Season 1, 1st to 15th issue
Issues 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 & 15
15 × 20 pages and sometimes more
21 × 29,7 cm, CMYK and sometimes more, Saddle stitched binding
Design: Syndicat
2017-2018
Sold out — available on demand
Season 1, 1st to 15th issue
Issues 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 & 15
15 × 20 pages and sometimes more
21 × 29,7 cm, CMYK and sometimes more, Saddle stitched binding
Design: Syndicat
2017-2018
Sold out — available on demand
n°18 — A studio visit: Ines Cox. Authors: Manon Bruet and Julia Andréone
Author: Manon Bruet
Photos: Julia Andréone
20 pages, 21 × 29,7 cm, CMYK+1PMS
17 December 2019
ISBN: 979-10-95991-15-1
ISSN: 2558-2062
Author: Manon Bruet
Photos: Julia Andréone
20 pages, 21 × 29,7 cm, CMYK+1PMS
17 December 2019
ISBN: 979-10-95991-15-1
ISSN: 2558-2062
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 personality of Ines Cox, a Belgian Graphic Designer who met Julia Andréone and Manon Bruet in her studio in June 2019. An opportunity to develop a narrative driven by three voices and to trace the outline of a path, a practice, and a figure.
n°27 — Rhizomes of London. Archigram and mental images of the city. Author: Sonia de Puineuf
Author: Sonia de Puineuf
12 pages, 21 × 29,7 cm, black and white
+ 1 A1 poster, CMYK
2nd February 2021
ISBN: 979-10-95991-18-2
ISSN: 2558-2062
Author: Sonia de Puineuf
12 pages, 21 × 29,7 cm, black and white
+ 1 A1 poster, CMYK
2nd February 2021
ISBN: 979-10-95991-18-2
ISSN: 2558-2062
A mine of images and ideas for architectural and urban-planning practices, the journal Archigram (1961–70) has already been the subject of close reading and analysis by architects, historians, theoreticians, and architecture critics. This study approaches Archigram from a different angle, attempting to interpret it as a successful artifact of graphic design by confronting it with the achievements of its time and other inspirational eras of editorial and environmental graphic design. It aims to explain the graphical evolution of the journal through the graphical stimuli of London—the city where the Archigram architects worked on a daily basis. It is an attempt to demonstrate that the publication, at first glance confusingly heterogeneous, is akin to a comprehensive mapping of the secret whirrs and the more obvious trends of the English metropolis, where the futuristic utopia of the dynamic city took shape in such a particular way. By identifying London’s potential during the mythical Sixties, the Archigram journal stands out as a rhizomatic image, a living mirror of the urban organism.
n°05 — An Instagram post: P/Pa/Para/Paradiso by jetset_experimental (July 1 2017). Author: Manon Bruet
Author: Manon Bruet.
20 pages, 21 × 29,7 cm, CMYK
20 December 2017
ISBN : 979-10-95991-05-2
ISSN : 2558-2062
Author: Manon Bruet.
20 pages, 21 × 29,7 cm, CMYK
20 December 2017
ISBN : 979-10-95991-05-2
ISSN : 2558-2062
On July 1st, 2017, just as I was about to begin research into the use of social networks by Graphic Designers, the Dutch studio Experimental Jetset posted a slideshow containing 7 images on Instagram. Entitled “P/Pa/Para/Paradiso” it presented, as a whole and in its details, their new posters for the Paradiso center for music and culture in Amsterdam. Apart from the obvious formal relationship with the Blow Up poster that they created in 2007 for the London Design Museum, this slideshow gives very few keys to read what seemed to be a new aspect of the center’s communication, something that Experimental Jetset had been working on since 1996.
Currently having over 1,500 likes and tens of comments, this post is where my article begins. An opportunity to investigate and review this collaboration, that over 20 years has taken various forms (flyers, programs, posters), along with the singular and radical practice of Experimental Jetset. And also the opportunity to provide a more theoretical view of the way that Graphic Design is shown and seen on different platforms, that have now become an integral part of the teaching and the evolution of the discipline.