Dimension: 156 × 234 mm
Printing: offset (spot & process colours)
Binding: paperback + dust jacket
Paper types: 2
This small, brick-like volume includes illustrated insights into the more than 30 titles recognized by the 2014 Best Dutch Book Design awards. Every aspect of the award process (preparation, selection, judging, observations, conclusions, etc.) is treated in this bilingual publication.
Includes color photographs of the bookshelves and studio spaces of award-winning designers and studios, as well as a report about the jury process and final selections. Each awarded publication is accompanied by full technical information, comprehensive presentation of interior layouts, and a short essay about the qualities of the book, both positive and negative.
Design by Haller Brun
With photography by Sonia Mangiapane.
Published by Cpnb
First edition, 2015
608 pages, with full color and black and white illustrations, 4.75 x 6.75 in.
The ultimate reference on one of the most influential product designers of all time.
For more than sixty years Dieter Rams has defined the look, feel, and function of some of the world’s best-loved consumer items. Using his ‘ten principles for good design’ as a philosophy and practice for improving the industry in a more holistic, responsible way, Rams has built a reputation with global resonance. Here, for the first time, is a catalogue raisonné of every product that he has designed in his lifetime — a true celebration of his seminal contribution to the field of industrial and product design.
Size: 270 x 205 mm (10 5/8 x 8 1/8 in)
Pages: 344 pp
Illustrations: 300 illustrations
Faire is a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author.
This anthology set includes three issues, numbers 16 through 18:
n°16 — A reproduction: what El Lissitzkzy wants. By James Langdon
I am rarely convinced when I see graphic design that was originally printed in two inks reproduced in four-color process. Before the advent of commercial color offset printing, the elementary colors of printing — from Gutenberg to Tschichold—were black and red. In the early twentieth century, black and red were used by graphic designers not to attempt to recreate the spectrum of colors that appear to the human eye, but as graphic forces in themselves. To make a distinction. To create dynamism. To embody ideology on the page. In particular, the combination of black and red on white paper has become synonymous with Suprematism and revolutionary Russian graphic design.
A contemporary imaging workflow can enable extraordinary reproductions of these historical aesthetics. A high-resolution digital photograph of an original black and red printed book from the 1920s can be processed using a color profile to calibrate its appearance across design, color correction in computer software, proofing, and printing. This workflow can ultimately achieve a beautiful and precise image of that graphic artifact as it looks today, down to small details of its patination, its discoloration by exposure to sunlight, and the many more other subtleties that define it as an archival object.
But such a reproduction exhibits a strange technical anachronism. What about the constraints that originally shaped the design of that book — the implicit connection between the two colors of its graphics and the architecture of the one- or two-color printing press on which it was printed? Are they not important? Can they even be reproduced?
I compare printed reproductions of the proud black and red cover of the book ‘Die Kunstismen’ (1925), designed by Russian artist and designer El Lissitzky. Published between 1967 and 2017, these images treat the material characteristics of the original book’s color in different ways, appealing to contradictory notions of fidelity.
n°17 — An acronym: ACAB. By Ariane Bosshard, Jérôme Dupeyrat, Olivier Huz and Julie Martin
The acronym ACAB, often seen in urban space in the form of graffiti or stickers, first appeared in the U.K. in the 1970s, linked to punk culture, and later found a certain popularity during the social movements of the 1980s. Meaning “All Cops Are Bastards”, over the last 20 years it has become widespread in public spaces internationally, in the wake of a number of political movements, from alter-globalization groups to the French gilets jaunes, or Yellow Jackets, along with black blocks and TAZs, even spawning different variations, such as “All Capitalists Are Bastards”, “All Colors Are Beautiful” and “All Cats Are Beautiful”.
Observing how ACAB (or its numerical version, 1312) is written, allows one to traverse multiple political landscapes, as well as a number of visual cultures (anarchist, punk, hip-hop, LOL) to which this acronym has spread. It is through this scriptural, graphic, and visual movement that it has become both a sign of recognition and a polysemic statement.
n°18 — A studio visit: the studio of Ines Cox. By Manon Bruet and Julia Andréone
Three women walk into a bar. The first lives in a large apartment in Anvers, Belgium. The second is an independent Graphic Designer who founded her own studio. The third is an avatar—you might even know her—with a certain interest in creative processes, their interfaces, and their vocabularies. Together, they eat some pistachio nuts, order vodka, and are not at all sure about getting up the next day to teach at the Royal Academy of Fine Arts. But together, more than anything else, they form the troubling multiple personalities of Ines Cox, a Belgian Graphic Designer who met Julia Andréone and Manon Bruet in her studio in June 2019. This publication develops a narrative driven by three voices and traces the outline of a path, a practice, and a figure.
