO

bC

toIS

"


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Beehive ratted hairdo (1950s)


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Flat-top with duck-tail (1950 s)


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Polyester leisure suit (1970s)

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Go-Go hot pants & boots (1 970 s)

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LUSTRO PATNA 8

LB.T

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Fashion Fizzles

A Sappi Field Guide

This field guide was printed on

Lustro Patina 80 lb. Text


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SAPPI F I E L D S T U D Y: FA S H I O N

This Sappi Field Study, presented on Lustro, takes a

look at the field of fashion, from the stylish to the functional, from

fantasies to flops. An industry dedicated to the wearable arts,

fashion offers a unique perspective on the culture and social

mores. In bringing you this Sappi Field Study, we aimto

entertain, educate and provide a useful creative and technical

resource. Read it for pure enjoyment, then consider the

myriad ways fashion has been depicted in photography and

illustrations over the years and how Lustro's exceptional print

qualities are woven into the fabric of each layout design.


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The great fashion photographs and illustrations that have filled

the pages of Vogue, Harper's Bazaar and other style magazines

have done far more than communicate the look of the latest

clothing and accessories. They purvey glamour and sophistication,

romance and mystery, youth and fun . Through provocative

poses - avant garde, surreal, documentary, graphic - they connect

with readers on a visceral level. They serve as both interpreters

and arbiters of personal style, defining what's chic and the current

feminine ideal. Interestingly, whilefashion itself is transitory,

the best fashion imagery endures as its own genre of fine art.

I N T E R P R E T I N G


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H O S P I T A L N U R S E

FACE MASK

Face masks come in

different levels of filtration,

with the most stringentair filtration required when

treating patients with

communicable diseases.

HAIR NET

During surgeries and sterile

procedures, nurses mustkeep their hair covered.

SHORT SLEEVES

Scrubs are made with short

sleeves to make it easier

to wash hands and put

on fresh gloves between

seeing patients.

SCRUBS

Wash-and-wear and com

fortable, cotton/poly blend

medical scrubs are the pre

ferred attire of hospital nurses.

The uniform also identifies

the wearer as part of the

medical staff. Some hospitalsdesignate that scrubs of a

particular color be worn to

identify the nurse's assigned

unit or function.

POCKETS

Nursing uniforms have at

least one pocket to provide

ready access to pens,

tape, scissors, and other

frequently needed items.

WHI T E SHOE S

White closed-toe/heel shoes

are mandatory. Many nurses

favor athletic shoes becausethey are on their feet during

much of their work shift.


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s are their own category of

fashion. Of ten d ic ta ted bv t radi t ion .

the outf i t is so famil iar that people

k n o w on s ight the job the wearer

performs and the industry he/she is in .

Most uniforms are notdesigned purely

for style and fashion. The shape and

I T T icolor of the garment . The weight

of the fabric. The size andposition

of the pockets . The height ofthe

shoe heel . The types ofaccessories ,

caps , holsters and the l ike, a l l serve

a funct ion and are factored into

creating a stvle that looks at t ract i

profess ional and contemporary.


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F I R E M A

HE L ME T

The thermoplastic helmet

has two inner layers for

heat and impact protection.

The clear faceshield is

optically corrected.

RADIO POCKET

Shaped to fit a two-way

radio, the pocket has a

snap enclosure and drain.

RE I NFORCE D PADDI NG

Compression points such as

elbows, knees and shouldersare reinforced with pad ding.

The knees are doubly pro

tected with leather patches.

THREE LAYERS

The jacket and pants are

made in three layers: A light

weight, flexible, heat-resistantouter shell; a breathable

moisture barrier layer, and a

100% Kevlar inner thermal

barrier. Kevlar is chemical,

flame, heat and cut resistant

and five times stronger

than steel on an equal weight

basis. It is also a low

conductor of electricity.

RE FL E CT I VE T RI M

Strategically placed

yellow Scotchlite reflective

trim glows in the dark

for visibility at night and in

cavernous conditions.

BOOT PROTECTION

Rubber waterproof boots

have steel toecaps and a

polyurethane midsole toabsorb energy and cushion

walking impact.


