Graphic Design

Design Dedication: Adaptive Mentalities in Design Education
Annelys de Vet (ed.)
Valiz, Amsterdam - 20.00€ -

Design Dedication makes a plea for adaptive mentalities within design pedagogy, with a non-normative approach to design practices. It explores an attitude in and towards design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form and collaborative in practice. How can we talk about and bring out the political that’s inherent in the work that design students are doing? How to work on specific urgencies that are rooted in experience and narration? What are the underlying values of such a pedagogy? What kind of practices are developed in the context? How can an institute support and safeguard this? 

Design Dedication explores these approaches through statements from within and reaches out to design students, designers, artists, and teachers who are open to questioning their own practices and reformulating values in design dedication for a yet unpredictable, but surely dedicated tomorrow.

Contributors: Hannes Bernard, Michèle Champagne, Rana Ghavami, Anja Groten, Agata Jaworska, Anastasia Kubrak, Sherida Kuffour, Gui Machiavelli, Daniel van der Velden, Annelys de Vet and many others.

CAPS LOCK
Ruben Pater
Valiz, Amsterdam - 25.00€ -

Capitalism could not exist without the coins, notes, documents, graphics, interfaces, branding and advertisements; artefacts that have been (partly) created by graphic designers. Even anti-consumerist strategies such as social design and speculative design are being appropriated within capitalist societies to serve economic growth. It seems that design is locked in a system of exploitation and profit, a cycle that fosters inequality and the depletion of natural resources. 

CAPS LOCK uses clear language and striking visual examples to show how graphic design and capitalism are inextricably linked. The book contains many case studies of designed objects related to capitalist societies and cultures, and also examines how the education and professional practice of (graphic) designers supports the market economy and how design practice is caught within that very system.

The content of CAPS LOCK is structured in chapters with titles of professions that designers can occupy (such as Educator; Engineer, Hacker, Futurist, Activist, etc.). These titles respond to the importance of not just how designers make work, but also how they perform daily economic and social roles.

Empathy Revisited: Designs for more than one
Mariana Pestana (ed.)
Onomatopee - 24.00€ -

Ideas, utopian propositions and practical solutions for reinterpreting and reconnecting empathically with the world around us.

 

This book brings together ideas and projects that seek to define a new role for design based on empathy.

As a mediator of emotions and feelings, design is presented here as a practice that takes care as its main purpose. Designers adopt sensitive, diplomatic, sometimes therapeutic functions, with the aim of connecting us with one another but also with the world around us, with other species, with soil, water and even the universe. In this book, the reader will find new ideas, utopian propositions but also practical solutions for reinterpreting and reconnecting with the world around them. Taking food as a key medium of encounter, both between people and also with the more than human world, the designers featured in this book consciously operate in a multi-scalar realm – from the invisible microbial life that lives in our gut to the vast landscapes transformed by agricultural practices. Designs for more than one are those that take into consideration not just their immediate user or client but the many constituents inevitably impacted by any new object or action.

Edited by Mariana Pestana with Sumitra Upham and Billie Muraben.

With written contributions by Ekin Ozbicer, Mariana Pestana, Susan Lanzoni, Naz Şahin, Billie Muraben, Sumitra Upham, FRAUD, Luigi Coppola and Vivien Sansour and Pelin Tan, Aslıhan Demirtaş, Black Athena Collective, theOtherDada, TiriLab, Counterspace, Anna Puigjaner (MAIO) with Alina Abouelenin, Aslı Uludağ, Dele Adeyemo, Young Curators Group, Eylül Şenses, Ulya Soley, Nur Horsanalı, Studio Ossidiana, Orkan Telhan + elii, Ibiye Camp, Ben Thorp Brown, Paula Gaetano Adi, Meriem Bennani, Calum Bowden, Jawa El Khash, Emmy Bacharach, Alice dos Reis, Macedo Cannat, Future Anecdotes.
 

Revue Faire - Issues 27-30
Various
Éditions Empire - 30.00€ -  out of stock

Critical publications dedicated to the analysis of Graphic Design are sadly few and far between today, particularly in France, but also in Europe as a whole.

Adopting an analytical and critical posture with regard to the forms and activities of Graphic Design, Sacha Léopold and François Havegeer established in 2017 a printed publication that deals with these practices. The publication works with eight authors (Lise Brosseau, Manon Bruet, Thierry Chancogne, Céline Chazalviel, Jérôme Dupeyrat, Catherine Guiral, Étienne Hervy and Sarah Vadé).

Revue Faire - Issues 23-26
Various
Éditions Empire - 26.00€ -

Critical publications dedicated to the analysis of Graphic Design are sadly few and far between today, particularly in France, but also in Europe as a whole.

