Bulletins of The Serving Library #3. Sternberg Press.

Posted in art, books, distribution, typography, writing on September 7th, 2012
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Bulletins of The Serving Library #3, Stuart Bailey, Angie Keefer, David Reinfurt (Eds.), published by Sternberg Press.

With contributions by Andrew Blum, Bruno Latour, Graham Meyer, Pierre-André Boutang, David Reinfurt, Chris Evans, Jessica Winter, Ian Svenonius, Angie Keefer, Francis McKee, Benjamin Tiven, Louis Lüthi, Dexter Sinister, and Laura Hoptman

This issue of Bulletins of the Serving Library doubles as a catalog of sorts to “Ecstatic Alphabets/Heaps of Language,” a group exhibition curated by Laura Hoptman at the Museum of Modern Art, New York, from May 6 to August 27, 2012. It is a *pseudo*-catalog in the sense that, other than a section of images at the back, it bears no direct relation to the works in the exhibition. Instead, the bulletins extend in different directions from the same title, and could be collectively summarized as preoccupied with the more social aspects of Typography.

D 10 €

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Hey Now! Jens Schildt. Colophon & Silver Fern Press.

Posted in typography on August 27th, 2012

Hey Now! Jens Schildt. Colophon & Silver Fern Press.

The second in a series of octavo-sized publications dedicated to the typographical “And” and “&, this is a representation of found ampersands, photographed by Mr. Shildt. Design by Jens Schildt and David Bennewith.

4.25″ x 6.75″
16 pages
Edition of 300

D 6€

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And. William H. Gass. Colophon & Silver Fern Press.

Posted in typography, writing on August 27th, 2012
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And. William H. Gass. Colophon & Silver Fern Press.

The first in a series of octavo-sized publications dedicated to the typographical “And” and “&,” this is a re-print of the literary critic’s famous 1986 essay on that essential conjunction. Design by Denise Bertschi with David Bennewith.

4.25″ x 6.75″
40 pages
Edition of 300

D 6€

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The Shelf Journal. Shelf – Published

Posted in graphic design, magazines, typography, writing on August 16th, 2012
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The Shelf Journal by Morgane Rébulard (ed). Shelf – Published

Why start a paper journal about books at a time when the internet is calling into question the average Westerner’s innate materialism, and at a time when the price of a book-as-object puts off devotees of free knowledge on the net? What is becoming of bound volumes today – that foundation of our society, those keepers of our history?
With the dematerialisation of editorial content, the practice of design within books is taking on an even more important dimension. Whether insignificant objects or works of art in their own right, books create through their different forms and stories a unique bond with those who read, consult and own them. This almost physical connection was the reason for creating The Shelf Journal.
Part place of worship and reflection for paper lovers, part experimental platform for designers, typographers and other graphic designers, The Shelf Journal explores the essence of our libraries’ charm: the limitless variations in form of this unique object.

Dual-language journal
108 pages, 21 x 31 cm

D 18 €

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Curwen Sans type specimen. An Endless Supply.

Posted in books, design, history, typography, writing on July 27th, 2012
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Curwen Sans type specimen, Harold Curwen, An Endless Supply 2011

Curwen Sans was first drawn by Harold Curwen at the Curwen Press in 1911. Curwen died in 1949 and the Press went out of business in the 1980s, and his sans serif—pre-emptive of Johnston, Gill Sans, Kabel—has never been digitised. An Endless Supply have re-drawn the font from prints sourced at Cambridge University, and the specimen includes a critical history of the typeface as well as new writing about the processes of revival. The jacket design is a re-print of wallpaper printed by Curwen Press in 1927.

Produced as part of The Department of Overlooked Histories at Wysing Arts Centre.

D 20.50 €

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Reading Tests. Jack Henrie Fisher & Popahna Brandes. Jan van Eyck Academie.

Posted in books, poetry, typography, writing on July 20th, 2012
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Reading Tests. Jack Henrie Fisher & Popahna Brandes. Jan van Eyck Academie.

A note about the words in the book – where they come from and what has happened to them.

Many of them, the ones on the right-side and the ones at the end, are “suspicious” words from Google Books, words from book scans which can’t be machine-read. Google offers these unreadable words as reversed Turing Tests to human readers in their project to digitize all the books in their digital library. These images of words have been gathered for this book in thousands of refreshes at the threshold to a PDF download. A human writer, in turn, has read the words for some rhythm of sense. In these tests she has rearranged them accordingly.The texts to the left are, in the first section, edited from a medium-sized dictionary used for dictionary attack, the machine procedure whereby every word of a dictionary is fired at an empty internet password field.

The second section alternates verso and recto pages from Freud’s “Mistakes in Reading and Slips of the Pen”. These pages have been submitted and resubmitted to an optical character recognition which rotates, stretches, and darkens pixels in order to bring the image closer to what might be recognized as a letter. When a recognition takes place, the image becomes a text and can be highlighted, underlined, crossed out, edited – formal actions which turn out to hinder a reading conversion the next time around. This recursivity may proceed to the point of invention – that is, a new letter is found or drawn by the reading software.

Raymond Williams’ essay “Means of Communication as Means of Production” is captured in the third section, erringly, as text, with all the mistakes this process must make from a low-resolution scan. A typographer has underlined some pertinent points within it.

At the end of the book, the suspicious, unreadable words are given over and over again to optical character recognition, alongside an interfering element – usually a curved line, the current standard for hindering spam-intending machine readers. These images, as well as whatever reading marks can follow from a recognition, are cut and straightened and moved around in each subsequent reading, on their way to becoming texts, but never completely assuming sense.