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In the world of fashion, there are short-lived fads that last a

season and then there are pivotal events that revolutionize the

way we dress and present ourselves forever. Brought on by

new inventions, social movements and even pop heroes, these

fashion upheavals cause us to redefine what we consider chic or

sensible. Today these dress styles are so much a part of our lives

that we can't imagine how it could have ever been otherwise.

. C H A N G E S


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wwwD O T- C O M AT T I R E

Twentysomething dot-com

entrepreneurs did more than

challenge the status quo of the

Old Economy, they flaunted

tradit ional business dress codes,

favoring chinos and open

collared shirts to Arman i suits

and yellow power neckties.

Although the dot-com boom went

bust , many companies have

relaxed their r igid suit-and-tie

rules and opted for a professional

casual look.

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H A T I N D U S T R Y G E T S P L U C K E D

The slaughter of mill ions of

birds for feathers to decorate

l a d i e s ' hats led to the establish

ment of the Audubon Society

and passage of the New York

Audubon Plumage Law of 1910

and the Federal Migratory Bird

Treaty Act of 1918. Branded as

poli t ically incorrect , plumedhats went out of fashion, but not

before some feathered species

were hunted to near extinction.


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A WAT C H F O R E V E RY O U T F I T

s twatches f rom pr

accessor ies , rnced in th e range (watch plastic ana log watcl

d. The broad choice of s ty les andaffordable


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ROSIE T H E R I V E T E R S T Y L E

The manpower sho r t age du r ing

World War I I forced women out

of the home into industr ia l jobs

in shipyards , factor ies and

de fense p lan t s . They changed ou t

o f d re s se s and in to "bo i l e r su i t s "

and t ied their hair up in cot ton

"do-rags" to keep i t f rom

snagg ing on mach ine ry. When

the war ended , mos t women

re tu rned to homemak ing ,

bu t many dec ided they p re fe r r ed

wea r ing pan t s .

I T S Y- B I T S Y S W I M W E A R

The b ik in i debu ted in 1946 , soon

after a U.S. H-bomb tes t on the

Bik in i Ato l l . Des igne r s J acques

Heim and Lou i s Rea rd ca l l ed

the i r c r ea t ion " the a tom," bu t

the name "b ik in i " s tuck . Un l ike

two-piece swimsuits that had

been a round s ince the 1930 ' s , t he

b ik in i was v iewed a s s canda lous

because i t exposed the nave l . Bu t

af ter Bridget Bardot immorta lized the swimsuit in "The Gir l in

the Bik in i , " even n ice g i r l s ba red

the i r be l ly bu t tons .


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We thought we looked cool then, butin retrospect, it was a pretty dumb

idea. Our only comfort is that everygeneration has been susceptible tofads that it would just as soon forget.


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Fashion accents - hats, gloves, neckties, scarves, belts, purses,

costume jewelry and the like - have long been seen as a. quick

and inexpensive way to transform a look fromho-hum to chic.

They can dress up an outfit, pull it together or add fresh interest

to last year's wardrobe. Accessories personalize a look, revealing

much about the wearer's taste, attitude and aspirations. These

i illustrations from"Fashion Accessories: The Complete 20th

! Century Sourcebook" by John Peacock show how accessories

have evolved and often returned in new iterations over the

decades. Representative of shapes, colors and styles of acces

sories that were popular in each era, these drawings by Peacock

provide a useful historical reference when thinking about fashion.


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1 9 0 0 ' s - 1 9 1 0 ' s

1 9 4 0 ' s - 1 9 5 0 ' s

1 9 6 0 ' s - 1 9 7 0 ' s

1 9 8 0 ' s - 1 9 9 0 ' s

H A N D B A G S & P U R S E S

Although purse styles have

not changed much since

about 1930, the content of

handbags have. Beepers, cell

phones, bank cards, electronic

organizers, vitamins, breathmints, and paperback novels

are common purse items for

women on the go.

3 9


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1 9 0 0 ' s - 1 9 1 0 ' s

1 9 2 0 ' s - 1 9 3 0 's

1 9 4 0 ' s - 1 9 5 0 's

1 9 6 0 ' s - 1 9 7 0 ' s

1 9 8 0 ' s - 1 9 9 0' s

L A D I E S ' S H O E S

As skirt lengths got shorter

and shoes became more visi

ble, designers created styles

that made legs look shapelier.

