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This catalogue is published in the context of the presentation of the Gerrit Noordzij prize 2012 to Karel Martens and the opening of the exhibition of the work of Wim Crouwel, awarded with the prize in 2009.
Wim Crouwel : Gerrit Noordzij prize 2009
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This catalogue is published in the context of the presentation of the Gerrit Noordzij prize 2012 to Karel Martens and the opening of the exhibition of the work of Wim Crouwel, awarded with the prize in 2009.
Kigi
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Active in the Japanese design and branding industry, Kigi (‘tree’) was formed with the collaboration of Yoshie Watanabe and Ryosuke Uehara, formerly of DRAFT. This publication recollects their work together in a straightforward and honest manner, giving crucial insight into both the aspirations and physical creations of Kigi. Full-colour images of everything from elegant(...)
octobre 2012
Kigi
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Active in the Japanese design and branding industry, Kigi (‘tree’) was formed with the collaboration of Yoshie Watanabe and Ryosuke Uehara, formerly of DRAFT. This publication recollects their work together in a straightforward and honest manner, giving crucial insight into both the aspirations and physical creations of Kigi. Full-colour images of everything from elegant objects to exquisite graphics confirm the spectrum and skill of these two artists. Included is an illuminating interview with Ryosuke Uehara in which expectations of clients, subjective goals and honest attitudes are discussed in detail.
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Colour Based on Nature takes the concept of Irma Boom’s previous work further afield, highlighting UNESCO World Heritage sites across the globe and on every continent. This time, the colour diagrams are derived from 80 natural locations designated by the UNESCO list. It is an exercise in describing without words, using instead colours to evoke and celebrate the essence of(...)
Colour - based on nature by Irma Boom
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Colour Based on Nature takes the concept of Irma Boom’s previous work further afield, highlighting UNESCO World Heritage sites across the globe and on every continent. This time, the colour diagrams are derived from 80 natural locations designated by the UNESCO list. It is an exercise in describing without words, using instead colours to evoke and celebrate the essence of a place. Detailed information about the World Heritage properties, their selection criteria, how many are inscribed per nation and in what regions such sites are most endangered makes this an important tribute to the reasons such places exist.
On the self-reflexive page
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The subject of this book is the page, and the pages reproduced in it are taken from works of literature (or, in some cases, art books that derive specifically from literature). Naturally, it would have been possible to classify these pages differently: in chronological order, for example, in alphabetical order according to author or title, in numerical order according to(...)
On the self-reflexive page
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The subject of this book is the page, and the pages reproduced in it are taken from works of literature (or, in some cases, art books that derive specifically from literature). Naturally, it would have been possible to classify these pages differently: in chronological order, for example, in alphabetical order according to author or title, in numerical order according to page number. Lüthi chose to present them thematically, resulting in a typology of self-reflexive pages: Black Pages, Blank Pages, Drawing Pages, Photography Pages, Text Pages, Number Pages, and Punctuation Pages.
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Featuring a comprehensive selection of writings by renowned graphic designer, graphic design theorist and historian Richard Hollis, this densely illustrated book includes a wide array of interviews, essays, letters, articles and lectures. It covers virtually everything regarding the field and history of graphic design, from Soviet revolutionary posters and designers in(...)
About graphic design: Richard Hollis writings
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Featuring a comprehensive selection of writings by renowned graphic designer, graphic design theorist and historian Richard Hollis, this densely illustrated book includes a wide array of interviews, essays, letters, articles and lectures. It covers virtually everything regarding the field and history of graphic design, from Soviet revolutionary posters and designers in Nazi Germany to Penguin book covers, New 'New' Typography, Max Bill and Nicolete Gray.
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Monguzzi studied graphic design at Geneva in the later 1950s, then typography, photography, and Gestalt psychology in London. In 2003, the Royal Society of Arts in London nominated him Royal Designer for Industry. From his early professional work, first in London and then at the legendary Studio Boggeri in Milan in the early sixties, where Max Huber had arrived from(...)
octobre 2011
Bruno Monguzzi : fifty years of paper, 1961-2011
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Monguzzi studied graphic design at Geneva in the later 1950s, then typography, photography, and Gestalt psychology in London. In 2003, the Royal Society of Arts in London nominated him Royal Designer for Industry. From his early professional work, first in London and then at the legendary Studio Boggeri in Milan in the early sixties, where Max Huber had arrived from Switzerland twenty years earlier, this monograph retraces the most significant phases of a language that has influenced graphic design well beyond Switzerland, with an impression of great precision and uncontaminated by the recurrent caprices of fashion.
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Beyond books covers the intense activity of printer Alighiero Boetti, from his artists’ books to posters and exhibition invitations, taking a look along the way at his long association with newspaper “Il Manifesto”. Boetti was both typesetter and director of his work, shifting from the role of creator to graphic artist to rewrite and redesign the informative materials on(...)
novembre 2011
Alighiero E. Boeti: beyond books, oltre il libro
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Beyond books covers the intense activity of printer Alighiero Boetti, from his artists’ books to posters and exhibition invitations, taking a look along the way at his long association with newspaper “Il Manifesto”. Boetti was both typesetter and director of his work, shifting from the role of creator to graphic artist to rewrite and redesign the informative materials on his work. And this is how the artists’ books were born. A limited number of books with hard red cloth covers – Boetti’s trademark – linked by one common feature: they were pieces of real craftsmanship and a fusion of the traditions of printing and art.
Ed Fella : documents
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À plus de soixante-dix ans, Edward Fella (né en 1938 dans le Michigan) est toujours « en activité » (« I’m still running », comme il aime à le dire). Il demeure l’un des auteurs de design graphique les plus emblématiques du postmoderne américain. L’hybridation de matières, de formes, de couleurs, de sujets, et l’aisance avec laquelle il navigue d’un medium à l’autre,(...)
Ed Fella : documents
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À plus de soixante-dix ans, Edward Fella (né en 1938 dans le Michigan) est toujours « en activité » (« I’m still running », comme il aime à le dire). Il demeure l’un des auteurs de design graphique les plus emblématiques du postmoderne américain. L’hybridation de matières, de formes, de couleurs, de sujets, et l’aisance avec laquelle il navigue d’un medium à l’autre, donnent à son art une originalité et une profondeur qui marqueront durablement l’histoire du design graphique.
Josef Albers
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The most wide-ranging retrospective ever held in Italy dedicated to Josef Albers, consisting of 175 works; his paintings, drawings, engravings, furniture, glass works and photography which - as Wassily Kandinsky wrote - reflect all the many qualities of the artist : "inventiveness, clear and convincing compositio, simple but effective means, and a perfect technique".
mars 2012
Josef Albers
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The most wide-ranging retrospective ever held in Italy dedicated to Josef Albers, consisting of 175 works; his paintings, drawings, engravings, furniture, glass works and photography which - as Wassily Kandinsky wrote - reflect all the many qualities of the artist : "inventiveness, clear and convincing compositio, simple but effective means, and a perfect technique".
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In the same way that the Helvetica font graphically defined the New York City subway system, the Design Research Unit visually branded the London we know today in everything from its street signs to such corporate identities as British Rail. "Design Research Unit: 1942-72" details the history of the Unit and includes contemporary perspectives by artists, designers and critics.
Design research unit 1942-1972
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In the same way that the Helvetica font graphically defined the New York City subway system, the Design Research Unit visually branded the London we know today in everything from its street signs to such corporate identities as British Rail. "Design Research Unit: 1942-72" details the history of the Unit and includes contemporary perspectives by artists, designers and critics.