This publication is an extraordinary collection of texts by the outstanding Polish poet Tadeusz Różewicz who died in 2014. It consists of several dozen poems — from the time of his debut to the recent years — which appear for the first time in the form of a book. The book includes a CD with recordings of the author’s interpretation of these texts.

Architecture: power, business, ambition is a book by Łukasz Wojciechowski. The cover was letterpress-printed from handset Paneuropa, a Futura follower made in the 1930s by Polish foundry Jan Idźkowski. The interior is printed offset with Pantone spot colors, typeset in Avenir Next. Read more about book (in Polish) on unpubleashed.pl.

The FLUX Feelings book was designed by Michel Welfringer for the Luxembourgian exhibition curated during the Rencontres de la photographie de Arles 2017

Under the theme “Territorial”, gathering 31 artists, the exhibition FLUX Feelings was a great success during the 48th edition of the photography festival from the very opening of the exhibition with about 10,000 visitors.

The artworks along with pictures of the exhibition were gathered in the FLUX Feelings books on about 276 pages, with texts in French and English.

Edited by Lët’z Arles

35-FTR was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica. It combines the best of both with the foundation of a geometric sans but the proportions and rhythm of the Swiss classic.

Inspired by the aesthetic of vintage user manuals, this book is a beautifully-designed reference guide for everyone interested in film photography. It is the first book to reestablish the principles of this art form for a new generation, and will play an important role in redefining analogue photography for today’s professionals and enthusiasts. Published by Vetro Editions.

This book, designed by Roman Seban with the typefaces Helvetius by Matthieu Cortat and GT Sectra by Grilli Type, brings together most of the debates that took place during the colloquium “Collecta, des pratiques antiquaires aux humanités numériques”. It deals with the issues raised by the meeting of the history of art, design and computer science.

With Reflections, Eatock explores the physical form of the book, by using photographs of reflections, which line of symmetry are aligned with the pages binding. The turning of the pages echoes and adds depth to the two dimensional plane of each photo. (ref. the pealing apart of ink blot paintings, Rorschach test cards). The reader is goaded to put stress on the intersection of pages, generating a morphologic change in the shape of the book & producing creases on the spine. — Possible Books

Suisse Int'l is part of the Suisse typeface, available from Swiss Typefaces.

The book Grenzgang by Felix Steinhoff was designed by Oliver Modosch in collaboration with Felix Steinhoff, using the Formular typeface.

Identity and editorial design for the exhibition El Saler per al poble, ara!
Client: La Nau, Universitat de València, 2017
Design: Dídac Ballester and Pau Orts
Photos: Carles Rodrigo

Künstlerhaus Bethanien is an international cultural center dedicated to supporting contemporary visual arts. The catalogue Astral Bodies examines the influence of esoteric practices in art. The catalogue shows work by different artists like Alicia Kwade, Christian Jankowksi and Claudia Wieser, and accompanying texts by Thomas Macho and Shubigi Rao. The design of the book refers to the topic in a very clear, still subtle way with an altered typography, a dark blue metallic book cover and a black edge finishing.

Behind every branding project there’s dozens of ideas that never saw the light of day. Featuring 12 design studios from around the world, The Process takes an exclusive look at never seen before branding concepts, unused logos, scrapped posters and forgotten artboards from 17 different projects.

Size: 125mm × 176mm. Pages: 244
Paper: Arjowiggins' Curious Collection Skin i-Tone® Black 270g and Mohawk Superfine Eggshell i-Tone® Ultrawhite 118g

Design of academic books for the publishing platform Ediciones Abierta by ©TIRONI.
Conflictos, controversias y disyuntivas is the first of a series of four books that are part of the research project “Addressing Local Conflicts in South America: New Responses for New Scenarios”.

This project uses Berenjena complete family and Modérnica (in Light, Book, Regular, Medium, Bold and Heavy weights). Both were designed by Javier Quintana.