No style did that better than

stilettos, made possible bythe invention of a stable metal

tube that would support ultra-

thin, tall heels.

4 0


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1 9 0 0 ' s - 1910's 1 9 2 0 ' s - 1930's

1 9 4 0 ' s - 1950's

W O M E N ' S H A T S

Large hats, elaborately

ornamented with bird's

feathers, fruits, flowers and

ribbons, complemented the

floor-length, corseted look

of Edwardian dresses at the

start of the 20th century.

By the '20s, the silhouette

of women's clothing had

become slimmer and more

natural, and so did the look of

hats. Cloches, angled hats,

berets, turbans and brimmed

hats came into vogue.

1 9 6 0 ' s - 1970's 1 9 8 0 ' s - 1990's


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1 9 0 0 ' s - 1910's 1 9 2 0 ' s - 1930's

M E N ' S H A T S

In the early 20th century,

hats often conveyed social

status, with silk top hats andbowlers claimed by upper

and middle class men and

caps with small visors linked

to the lower working classes.

By mid-century, brimmed

hats became the norm,

and styles did not indicate

class standing as much as

individual preference.

N E C K T I E S

The necktie is the one part of

a man's attire that serves no

obvious function, except

adornment. Through color,

texture and pattern, it reveals

something about the person

ality of the wearer. The pri

mary trend that fashion

watchers look for is whether

this season's neckties are

wider or narrower.

1940 's-1950 's

1 9 6 0 ' s - 1970's 1 9 8 0 ' s - 1990's


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1 9 0 0 ' s - 1910's

L ^_ ^ _ J

1920's-1930's

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1 9 4 0 ' s - 1950's

1 9 6 0 ' s - 1970 ' s

1980's- 1990's

4 3


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The pages of this Sappi Field Study on

Fashion demonstrate the wonderful

qualities of Lustro, the most specified coated

sheet of all time. Lustro is offered

in three versatile finishes: Gloss, Dull (alsoavailable in Cream), and a new Matte

named Lustro Patina. All exceptionally

printable and elegant.


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18-19

Gloss 100 lb./148 gsm Text.

ss quadtone wi th

si lver highl ights and

l sat in varnish.

graph by George

ngen-Huene Vogue,

Nas t Publ ica t ions ,

Vionnet G o w n " Vogue,

mber, 1931.

20

Gloss 100 lb./148gsm Text.

olor process and

l gloss varnish.

graph by Michele

nt , 2002.

21

Dull 100 lb./148 gsm Text .

color process and

l sa t in varni sh .

graph by John Casado, 2000.

22

onal Fashion


s black with three-color

screen , match gray and

l sat in varnish.

23-27


olor process, match

nd spot sat in varnish.

t a l nurse photograph

y Images, Inc. All othergraphs Corbi s .

28

n Changes


s black with three-color

creen , match gray and

l sat in varnish.

Page 30

Lust ro Dul l Cream

100 lb./148 gsm Text .

Four-color process and overallUV

varnish. Printed on a UV press.

Snowy Egret i l lustrat ion from

Audubon's Birds of America,

published by Cross River Press,

L t d . , 1981 .

Page 31

Lustro Gloss 100 lb./148 gsm Text .

Four-color process , match gray

and spot gloss varnish.

Photographs by Bar ry Robinson.

Pages 32-33

Lustro Gloss 100 lb./148 gsm Text.

Four-color process, black

and match gray duotones ,

double-hit match si lver and

overal l sat in varnish.

Hat , s tockings , James Dean

and Beat les photographs

Getty Images, Inc. All other

photographs by Bar ry Robinson.

Page 34


Four-color process and

spot gloss varnish.

The Saturday Evening P ost

1943 SEPS: l i censed by Cur t i s

Publ i sh ing , Indianapol i s , IN.

www. cur t i spubl i sh ing .com.

Page 35Lustro Dull 100 lb./148 gsm Text .

Four-color process and overal l UV

varni sh . Pr in ted on a UV press .

Pho t og r a ph Cor b i s .

Pages 36-37

What Were We Thinking?!!

Lustro Dull 100 lb./148 gsm Text .

Cyan, magenta, yel low and f luo

rescent pink touchplate (pink fur) ,

fluorescent green and process black

duotone (green fur) and overal l

UV varnish. Printed on a UV press.