Adopting an analytical and critical posture with regard to the forms and activities of Graphic Design, Sacha Léopold and François Havegeer established in 2017 a printed publication that deals with these practices. The publication works with eight authors (Lise Brosseau, Manon Bruet, Thierry Chancogne, Céline Chazalviel, Jérôme Dupeyrat, Catherine Guiral, Étienne Hervy and Sarah Vadé).

I See That I See What You Don't See
Otero Verzier M. & Van Westrenen F. (Ed.)
Het Nieuwe Instituut - 22.50€ -

This “black book” published by Het Nieuwe Instituut presents a layered, non-binary notion of darkness. Navigating through cosmic, automated, and seemingly invisible environments, it delves into what we do not generally get – or choose – to see. Moreover, the book explores the relation between the possibility of seeing and forms of oppression and emancipation. Sharp book design frames contributions by the Academy for Urban Astronauts, Ramon Amaro, Danilo Correale, Jonathan Crary, Aldo van Eyck, Ludo Groen, Bregtje van der Haak, Saidiya Hartman, Marten Kuijpers, Momtaza Mehri, Melvin Moti, Lucy McRae, Johannes Schwartz, Dirk Sijmons, and Leanne Wijnsma.

Dutch/English.

Published 2020.

Sisters of the Wind
Juliette Lizotte aka jujulove
Office of Metaphors - 20.00€ -

Sisters of the Wind is the fruit of artistic research on witches, ecofeminism, and science-fiction carried out between 2018 and 2021 by Juliette Lizotte aka jujulove. It is a story that weaves through seven videos and can be experienced in different ways: an interactive audiovisual performance, an online world-building workshop and role play session, and this publication!

The publication concludes the three world-building workshops and role play sessions part of the project which took place online in February 2021 due to the COVID-19 pandemic, though they were originally intended to unfold in the form of live action role play (larp). This new constraint led us to perform the worldbuilding and role play exercises in an etherpad, an open source digital tool for co-writing text in real-time. The outcome of these sessions was archived and used as material for the publication. 

This "choose-your-own adventure" story consists of three parallel worlds that were co-created during three sessions, each lasting three hours. The core of the story was similar, but the direction the sessions took were quite unique. As the story unfolds, you are asked to make decisions to travel from one world to another: creating your own version of the story by following your instinct or challenging your impulses!

Sisters.°·
The wind is returning, as it always does. Sometimes it blows so hard that it carries artifacts away from the cities it tore apart, seeds from far away places, trees that didn’t have enough time to grow stronger... That’s why you always seek a protected area to settle in, relocating as the wind comes and goes in waves. You are witches. You pay attention to the world and try to make sense of this life together through the phases of the moon from maiden to mother to crone. In your community, the feminine spirit dominates, and all gender expressions are celebrated. When your precarious life is threatened by an unsettling prophecy announcing a deadly wind that will prepare the earth for a new cycle, will you go on a journey to find the source of this wind? What will you discover on the way? How will this transform you, your sisters, and the earth forever?


Edition of 100 published by Office of Metaphors, printed in Riso in May 2021 in Amsterdam.

Mamma Rassise No.3
Marine Forestier
Self-Published - 6.50€ -

Écrire comme être un chiton, c'est à dire de soi extraire la soie chitineuse. Les squames calcaires exsudés de son fragile : des miettes d'écailles et de spicules tapissent un devenir-mollusque. Au dedans mouolles mais affamé.es, brouteur.euses bestial.es à l'aube de grignotage ; il y a de quoi gratter !

avec les textes de Leo Go, moilesautresart, Marine Forestier, Suzette Haden Elgin, Ninoa André, Valentin Godard, Lucas Lazzarotto, GPT-3 soua la houlette de Guilluame Seyller; et les dessins de Patricia Lino Dias, Alix Penon.

Imprimée en mai 2021.

Adrian Piper: Necessary Questions
Isabelle Sully (ed.)
Publication Studio Rotterdam - 9.00€ -  out of stock

Consisting of an internal report written by conceptual artist and philosopher Adrian Piper in 1998, Necessary Questions takes Wellesley College, Massachusetts—where she was then on staff—as a case study in institutional racism and neglect. As such, the report could be read simply as an administrative document, though one drenched in meticulously clear advice that could still be, despite being written twenty-three years ago, taken up on a glaringly universal level. Yet the role the report went on to play in Piper’s life proves it’s not just a context-specific document, but an all-too-real example of exactly what it stood against: the ways in which the langue of protocol and the false façade of civility are utilised as tactics to ensure that one stays in their place.

It is the third title from Unbidden Tongues, a series edited by Isabelle Sully that focuses on previously produced yet relatively uncirculated work by cultural practitioners busy with questions surrounding civility and civic life—particularly so in relation to language.

