220x240mm Landscape books
4pp Cover onto 350gsm Colorplan Bright White
Matt Lamination to outer.
Foiling to the front cover.
2pp onto 175gsm Colorplan Racing Green. White ink to front. 4pp onto Colorplan Vellum White 175gsm.
46pp onto 170gsm House Gloss.
8pp onto 170gsm Uncoated.
2pp onto 175gsm Colorplan Racing Green White ink to front.
Four colour print throughout on the, Vellum, Uncoated and Gloss and cover.
Trimmed, collated and perfect bound.
Vacant by Hannah Blackmore is a visually striking photography book that captures the essence of abandoned or vacant storefronts across Margate, Kent. The book’s design seamlessly integrates the photographic content with minimalist typography and an understated layout to emphasise the themes of emptiness and neglect. The author’s work is reflective and meditative, inviting readers to appreciate the beauty in spaces that have been left behind.
The book is perfect bound, which gives it a clean and professional finish. Perfect binding is an excellent choice for this photography book, providing durability while allowing the pages to lay relatively flat when open. This is essential for showcasing the detailed imagery without interruption. The dimensions of 220x240mm provide a generous canvas for the photographs, balancing between being compact enough for ease of handling while still offering ample space for the visuals to breathe.
The interior features a combination of glossy and uncoated papers, which create a tactile journey for the reader. The contrast between the 170gsm house gloss and the 170gsm uncoated pages works harmoniously with the content. The glossy pages allow the colours in the images to pop, bringing out the vibrancy in the photographs of the derelict storefronts. Meanwhile, the uncoated pages offer a more matte, subdued texture, which may be used for reflective moments or quieter imagery, enhancing the thematic contrast of activity versus abandonment.
The layout is consistently minimalist. Each photograph occupies a prominent, centred position on the page, usually accompanied by small, unobtrusive captions. This avoids any distractions from the primary content. Margins are ample, giving the images space to breathe, reinforcing a sense of emptiness and isolation, which ties into the book’s theme.
The typography is clean and modern, featuring a serif font in dark green that complements the urban decay depicted in the photos. The choice of foil-embossed title lettering in metallic green on the cover adds a touch of sophistication, giving the cover an elegant texture that contrasts with the gritty subject matter. The colour palette of the book is neutral, largely focusing on whites and greys, allowing the photographs to take centre stage without competing with background design elements.
Hannah Blackmore’s photography in Vacant is thoughtful, capturing the haunting beauty of abandoned storefronts in Margate. The choice of framing in each image is deliberate, often highlighting the juxtaposition of dereliction against vibrant remnants of signage or architecture. This adds a sense of history and loss to each photo. The images are presented with a consistent, muted colour palette, often focusing on washed-out blues, greys, and browns, which evoke a feeling of desolation. This cohesive visual tone throughout the book ensures that the viewer remains immersed in the thematic continuity.
The production decisions behind Vacant are intentionally minimalistic, a clear reflection of the theme of abandonment. By focusing on a straightforward layout and avoiding unnecessary embellishments, the designer emphasises the starkness of the subject matter. The occasional use of metallic foiling subtly adds a layer of prestige, perhaps suggesting that even the abandoned spaces have intrinsic value. The variety in paper textures mirrors the tactile experience of walking past these vacant spaces—sometimes glossy and reflective, other times matte and muted.
Our collaboration with Hannah Blackmore on her photography book, Vacant, was a deeply rewarding experience, characterised by creative problem-solving, close communication, and a commitment to bringing her vision to life. From the initial discussions through to the final delivery, the project evolved significantly, with each step reflecting our collective efforts to ensure that the final book met both Hannah’s artistic standards and our high-quality print production values.
The journey began when Hannah contacted us to print her self-published photo book. Initially, she was looking to print a 30-page, hardback book but needed guidance on page count and binding options. After explaining the technicalities of perfect binding and the need for a minimum of 40 pages, she expanded her content to meet this requirement. This proactive approach demonstrated her flexibility and willingness to adapt to the print process while ensuring the integrity of her creative work.