D 12 €

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Quick #6: Wolfgang Plöger

Posted in art, books, distribution, graphic design, typography on June 15th, 2012
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Quick #6: Wolfgang Plöger

Quick Magazine #6, April 2012

Wolfgang Plöger: Texas loud, Texas proud

3 colour stencil print

D 7€

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About Graphic Design. Richard Hollis. Occasional Papers.

Posted in art, books, distribution, graphic design, typography, writing on June 13th, 2012
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About Graphic Design. Richard Hollis.

The book features a comprehensive selection of writings by renowned graphic designer, graphic design theorist and historian Richard Hollis, including interviews, essays, letters, articles, lectures and course outlines. About Graphic Design is densely illustrated with over 500 thumbnail images.

Edited by Richard Hollis
Designed by Richard Hollis with Pedro Cid Proença

D 19€

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Graphic Design: History In The Writing (1983-2011). Occasional Papers.

Posted in art, books, distribution, graphic design, typography, writing on June 13th, 2012
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Graphic Design: History In The Writing (1983-2011).

The first anthology of its kind, Graphic Design: History in the Writing (1984–2011) comprises some of the most influential published texts about graphic design history. The book documents the development of the relatively young field of graphic design history from 1983 to today, underscoring the aesthetic, theoretical, political and social tensions that have underpinned it from the beginning. Included in the anthology are texts by:

Jeremy Aynsley
Steve Baker
Andrew Blauvelt
Piers Carey
François Chastanet
Wen Huei Chou
Denise Gonzales Crisp
Brian Donnelly
Johanna Drucker
Steven Heller
Richard Hollis
Robin Kinross
Ellen Lupton
Victor Margolin
Ellen Mazur Thomson
Philip B. Meggs
Gérard Mermoz
Abbott Miller
Rick Poynor
Martha Scotford
Catherine de Smet
Teal Triggs
Massimo Vignelli
Bridget Wilkins

Edited by Catherine de Smet and Sara De Bondt

D 25€

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Types We Can Make. ECAL.

Posted in art, books, graphic design, typography on January 20th, 2012
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Types We Can Make. ECAL.

Depuis le 8 septembre 2010 et jusqu’au 25 février 2011, l’ECAL/Ecole cantonale d’art de Lausanne présente «Types We Can Make» au MIT Museum/Compton Gallery. Cette exposition imaginée par l’ECAL en collaboration avec le Consulat de Suisse/swissnex Boston et le MIT Museum/Massachussets Institute of Technology offre une sélection de typographies contemporaines suisses. A l’occasion de cet événement, l’ECAL publie un livre de 150 pages.

Par le biais de cette exposition à la Compton Gallery du MIT Museum, produite avec le Massachusetts Institute of Technology (MIT), le Consulat général de Suisse et Swissnex à Boston, l’ECAL/Ecole cantonale d’art de Lausanne est fière de confronter la tradition suisse à une approche irréverencieuse plus contemporaine. Les deux d’ailleurs s’inscrivent parfaitement dans la ligne de ce qui a été fait à l’ECAL depuis l’arrivée en 1995 de Pierre Keller en tant que directeur. Notamment grâce à l’Unité de design graphique dirigée jusqu’en 2009 par François Rappo (présent dans l’exposition avec diverses fontes) et aujourd’hui responsable avec Pierre Fantys du Master in Art Direction lancé à l’automne dernier.
Cette exposition reflète totalement la politique instaurée dans cette école. On y trouve ainsi tout ce qui a permis d’hisser cette institution dans le club très select des dix meilleures écoles d’art et de design du monde. A commencer par la présence d’intervenants et professeurs de renommée internationale tels que Ludovic Balland, Cornel Windlin, Jonas Voegeli, NORM (Dimitri Bruni et Manuel Krebs). Des personnalités qui ont su dispenser leur savoir-faire tant en matière de Corporate Identity (fonte, logo, affiche…) que de design de caractères. L’apprentissage de la courbe qui va droit au but!

On y trouve également les travaux d’un grand nombre d’anciens étudiants qui ont pu expérimenter par eux-mêmes ou avec le concours de l’ECAL les différents champs de l’art typographique et les nombreuses applications qui en découlent. Qu’il s’agisse de la création pure de fontes comme celles d’Aurèle Sack, Nicolas Eigenheer, Philippe Desarzens, Mathieu Cortat, Emmanuel Rey, Jeremy Schorderet ou Ian Party. Du lancement d’un magazine tel que Sang Bleu par Maxime Büchi dont les qualités sont louées aux quatre coins du globe. D’un travail de recherche par David Keshavjee et Julien Tavelli mis en application dans l’ouvrage Typeface as program édité par JRP/Ringier et l’ECAL. De monographies d’artistes, de revues et magazines, voire même de logos comme celui réalisé pour RocNation du célèbre rappeur américain Jay-Z, par Gilles Gavillet et David Rust. De projets de scripting qui confinent au design interactif comme ceux initiés par Jürg Lehni et Alex Rich. De travaux de direction artistique par FAGETA composé d’Adeline Mollard et Philippe Egger pour Gestalten Verlag, d’Annina Mettler pour Das Magazin ou encore de Marie Lusa pour Migros Museum für Gegenwartskunst à Zurich. Sans oublier des affiches illustrées par Körner Union (formé de Guy Meldem, Tarik Hayward, Sami Benhadj) et Tatiana Rihs.
La scénographie réalisée par Alexis Georgacopoulos, responsable du Master en design de produit, met en lumière les typographies grâce à des affiches au format mondial (F4), qui est celui utilisé dans les rues en Suisse. Elles sont directement imprimées sur du carton «nid d’abeilles», un matériau rigide, léger et respectueux de l’environnement.

D 40€

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