Ruth Wolf-Rehfeldt: Introverse Arrangements
Isabelle Sully (ed.)
Publication Studio Rotterdam - 6.00€ -  out of stock

Introverse Arrangements is centred on the work of German artist Ruth Wolf-Rehfeldt who, despite only recently garnering attention for her work, is most known for a period of geometric and poetic typewriter drawings produced between the 1970s and 1990 while employed as an administrator for the German Democratic Republic.

It is the first title from Unbidden Tongues, a series edited by Isabelle Sully that focuses on previously produced yet relatively uncirculated work by cultural practitioners busy with questions surrounding civility and civic life—particularly so in relation to language.

Karen Brodine: Woman Sitting At The Machine, Thinking And Censorship
Isabelle Sully (ed.)
Publication Studio Rotterdam - 8.00€ -  out of stock

Woman Sitting at the Machine, Thinking and Censorship is a two-part collection of poems by typesetter, activist and poet Karen Brodine. First published posthumously in 1990 as a reflection on her life
 as a typesetter, union organiser and lesbian, this series of ‘work poems’ chronicles labour struggles, both personal and collective, and draws on her experience growing up surrounded by socialist feminists immediately following the wrath of McCarthyism.

It is the second title from Unbidden Tongues, a series edited by Isabelle Sully that focuses on previously produced yet relatively uncirculated work by cultural practitioners busy with questions surrounding civility and civic life—particularly so in relation to language.

Revue Faire n°30: Types of types: the typographic specimen by Lineto
Olivier Lebrun
Éditions Empire - 10.00€ -

For Lineto (https://lineto.com) the Specimen plays out through forms and formats in order to promote the foundry’s typefaces: books, posters, envelopes, pamphlets, letter transfers, print ads, and video clips as well as inflatable structures and bootlegs of logotypes. When Reala published LL Biff in 2000, the specimen employed graffiti culture and its modes of distribution, along with a combination of two references: “Medium is the message”*, “Style is the message”**. For Lineto the citation is a form that allows them to distribute their typographic catalogue while promoting diverse cultural fields: “Ignorance of your own culture is not considered cool!”***

* — Marshall McLuhan, Understanding Media: The Extensions of Man, 1964
** — Tony Silver and Henri Chalfant, Style Wars, 1983
*** — Print ad for Lineto published in Dot Dot Dot #16, 2008 that cites The Residents, Duck Stab Poster, 1978

Revue Faire °29: Girls, the Troopers of Dance
Alexandra Midal
Éditions Empire - 7.00€ -

The British origins of synchronized dancing—invented in 1880 by John Tiller in a cotton mill—were quickly forgotten in Berlin, where periodicals established themselves as the expression of standardization and American capitalism. The famous Tiller Girls had become the modern figure of the “New Woman”, performing in shows attracting more than four million spectators each year. A seduced Hitler asked for his own troupe: the Hiller Girls. Face to face, both periodicals look like strictly indistinguishable replicas, apart from their opposite messages.

Synchronized dancing revealed the democratic and fascist forms given to the political discourse of the Weimar Republic when the NSDAP seized power. Between the power of forms and forms of power, amid the destruction of cities, decrees banishing the use of Fraktur, and the destruction of degenerate art, those dance shows, undoubtedly because of their popularity, showed that National Socialism was using insidious and invisible strategies to empty forms of their content only to maintain their appearance intact, thus revealing a shadow practice that, in the end, turned out to be just as barbaric as world-wide destruction or the burning of books.

Revue Faire n°28: The Conference: A Format
Manon Bruet, Area of Work
Éditions Empire - 7.00€ -  out of stock

There are an increasing number of spaces in the field of Graphic Design where work can be promoted. Intermediary platforms between practitioners and the public can come in the form of specific tools (Instagram, for example) or even events that are organized for that purpose (festivals and exhibitions). The conference is one of these platforms. A true ephemeral editorial object, it is highly suited to the explanation and extension of the practices and methodologies of designers. It is, for certain designers, the opportunity to take stock of an approach, an inventory of finished forms, and for others, on the contrary, a pretext for the production of new, sometimes more performative, even experimental forms.

Revue Faire n°27: Rhizomes of London
Sonia de Puineuf
Éditions Empire - 7.00€ -

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.

Revue Faire n°26: Production Process
Manon Bruet
Éditions Empire - 7.00€ -

In 2008, English Graphic Designer James Goggin ran a two-day workshop with design students at the Hochschule Darmstadt in Germany. The object which resulted gradually took on the appearance of a photo album, a typeface specimen, and a color chart. On the cover, the phrase “Dear Lulu, Please try and print these line, color, pattern, format, texture and typography tests for us” is clearly addressed to the online print platform for which this book was proposed as a test.