Photograph by Bar ry Robinson.

Fashion Fizzles

Lustro Pat ina 80 lb./118 gsm Text.

Cover

Process b lack , double-hi t

semi-dull f luorescent orange and

overal l dul l varnish.

Text

Process b lack , match red ,

b lu e , green and ol ive.

I l lustrat ions by Everet t Peck.

Page 38

Fashion Accents

Lustro Dull 100 lb./148 gsm Text .

Process b lack wi th match b lack

undercolor, magenta, yel low, gray

and overa l l UV varni sh . Pr in ted

on a UV press.

Pages 39-40 and 43

Lustro Pat ina 10 0 lb./148 gsm Text.

Four-color process and dot-for-dot


P a g e s 4 1 - 4 2

Lus t ro Dul l Cream

100 lb./148 gsm Text .Four-color process and dot-for-dot


I l lus t ra t ions on pages 39-43

by John Peacock, from his book

Fashion Accessories: The Complete

20th Century Sourcebook, p u b

l i shed by Thames and Hudson

Inc. , New York, 2000.

Page 44

Lustro Pat in a 100 lb./148 gsm Text .

Four-color process , match red

touchpla te and gray and spot UV

varni sh . Pr in ted on a UV press .

Photograph by Ter ry Heffernan.

Printing on

Soft Finishes

Soft-f inished papers have

their own set of production

n eed s . The very surface and

finish qual i t ies that make

them a t t rac t ive - inc luding

their good opaci ty, bulk, and

readable /wr i t able non-glare

surface - also make marking a

concern. Using inks formulated

with hardeners, Teflon or

scuff resistors will reduce the

problem. Applying dull or gloss

varnish over inked areas helps

prevent inks f rom rubbing

off onto facing pages. Varnishes

and metal l ic inks may lose

some reflect ive qual i t ies.

Sappi Industry Support

Sappi Fine Paper N.A. suppor t s

the indus t ry through a wide

range of education-oriented

venues in tended to ra i se

awareness of the value of good

design. Some of our specific

programs inc lude @Issue: Journal

of Design and Business, th e

Annual Repor t Show, Ideas tha tMatter, Printer of the Year, and

sponsorship of design and print

ing t rade events. To learn more,

visit us at www.sappi .com or

www.ideaexchange .sappi .com.

29Dull Cream

. /148 gsm Text .

olor process and overal l UV

h. Printed on a UV press.

graph Get ty Images , Inc .
http://www.sappi.com/http://www.ideaexchange.sappi.com/http://www.ideaexchange.sappi.com/http://www.sappi.com/


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s 18-19

o Gloss 100 lb . /148 gsm Text.

ess quad tone wi th

h s i lver h igh l igh ts a nd

al l sa t in varn ish .

ograph by George

ingen-Huene Vogue,

de Nast Pub l icat ions ,

"Vionnet G o w n " Vogue,

em b er, 1 9 3 1 .

20

o Gloss 100 lb . /148gsm Text.

-co lo r p rocess and

all gloss varnish.

ograph by Michele

m en t , 2 0 0 2 .

21

o Dull 100 lb./148 gsm Text.

- co lo r p ro cess an d

al l sa t in varn ish .

ograph by John Casado , 2000 .

22

tional Fashion

o Dul l 100 lb . /148 gsm Tex t .

ess b lack wi th th ree-co lo r

r screen , match g ray and

all satin v arnis h.

s 23-27

o Dull 100 lb . /148 gsm Tex t .

co lo r p rocess , match

and spo t sa t in varn ish .

i t a l n u r se p h o to g rap h

ty Images, Inc . Al l o ther

o g rap h s C o rb i s .

28

on Changes

o Dul l 100 lb . /148 gsm Tex t .

ss b lack wi th th ree-co lo r

r sc reen , m a tch g ray an d

ll satin varnish.

Page 30

Lustro Dul l Cream

100 lb . /148 gsm Tex t .

Four-color process and overall UV

varnish. Printed on a UV press.

Snowy Egret i l lustration from

Audubon's Birds of America,

pub l ished by Cross River P ress ,

L t d . , 1 9 8 1 .

Page 31

Lustro Gloss 100 lb . /148 gsm Text.

