Natural Enemies Of Books: A Messy History Of Women In Printing And Typography

This book brings together a selection of photographs by artist Mekhitar Garabedian, documenting the warehouse of his late father’s company, Melantex, which exported second-hand clothing from Belgium to the Middle East, Asia, and Africa. The images inspired a one-year sculptural intervention by Garabedian, commissioned by the Antwerp Public Art Collection.

Import—Export, Friperie tells a compelling personal and collective story of how displacement can be turned into economic livelihood while creating connections between old and new homes, languages, and textiles.

The photographs are accompanied by an in-depth conversation between Garabedian and curator Samuel Saelemakers about the relationship between photography and sculpture, public representation, and diasporic thinking.

This ambitious book brings together a wide international selection of new and recent writing by educators and practitioners who question the rules and hierarchies of graphic design education today. It holds a vivid mirror up to the ways in which graphic design is imagined, taught, received, and reproduced. Edited by two designer-educators (Brad Haylock and Luke Wood), 'One and Many Mirrors' provides an urgent overview of the field of contemporary graphic design education for all those concerned with its past, present, and possible futures.

Dear Friend is a monthly letter format publication covering design events, issues, and ideas. This publication distributed via snail mail is initiated by Sandra Nuut and Ott Kagovere.

The publication edited by Sandra Nuut & Ott Kagovere features all the letters from the Dear Friend publishing project, which they initiated at the Graphic Design Department of the Estonian Academy of Arts in 2018. The book includes contributions by Singapore-based design writer Justin Zhuang, designer and writer Else Lagerspetz, and artist Lieven Lahaye. The book is designed by Ott Kagovere and published by Lugemik and Estonian Academy of Arts.

Texts by Justin Zhuang, Lieven Lahaye, Else Lagerspetz

Letters written by Alicia Ajayi, Stuart Bertolotti-Bailey, Claudia Doms, Nell Donkers, Maarin Ektermann, Rosen Eveleigh, Maryam Fanni, Saara Hannus, Eik Hermann, Paul John, Maria Juur, Ott Kagovere, Maarja Kangro, Arja Karhumaa, Kristina Ketola Bore, Nicole Killian, Rachel Kinbar, Tuomas Kortteinen, Keiu Krikmann, Kadri Laas, Else Lagerspetz, Lieven Lahaye, James Langdon, Jungmyung Lee, Kai Lobjakas, Michelle Millar Fisher, Maria Muuk, Sheere Ng, Sandra Nuut, Laura Pappa, Jack Self, Indrek Sirkel, Paul Soulellis, Triin Tamm, Laura Toots, Alice Twemlow, Loore Viires, Sean Yendrys, Justin Zhuang

A secret can be a private space for self-creation – or a shared site of pleasure.

We explore secrets in a plethora of forms and contexts. From layered accounts of mediaeval ecstasy to the unexplored sensory experience of smell. From camouflaged play to queer readings of astrological charts and the hidden history of house music. From a very analog point of view to the outskirts of the internet.

A New Program for Graphic Design is the first communication-design textbook expressly of and for the 21st century. Three courses—Typography, Gestalt and Interface—provide the foundation of this book.

Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A New Program for Graphic Design serves as a practical guide both for designers and for undergraduate students coming from a range of other disciplines.

Synthesizing the pragmatic with the experimental, and drawing on the work of Max Bill, Beatrice Warde, Muriel Cooper and Stewart Brand (among many others), it builds upon mid-to-late 20th-century pedagogical models to convey contemporary design principles in an understandable form for students of all levels—treating graphic design as a liberal art that informs the dissemination of knowledge across all disciplines. For those seeking to understand and shape our increasingly networked world of information, this guide to visual literacy is an indispensable tool.

David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

Dutch graphic designer Karel Martens (born 1939) has been an influential figure in the visual culture of the Netherlands for many decades. Alongside his commissioned projects, Martens has maintained a commitment to this personal and iterative way of printing, which shows how creative practice often spans perceived disciplinary boundaries.

For each day of this elegant 2023 calendar, Martens has created a unique abstracted form to serve as a number—originally constructed using his signature method of printing letterpress monoprints from found metal forms, which are then digitized to comprise 365 compositions in total. The piece’s reference to the daily practice of art expresses Martens’ own approach as a designer and educator: “every day is a new day.”

Over three dozen c**ts of every size and description for you to color. Originally used for a sex-education class. Crayons not included. First published in 1975 by lesbian activist and artist Tee Corinne.

"In 1973 I set out to do drawings of women’s genitals for use in sex education groups. I wanted the drawings to be lovely and informative, to give pleasure and affirmation. I organized the drawings into a coloring book because a major way we learn to understand the world, as children, is by coloring. As adults many of us still need to learn about our external sexual anatomy." —Tee Corinne

Tee Corinne was born November 3rd, 1943 and grew up in St. Petersburg, Florida. Her mother, also an artist, introduced her to the creative principles and techniques that would serve her all her life. She received a B.A. in printmaking and painting from the University of South Florida, then went on to get an M.F.A. in drawing and sculpture at Pratt Institute, graduating in 1968. Afterwards she taught for many years, traveled through Europe, and finally became enmeshed in the back-to-the-land movement and communal living. After nearly ten years of marriage to a man she referred to as her "best friend," Corinne came out of the closet amidst severe depression in 1975. The strength to accomplish this difficult effort would later propel her to heights and achievements that would distinguish her as "one of the most visible and accessible lesbian artists in the world." From the mid-1960’s to the day she died Corinne created, published, and exhibited her art and writing around the world. She was a co-facilitator of the Feminist Photography Ovulars and a co-founder of The Blatant Image, A Magazine of Feminist Photography. She was the author of one novel, three collections of short stories, four books of poetry and numerous arts publications. In 1980, she was one of ten selected artists invited to have their work exhibited in the Great American Lesbian Art Show. The world lost Tee Corinne to cancer in 2006.

New York-based professor Lytle Shaw journeys to Italy in this adventurous exploration of the life and work of architect, designer, and photographer Carlo Mollino (1905–1973). In 1933 the young Mollino received a commission from Mussolini’s regime for his first building: an administrative centre in Piedmont. Later works include furniture and interior design, a book on photography, and an asymmetrical car that raced at Le Mans in 1955.

The book centres around Shaw’s realisation that this prolific talent’s conflicted legacy offers a unique window on the role that post-war Italian politics and culture played in the country’s reimagining of itself as a victim, rather than a proponent, of fascism.