As we moved forward, there were detailed discussions about the book’s materiality—its tactile qualities were of paramount importance to Hannah. She wanted to use Colorplan paper for the cover and endpapers, coupled with foiling, to create a premium, textured finish that would reflect the themes of desolation and decay in her photography.
One of the more complex aspects of the project involved selecting the right cover material. Initially, Hannah was interested in a canvas cover with foiled text. However, we identified limitations in our production capabilities for this specific technique and recommended alternatives. We suggested using Colorplan paper for the cover, which could be foiled but would require matt lamination for durability. We also discussed the possibility of a sleeve to protect the book, but ultimately advised against it due to practical challenges.
Hannah appreciated our guidance and opted to use 350gsm Colorplan Embossed Fabric paper for the cover, with white foil for the front text, achieving both a visually and physically engaging cover while maintaining cost-effectiveness.
Setting up the artwork for Vacant required precision. We provided Hannah with comprehensive file setup guides and templates to ensure the artwork was prepared correctly for printing. As with any print project, there were some technical hurdles, including ensuring the correct colour profile for the text, especially the foiled elements, and making sure the white ink printed cleanly on the dark green Colorplan paper. These were resolved through ongoing communication with Hannah and her designer.
Midway through the project, Hannah opted for a test print to evaluate the final product before committing to the full print run. This was a smart move, as it allowed her to spot a few design issues that might have gone unnoticed otherwise. For example, she noticed that some of the images near the spine were getting lost, prompting her to slightly reduce the size of the images and adjust their positioning. The test print also highlighted some slight colour discrepancies between the cover and interior pages, which we were able to address by refining the lamination process.
One of the key production highlights was the use of white ink on Colorplan Racing Green paper for the endpapers. White ink is notoriously challenging, but we ensured a smooth process by recommending foiling rather than printing with ink, which not only enhanced the contrast but also added a luxurious touch.
Hannah’s desire for a robust, visually stunning cover led to a deep dive into foil options. After several back-and-forth discussions and tests, she selected a green foil (6064) for the front cover text, which paired beautifully with the Colorplan Bright White Embossed Fabric paper. This decision was carefully tested and adjusted, with sample prints sent to Hannah to ensure the final effect was precisely what she envisioned.
Once all the artwork was finalized, we moved into production. The job was printed on our HP Indigo digital presses, ensuring top-tier print quality with vibrant colours and crisp text. However, as is often the case with highly artistic projects, there were a few unexpected challenges during production. One issue arose around image sharpness and colour consistency between the cover and interior pages. Despite using the best presses available, Hannah noticed that the cover image seemed less sharp compared to the internal images. This was likely due to the matt lamination, which can sometimes soften the image slightly. We resolved this by refining the printing process for the cover and making adjustments to the colour calibration.
Hannah also noted some slight warping of the cover during the test print phase. We advised her on how to handle this, explaining that certain paper stocks, when laminated, can warp slightly under specific conditions. This was factored into the final production process, where we ensured the cover would remain smooth and flat.
Hannah was highly engaged throughout the process, and her hands-on approach helped ensure that the final product matched her vision. In the end, the Vacant project resulted in a beautifully printed, perfect-bound photography book with stunning endpapers, foiled text, and a luxuriously textured cover. The final design decisions—especially the balance between image size, text, and paper choice—created an immersive experience for the reader, drawing them into the empty storefronts of Margate.
The finished product was delivered on time, and Hannah was thrilled with the results. Her positive feedback reinforced the strength of our collaboration and attention to detail. She was particularly pleased with the book’s tactile qualities, which matched the contemplative nature of her photography. The project not only met her artistic expectations but also stood as a testament to the quality and craftsmanship that Ex Why Zed consistently delivers.
The Vacant project was a fine example of how close collaboration between the client and our team can transform creative ideas into beautifully crafted physical objects. From overcoming material and production challenges to providing expert guidance on artwork setup, Ex Why Zed played a crucial role in bringing Hannah’s artistic vision to life. The success of this project has solidified a strong partnership with Hannah, and we look forward to future collaborations.