Four-color p rocess , match g ray

and spo t g loss varn ish .

P h o to g rap h s b y B ar ry R o b in so n .

Pages 32-33


Four-co lo r p rocess , b lack

an d m a tch g ray d u o to n es ,

double-hit match s i lver and

overal l sa t in varn ish .

Hat , s tock ings , James Dean

and Beat les pho tographs

Get ty Images, Inc . Al l o ther

pho tographs by Barry Rob inson .

Page 34


Four-co lo r p rocess and

spo t g loss varn ish .

The Saturday Evening Post

1943 SEPS: l icensed by Curt is

Pub l ish ing , Ind ianapo l is , IN.

www.cur t ispub l ish ing .com.

Page 35

Lustro Dul l 100 lb . /148 gsm Tex t .

Four-color process and overall UV

varn ish . P r in ted on a UV press .

P h o to g rap h C o rb i s .

Pages 36-37

What Were We Thinking?!!


Cyan , magen ta , yel low and f luo

rescent pink touchplate (pink fur),

fluorescent green an d process black

duotone (green fur) and overall


P h o to g rap h b y B ar ry R o b in so n .

Fashion Fizzles

Lustro Patina 8 0 lb./118 gsm Text.

Cover

Process b lack , doub le-h i t

semi-dull f luo rescen t o range and

overall dull varnish.

Text

Process b lack , match red ,

blue, green and olive.

I l lu s t ra t ions by Everet t Peck .

Page 38

Fashion A ccents


P rocess b lack wi th match b lack

underco lo r, magen ta , yel low, g ray

and overal l UV varn ish . P r in ted

on a UV press .

Pages 39-40 and 43

Lustro Patin a 100 lb . /148 gsm Text.



P a g e s 4 1 - 4 2

Lustro Dul l Cream

100 lb./148 gsm Text.



I l lu s t ra tions on pages 3 9-4 3

by John Peacock , f rom h is book

Fashion Accessories: The Complete

20th Century Sourcebook, p u b

l i sh ed b y T h am es an d H u d so n

Inc. , New York , 2000 .

Page 44

Lustro Pa tina 100 lb . /148 gsm Text.

Four-co lo r p rocess , match red

touchp late and g ray and spo t UV


Pho tograph by Terry Heffernan .

Printing on

Soft Finishes

Soft - f in ished papers have

thei r own set o f p roduct ion

needs. The very su rface and

f in ish qual i t ies that make

them at t ract ive - includ ing

thei r good opaci ty, bu lk , and

read ab le /w r i t ab l e n o n -g l a re

su rface - a lso ma ke mark ing a

concern . Using inks fo rmulated

with hardeners, Teflon or

scuff resistors will reduce the

problem. Applying dull or gloss

varn ish over inked areas helps

p reven t inks f rom rubb ing

off onto facing pages. Varnishes

and metal l ic inks may lose

some reflective qualities.

Sappi Industry Support

Sapp i F ine Paper N.A. supports

the indust ry th rough a wide

range o f educat ion-o r ien ted

venues in tended to ra ise

awareness of the value of good

design. Some of our specific

p rograms include @Issue: Journal

of Design and Business, th e

Annual Report Show, Ideas that

Matter, Printer of the Year, and

sponsorsh ip o f design and p r in t

ing t rade even ts . To learn more,

visit us at w w w. sap p i . co m or

w w w. id eaex ch an g e . sap p i . co m .

29

ro Dull Cream

b. /148 gsm Tex t .

color process and overall UV

sh . P r in ted on a UV press .

ograph Get ty Images, Inc .
http://www.curtispublishing.com/http://www.sappi.com/http://www.ideaexchange.sappi.com/http://www.ideaexchange.sappi.com/http://www.sappi.com/http://www.curtispublishing.com/


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Production Notes

D es ig n

P e n t a g r a m

Text

D elp h in e Hirasuna

Separations

Images are scanned at

175-line screen .

Printing

Eigh t-un i t 40" p ress

and eigh t-un i t 40" UV

press wi th inter deck d ry ing .

Al l images are varn ished in - l ine .

Cover

LustroGloss Cover1201b./325gsm.

Four-co lo r p rocess and overal l

dull aqueous coating.

