n°53 — Photobook: The New Face of Photophilia. Author: Clément Chéroux + book selection with Théophile Calot
April 2025
n°53 — Photobook: The New Face of Photophilia. Author: Clément Chéroux + book selection with Théophile Calot
April 2025
n°24 — A theater identity: The Schauspielhaus Zürich by Cornel Windlin. Authors: Étienne Hervy and Thierry Chancogne
Authors: Étienne Hervy and Thierry Chancogne
36 pages, 21 × 29,7 cm, CMYK
23th September 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Authors: Étienne Hervy and Thierry Chancogne
36 pages, 21 × 29,7 cm, CMYK
23th September 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Designed by Cornel Windlin (with Gregor Huber), the communications of the Zürich Schauspielhaus for the 2009/10 and 2010/11 seasons appeared just as the collaboration between the designers and the theater ended: with the Grand Prix of the Brno Biennial in 2010, where they won first prize in the international competition, with an exhibition in Chaumont the following year at the same time as the Swiss Federal Design Award, a brief appearance in specialist magazines and on specialist sites, and then nothing at all. Once again, Cornel Windlin retreated into the shadows, leaving behind work which asserted itself through both its amplitude and completeness in the heavy silence which remained, and through the multifaceted mass of the media imagery that it reactivated. A series of seasonal posters, event posters, annual and monthly programs, booklets dedicated to each piece, invitations, flyers, graphic materials from the program for younger audiences… everything is here, set in a precisely tuned bold Unica77, digitized by the Lineto foundry with the original team of designers (along with Windlin), all coming together in that blindness inherent to times of eclipse, where the black disk chosen by Windlin as the identity of the Schauspielhaus stands out. Now, a decade later, the idea is to propose a meticulously organized reception, informed by Cornel Widlin and placed in a cavalier perspective by the analysis of Thierry Chancogne.
n°19 — A history: graphic designer-publishers. Author: Thierry Chancogne
Sold out — Only available with season 2 subscription
Author: Thierry Chancogne
20 pages, 21 × 29,7 cm, CMYK
5th February 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
Sold out — Only available with season 2 subscription
Author: Thierry Chancogne
20 pages, 21 × 29,7 cm, CMYK
5th February 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
In 1275, the kingdom of France ruled on the rights of stationarii (copyists) and librarii (librairies, the French for “bookshop”), newly emancipated from the yoke of the Church (Friedrich Karl von Savigny (author and publisher), Histoire du droit romain au moyen âge, Tome III, Charles Hingray, Paris, 1839 (1815), p. 415). The main question was and has always been, even before the invention of printing, the regulation of the circulation of writing, and the designation of those responsible for their inscription and distribution.
Robin Kinross identified the emergence of the modern figure of the typographer in the 17th century, with The doctrine of handy-works: applied to the art of printing by Joseph Moxon (Robin Kinross, Modern typography: An Essay in Critical History, Hyphen Press, London, 2004 (1992) pp. 15-16). But long before this, graphic artists, copyists, and typographers such as Geoffroy Tory and Henri Estienne the elder were both booksellers and publishers who gave much thought to their practice and the contents that they released into the public space.
It would seem that the time has come to reassess this ancient tradition, with more and more graphic artists and designers choosing to establish their own publishing houses in order to defend their editorial approach in both senses of the word—that of “editing” and the choice and organization of graphic material, but also in the sense of “publishing”, applying a certain ethic to the distribution and advertising of the contents.
n°26 — Production process: Print on Demand. Author: Manon Bruet
Author: Manon Bruet
20 pages, 21 × 29,7 cm, CMYK
4th November 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Author: Manon Bruet
20 pages, 21 × 29,7 cm, CMYK
4th November 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
In 2008, English Graphic Designer James Goggin ran a two-day workshop with design students at the Hochschule Darmstadt in Germany. The object which resulted gradually took on the appearance of a photo album, a typeface specimen, and a color chart. On the cover, the phrase “Dear Lulu, Please try and print these line, color, pattern, format, texture and typography tests for us” is clearly addressed to the online print platform for which this book was proposed as a test.
Ten years later, the offer has become more diverse and the success of such online platforms is undeniable—indeed the phenomenon has spread well beyond the field of publishing. While some bemoan unfair competition for printers, others, professionals and amateurs, see in it a freedom to print and distribute relatively well finished objects at low cost.
The possibilities of these systems of production, are multiple but nonetheless limited, and this obviously raises the question of a possible standardization of forms and formats. However, when it comes to Print On Demand, it seems that the issue is not so much the materiality of an object (the choice of format, paper or a particular manufacture) but rather the actual existence of this object itself, outside of usual channels of production and distribution.