Cohen says AGA collaborated closely with the Palmazes on pacing the book. For instance, in the pasta section, the reader comes suddenly upon a full-bleed shot of one dish. Cohen notes this adds impact, drama and surprise. While it seems extravagant from a product-density standpoint, “We’re still selling six products from that one shot—three kinds of pasta and three kinds of sauces.”
Integrating pick-up photography with new photography was a creative challenge, Cohen says, “We took the liberty of cropping photos a little differently than before to enhance the food as much as possible and blend in with the new photography.”
Separate but Consistent
The Market section, which showcases GoodHeart’s meat, poultry, game and seafood, has it own identity, Cohen says. But that doesn’t alienate the Haute@Home consumer who wants to buy uncooked meats, as well. By keeping the section separate, readers don’t confuse the prepared gourmet meals with the uncooked meals.
What ties the book together is the brand color of a dusty, sophisticated blue, Cohen recounts. Because of a higher black content, the blue tints well and is neutral, she notes. “It complements the clean presentation and is universally appealing.”
The brand color appears in panels throughout the catalog’s body, from the large panels in the frontmost entertaining sections, to a very narrow informational top band in the raw-materials section carrying the name of the sub-section, such as farm-raised venison, as well as repeating “The Market” in the top left corner of every spread.
The Market section “had to sit within the whole book for a harmonious look, yet we wanted it to also have its own personality. The trick is, how do you balance that?” Cohen points to the generous use of silhouette photography in The Market as one note of difference.
In a relatively copy-heavy catalog, the Avenir family typeface appears with consistency throughout. It has high readability, and looks great in a lot of weights, as well as in large and small type size, comments Cohen. “Yet it’s not your typical Helvetica, or the overused Gill Sans, and it doesn’t have as small an x-height as Futura. So its balance is nice. We wanted a clean typeface that would complement The Market, but we wanted it to be consistent in the whole piece.”