Season 3, 31st to 45th issue

issues 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44 & 45
English/French
20 pages and sometimes more, 210 × 297 mm
CMYK or sometimes more, Saddle stitched binding
Design: Syndicat
7€ per issue, 15 issues Subscription: 90€

90,00€

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n°31 — An Edition: The Serving Library. Interview with Stuart Bertolotti-Bailey by James Langdon
n°32 — A Graphic Designer and Illustrator: Bráulio Amado. Author: Manon Bruet
n°33 — Ligneous, tentacular forms: Decorative invasions and man eating plants. Author: Camille Pageard
n°34 — An award: What is a most beautiful book? Author: Thierry Chancogne
n°35 — An eye: artists’ view of the modern world 1911 – 1938. Author: Sonia de Puineuf
n°36 — Photography suspended: Herbert Bayer. Author: Remi Parcollet
n°37 — A polygraph: Georges Nelson. Author: Catherine Geel
n°38 — A debate: Jan Van Toorn / Wim Crouwel. Author: Thierry Chancogne
n°39 — A series of cards and performances: My Calling (Card) #1 #2 #3 by Adrian Piper. Author: Jérôme Dupeyrat
n°40 — A collaboration: Les Urbaines & Eurostandard. Author : Manon Bruet
n°41 — The Image of Fashion: Forget (fashion) photography? Author: Aude Felley
n°42 — 12 or 13 things I know about: F.R.DAVID. Authors: Victoire Le Bars et Benjamin Thorel

n°43 — A typeface: “Typographic writing”. Author: Thierry Chancogne

n°44 — A conundrum: the visual communication of neuroscience. Author: James Langdon
n°45 — Made Redundant. (4 templates). Author: Stuart Bertolotti-Bailey

 

Related products

n°02 — A technical platform: Colorlibrary.ch by Maximage. Author: Manon Bruet

Sold Out
Author: Manon Bruet
12 pages, 21 × 29,7 cm, black and cyan + 1 A2 poster, 3 PMS
+ 1 A2 poster, CMYK (reserved for subscribers) (sold out)
8th November 2017
ISBN: 979-10-95991-04-5
ISSN: 2558-2062

The Workflow research project, run by Tatiana Rhis, Guy Meldem, and Julien Tavelli and David Keshavjee (Maximage) at the Écal, is interested in current technologies of the printed object. It consists of a series of experiences that attempt to circumvent currently available production technologies, provoking coincidences and accidents with the goal of obtaining new outcomes.

More than simply questioning the possible circumvention of tools, Workflow explores technicality, modes of functioning, and flaws. In this way, the programme pursues the field of experimentation opened up by the Swiss studio Maximage since 2008. In the context of their degree project at the Écal, Julien Tavelli and David Keshavjee already combined manual and digital techniques so as to develop their own production tools, and notably their own printing methods. From their experiments have emerged, among other things, the Programme typeface, and the Les impressions magiques publication, that appears today as a manifest object of their approach.

One of the first results of the Workflow programme has been the creation of a series of colorimetric profiles that allows the conversion of digital images for printing with one, two, three, four, or five accompanying colors, whether they are basic (CMYK), pastels, fluorescent, or metallic.

The work on these profiles has two aims. It serves to increase the awareness of students at the Écal with regard to the management and theory of color, but it also allows, for the first time, the automation of operations and settings that have until now been done on a case-by-case basis through the manual use of image-editing software and CAD.

Advocating an “innovative” and “professional” solution for the treatment of color, the Écal and the Workflow programme launched the website colorlibrary.ch in 2016 and offered the profiles for sale. The platform appears as an online library that presents a large variety of profiles with different colorful combinations. The different profiles are displayed on screen, applied to images by Iranian photographer Shirana Shahbazi; they seem to replay the codes of Photoshop type images–from the butterfly to the eye, the still life to the waterfall.

Beginning with an analysis of the structure of this platform, the aesthetic and terminological languages that it summons, and their limits, we will open a number of fields of investigation, more widely linked to the question of the tools and modes of production of images.

n°03 — A monograph: Recollected Work by Mevis & van Deursen. Author: Étienne Hervy

Sold out
Author: Étienne Hervy.
20 pages, 21 × 29,7 cm, CMYK
22th November 2017
ISBN: 979-10-95991-04-5
ISSN: 2558-2062

In 2006, the publisher Artimo entrusted Linda van Deursen and Armand Mevis with the editorial direction and the Graphic Design of their own monograph, Recollected Works. Joined by Paul Elliman in writing the texts, the two Graphic Designers responded with an approach similar to that which they adopt when they accompany other artists and photographers in the creation of books whose relevance has largely contributed to the studio’s reputation. Mevis and van Deursen propose to the reader to experience their work in operation, rather than simply contenting themselves with the reproduction of the work presented as artworks in themselves. Rather than the nostalgia for a more or less formalized organization of their previous projects, the two Graphic Designers look at their previous work as the material for an autonomous project from which this book will emerge.

Such a choice directly raises the question of the constitution and transmission of a culture inherent to Graphic Design, whether it isspecifically aimed at designers or else at a much wider audience. How to transmit the issues and points of quality of a discipline itself dedicated to transmission? One must above all recognize the capacity of this eminently visual field to confront appearances.

Our study of this work will obviously reference a corpus of monographs and publications made by Graphic Designers (Christophe Jacquet, Joost Grootens, M/M (Paris), Karel Martens, Experimental Jetset, Wolgang Weingart, etc.) while at the same time looking more widely at the forms currently adopted for the transmission of Graphic Design (exhibitions, conferences, etc.). Beyond the issues discussed and the questions raised by Recollected Works, it is a matter of both pulling on the thread of the work of Mevis and van Deursen (does a continuity exist between the editorial design of Why Mister, Why? for Geert van Kesteren or the Library Of The Museum Museum of Contemporary African Art for Meschac Gaba, and the identity of the Stedelijk Museum?) and questioning the pertinence of a discourse specific to Graphic Design.

n°22 — Special Issue: Artists posters. Authors: Thierry Chancogne, Jérôme Dupeyrat, Mathias Augustyniak

14,00€

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Authors: Thierry Chancogne, Jérôme Dupeyrat, Mathias Augustyniak
72 pages, 21 × 29,7 cm
CMYK + 1 PMS
27 May 2020
ISBN: 979-10-95991-21-2

On the occasion of a visit to the exhibition at the MRAC Occitanie / Pyrénées-Méditerranée entitled Honey I rearranged the collection, Jérôme Dupeyrat and Thierry Chancogne continue their discussion of the controversial relationships that exist between art and Graphic Design, based on a historical collection of “artists’ posters”.

The artist’s poster or affiche is at once the traditional medium used to advertise artistic events, produced by the artists themselves, the historical medium of a certain passion for French-style painted posters and the desire of a particular artistic practice to democratize art, the symptom or symbol of potential new relationships between Graphic Design and art in an era where artists have acquired a new graphic culture and Graphic Designers a new artistic ambition.

The thematic exchanges nourished by theoretical, artistic, and graphic references taken from recent and contemporary history are punctuated by thoughts from Mathias Augustinyak, based on his experiences with designing posters for artists, artist posters, artistic posters, and the art of the poster.

 

 

Special 72 pages format!

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