Published by Editions Empire
Bilingual, in French and English
60 pages total, each issue separately bound, b&w and color images, 8.25 × 11.75 inches
The much-anticipated book from one of the most sought-after art directors in the world, showcasing 30+ years of his talent.
Part design manual, part manifesto, the first career retrospective of Fabien Baron, whom Vanity Fair called ‘the most sought-after creative director in the world,’ is an immersive visual survey of more than 30 years of award-winning art direction, design, and image-making. Using examples taken from across the entire range of his work – including typography, packaging, product, furniture, and interior design – Baron’s book communicates his aesthetic logic with clarity and style. Replete with text by acclaimed author Adam Gopnik and a foreword by worldfamous super model Kate Moss, this is an intimate insider’s visit with a true fashion, photography, and design visionary.
Size: 380 x 292 mm (15 x 11 1/8 in)
Pages: 424 pp
Illustrations: 450 illustrations
What is Universal Everything?
Editors: Adrian Shaughnessy, Tony Brook
Essays: Adrian Shaughnessy, Antonia Lee
Limited Edition of 2000 – unique ‘tipped-in’ image on each cover
Matt Pyke, founder and creative director of Universal Everything, calls his studio a “digital art and design collective”. And after 15 years of revolutionary work in the digital realm, UE has its first book – What is Universal Everything?
Working closely with Pyke, the Spin design team of Tony Brook and Claudia Klat have designed a book that successfully brings Universal Everything’s vivid on-screen work to the printed page. The book is printed using a unique salmon pink fluoro colour that has been specially created and mixed for the project.
What is Universal Everything? examines 24 of the studio’s most exciting projects, from work for clients such as Microsoft, Hyundai and MTV, through to projects for Radiohead and the Science Museum in London. For each piece of work, Pyke collaborates with a pool of international creative talent from his base in Sheffield in the north of England.
The book also focuses on several of UE’s self-initiated projects that keep the studio pushing forward. These speculative explorations, says Pyke, are concerned with “trying to invent the future before we get there”.
The book also includes two essays and extensive interviews throughout, 90 pages of Pyke’s hand-drawn sketches, as well as detailed listings of the studio’s numerous sources of inspiration – from music to literature; from places to food.
In keeping with the book’s high production values, nearly all the work featured in the book has been re-rendered at high res, allowing the full majesty of Universal Everything’s screen-based work to be captured on the printed page.
Furthermore, every cover of What is Universal Everything? is unique: a different tipped-in image graces the cover of each edition. As Pyke notes: “We developed software to generate random combinations of shapes, colours and sizes with collision detection. Thousands of unique graphic compositions have been generated…. Everyone will own a one-off.”
“The company creates gorgeous visual spectacles on screen that, while they will never be attained in physical reality, reinterpret the nuances of natural human motion and seem to have a soul, a heartbeat, and the breath of life.”
The Creators Project, Vice
“Universal Everything proves how effective a flexible, collaboration-based agency model can be to deliver awe-inspiring projects on a global scale.”
“The studio’s desire to uncover new forms and aesthetic ideas produces profound experiences; often blurring the line between the art world and the commercial world of brands… as digital artists, their output is ahead of the rest.”
“Artists love to portray technology as the villain, as a force for evil that makes short work of our humanity… Matt Pyke isn’t one of them. The artist – who, it should be noted, works out of a log cabin in Sheffield, England – is an unabashed techno-optimist.”
Size: 240mm × 338mm
Pages: 384 (plus 4pp cover)
Format: Hardback, black foil-blocked type on cover
Colours: CYK + one special
Special colour: Salmon fluoro (THSX0339 Unit Ed. – Universal Fluoro Red
Inks: Toyo Ink LED-UV
Cover image: 2,000 unique tipped-in images; high gloss lamination
Colours: CYK + one special
Typeface(s): GT Cinetype by Grilli type
Printer: GöteborgsTryckeriet, Mölndal