Ten years later, the offer has become more diverse and the success of such online platforms is undeniable—indeed the phenomenon has spread well beyond the field of publishing. While some bemoan unfair competition for printers, others, professionals and amateurs, see in it a freedom to print and distribute relatively well finished objects at low cost.

The possibilities of these systems of production, are multiple but nonetheless limited, and this obviously raises the question of a possible standardization of forms and formats. However, when it comes to Print On Demand, it seems that the issue is not so much the materiality of an object (the choice of format, paper or a particular manufacture) but rather the actual existence of this object itself, outside of usual channels of production and distribution.

Revue Faire n°25: Exhibition Views?
Remi Parcollet
Éditions Empire - 7.00€ -  out of stock

Photographs of works of art in an exhibition or studio setting, enlarged to the size of the wall, have become an essential and increasingly systematic element of contemporary museography. The institutional curator accompanied by his or her set designer, and the independent curator, both use them as much to recontextualize works as for their aesthetic qualities as documentary images that have become immersive and reflexive.

The obviously richer relationship that artists have with these unique images reveals in various ways what is currently at stake in the act of exhibiting.

To create a kind of retrospective of his work, in 2016 Johnathan Monk debuted a series of exhibitions entitled Exhibit Model*, which consisted of covering the walls of the exhibition space with archive photographs that documented his work in different contexts over the last 20 years. Marie J. Jean considers these staged exhibition views as a form of augmented reality: “This manner of considering the exhibition, in other words, of exhibiting the work along with the context of its appearance, reminds us that the work of art “is a place”, “establishes a place”, is “a has taken place**”.

However for Johnathan Monk, who often uses the work of other artists, isn’t it simply a way in which to appropriate his own work?”

Revue Faire n°24: A Theater Identity
Cornel Windlin
Éditions Empire - 7.00€ -  out of stock

Designed by Cornel Windlin (with Gregor Huber), the communications of the Zürich Schauspielhaus for the 2009/10 and 2010/11 seasons appeared just as the collaboration between the designers and the theater ended: with the Grand Prix of the Brno Biennial in 2010, where they won first prize in the international competition, with an exhibition in Chaumont the following year at the same time as the Swiss Federal Design Award, a brief appearance in specialist magazines and on specialist sites, and then nothing at all.

Once again, Cornel Windlin retreated into the shadows, leaving behind work which asserted itself through both its amplitude and completeness in the heavy silence which remained, and through the multifaceted mass of the media imagery that it reactivated. A series of seasonal posters, event posters, annual and monthly programs, booklets dedicated to each piece, invitations, flyers, graphic materials from the program for younger audiences… everything is here, set in a precisely tuned bold Unica77, digitized by the Lineto foundry with the original team of designers (along with Windlin), all coming together in that blindness inherent to times of eclipse, where the black disk chosen by Windlin as the identity of the Schauspielhaus stands out. Now, a decade later, the idea is to propose a meticulously organized reception, informed by Cornel Widlin and placed in a cavalier perspective by the analysis of Thierry Chancogne.

Revue Faire n°23: A Portrait
Ziga Testen
Éditions Empire - 7.00€ -  out of stock

Design history as an independent discipline and field of study appears to be in trouble. Design historians complain about its diminishing influence within universities due to the ongoing instrumentalisation of higher education. The Eurocentric canon built upon values and methods adopted from art and architecture history has been contested by decolonial theories. And finally, it appears that the trust in the institution of ‘history’ itself and its meta-narratives has eroded.

A discipline that was once considered to provide reflection on what came before and guidance on what could come to be—under the auspice of a grand narrative of continuous progress—has been replaced by modest narratives, social anthropologies, and claims of the ‘end of history’.

In this article, I rummage through the ruins of design history and try to unpack what it was that we once considered design history and our design history canon, how we wrote about it and to what end. In particular, I focus on this one image: a portrait photograph of a well-known historical figure, the designer and typographer Jan Tschichold. How is it used? And what stories do we tell about it?

Design Struggles - Intersecting Histories, Pedagogies, And Perspectives
Claudia Mareis, Nina Paim (Eds.)
Valiz, Amsterdam - 27.50€ -

This publication offers a critical assessment of the complicity of design in creating, perpetuating, and reinforcing social, political, and environmental problems, both today and in the past. It proposes going against the grain by problematising Western notions of design to foster situated, decolonial, and queer-feminist modes of disciplinary self-critique, and looks at design through the intersections of gender, culture, ethnicity, and class. Applying robust scholarly insight with engaging and accessible modes of conveyance and storytelling, an urgent and expansive array of voices and views emerge from those engaged in struggles with, against, or around the field of design.

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