"Tw ig g y " p h o to g rap h b y B ar ry

L a teg an , 1 9 6 6 . Tu x ed o m an

n eq u in p h o to g rap h P h o to n ica .

N eed le an d th read p h o to g rap h

Masterf i le. F ace p h o to g rap h b y

Rico Schwarzberg .

Cover Gatefold

Double-hit m atch b l ack ,

m a tch b ro w n an d o v e ra l l

du l l aqueous coat ing .

Page 1

Lustro Dul l 100 lb . /148gsm Text.

Four-co lo r p rocess , p rocess q uad -

tone, match g ray and spo t UV


Shoe i l lu s t ra t ion by John Peacock ,

from his book Fashion Accessories:

The Complete 20th Century

Sourcebook, p u b l i sh ed b y T h am es

and Hudson Inc. , New York ,

20 00 . Pho tog raph by Cl i ffo rd

Coffin Vogue, C o n d e N as t

P u b l i ca t i o n s . "Christian Dior

dress , " Vogue, S ep tem b er 1 9 4 8 .

Page 2

Interpreting Fashion

Lustro Dul l 100 lb . /148gsm Text.

P rocess b lack wi th match b lack

underco lo r, magen ta , yel low, g ray

and overal l UV varn ish . P r in tedon a UV press .

Page 3


Four-co lo r p rocess and overal l


Pho tograph by John Casado , 2001 .

Page 4

Lustro Dul l 100 lb . /148 gsm Tex t .P rocess b lack , match b lack and

gray t r i tone and overal l UV


P h o to g rap h b y F ran k H o rv a t .

Harper's Bazaar, 1 9 6 2 .

Page 5


Four-co lo r p rocess , match

red touchp late and overal l

g loss varn ish .


UOfficiel M ag az in e , 1 9 8 8 .

Pages 6-7


P rocess b lack , match

b lack and g ray t r i tone and

overal l sa t in varn ish .


Stern, 1 9 7 4 .

Page 8



an d b l ack to u ch p la t e s an d

overall gloss varnish.

Pho tograph by Erwin Blumenfeld

Vogue, C o n d e N as t

Pub l icat ions , Inc . "Red Cross

D r iv e" Vogue, M arch , 1 9 4 5 .

Page 9L u s t ro D u l l C ream

100 lb./148 gsm Tex t .

P rocess b lack , match b lack and

brown t r i tone and overal l UV


P h o to g rap h b y M an R ay. 2 0 0 2

M an R ay Trust/Artists Righ ts

Society (ARS), NY/AD AGP, Par is .

"Undress with Backlighting," 1922.

Page 10

Lustro Dul l Cream

1 0 0 lb . / 1 4 8 g sm Tex t .

P ro cess b l ack , m a tch b l ack an d

gray t r i tone and dot-for-dot U V


P h o to g rap h b y E d w ard S t e i ch en

Vanity Fair, C o n d e N as t

Publications , Inc. "Gloria Sw anso n"

Vanity Fair, F eb ru a ry, 1 9 2 8 .

Page 11

Lustro Gloss 100 lb . /148 gsm Text

Process b lack , match

b lack and g ray t r i tone and

overall gloss varnish.

P h o to g rap h b y B ar ry L a t eg an .

"Tw ig g y " 1 9 6 6 .

Pages 12-13


Four-co lo r p rocess , match go ld

touchplate and overallsatin varnish.

Pho tograph by John Casado , 2001

Page 14


Four-co lo r p rocess and

overal l g loss varn ish .

Pho tograph by AlexArdenti , 2 0 0 1 .

Page 15

Lus tro Patina100 lb . /148 gsm Text.


to u ch p la t e an d sp o t U V v a rn i sh .

Pr in ted on a UV press .

I l lu s t ra t ion by Rene Gruau .

UOfficielM ag az in e , 1 9 4 9 .

Page 16

Lustro Pat ina 100lb./148 gsm Text.

Four-color process and overal l

UV varnish. Printed on a UV press

P h o to g rap h b y M ich e l e

C lem en t , 1 9 9 8 .

Page 17

Lustro Gloss 100 lb . /148 gsm Text.F o u r-co lo r p ro cess , m a tch

red to u ch p la t e an d o v e ra l l

g lo s s v a rn i sh .


I ta l ian Vogue, 1 9 8 3 .


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