Editorial Production: TIRONI
Editors: Rodrigo Araya, Florencio Ceballos
Associate Editor: Matías Rivas, Fiorella Oneto
Designed by Juan Fernando Mercerón

Cover illustration by Rodrigo Martínez
Printed at Salesianos Impresores (Santiago, Chile)

Published by Ediciones Abierta, Santiago, Chile, 2017. Paper Stock: Stora Enso Creamy 80g, Mohawk Strathmore Writing Natural White 238 g. 1000 copies

Neacademia shows its affiliation for letterpress applications in this chapbook by Nova Scotia’s Gaspereau Press. Fricatives, by Gillian Sze is part of the Devil’s Whim Chapbook series, focusing on Canadian authors from various fields. Printed in a limited edition of 300 copies. Designed and typeset by Andrew Steeves.

Grüße aus Lappland (Greetings from Lapland) makes extensive use of Skolar in this 180-page statement against the homogenization of Nordic countries by Nils-Aslak Valkeapää. The title is the first within Samica, a series of multilingual and interdisciplinary books with contributions to the languages, literatures, and cultures in Sápmi, the settlement area of ​​the Saami between Finland, Norway, Sweden and Russia.

Design and illustrations by Philipp von Rohden. Typesetting by Iris Perkmann, Joshua Wilbur. Published by the Scandinavian Institute of Freiburg University.

Neacademia carries the punchy rhythms and visceral imagery of Robin Dunford in her latest poetry collection, Half Rock. Andrew Steeves of Gaspereau Press chose the typeface, which he considers to be “hands-down the best Griffo/Aldine digital revival” in his toolbox, to be printed from photopolymer plates, and used throughout the book. A love-letter to the art of traditional printing.

Designed and typeset by Andrew Steeves, printed on handmade paper at Gaspereau Press, Kentville, Nova Scotia.

According to legend, the Santa Casa, in which Maria received the apparition of the Angel of Annunciation, was relocated from Nazareth to Loreto. In 2009, Swiss artists Davide Cascio and Christian Kathriner developed a work that refers back to this legend. They created two wall carpets for the pilgrimage chapel of Our Lady of Hergiswald—a replica of the Santa Casa.

Transposition presents this temporary spatial installation that at the same time absorbs the opulent decoration of the Baroque chapel of Hergiswald and simultaneously refracts it within contemporary aesthetics.

About the typeface: Rosart is a text typeface designed by Katharina Köhler (and distributed by Camelot Typefaces) based on a specimen by Jacques-François Rosart from 1768. Along the design a comparison with types of Pierre-Simon Fournier and Johan Fleischman was made to distill the idiosyncrasy of Rosart’s letter forms. Originally cut in steel, Rosart is an interpretation from a printed specimen for today’s digital era. Rosart is created to suit the use of today’s graphic design. The glyphs are designed with a modicum of Bézier points as a phenomenon of contemporary type design. Rosart exists in 4 weights in roman and italic.

Davide Cascio / Christian Kathriner: Transposition
ISBN 978-3-944669-41-0, Spector Books
263×361 mm, 100 pages. Languages: German, Italian, English
Selected as one of the Most Beautiful German Books 2016

See more images on the websites of Studio Storz and Fabian Bremer.

Published by the Institut für Buchkunst Leipzig, the series Gutenberg-Galaxie is dedicated to the winners of the Leipzig Gutenberg Prize. The first edition was published in 2000 and is devoted to the Swiss typographer and graphic designer Jost Hochuli. In the book “Hochuli shows that there may be teaching without overbearing instruction and that new traditions can be created without destroying the old ones.” [Institut für Buchkunst]

Besides texts by Wolfgang Tiefensee, Günter Karl Bose, Philipp Luidl, Jost Hochuli and Hans Peter Willberg the content also features many samples of Hochuli’s work. The book has been edited by Julia Blume and Günter Karl Bose and received the award “Most Beautiful Books in Germany” in 2000 by Stiftung Buchkunst.

The body text is superbly typeset in Trinité No2 Condensed with Trinité No2 Italic used for emphasis. The secondary typeface Syntax Next is used for headlines, captions and the book cover.

Park Books:

Alberto Ponis was born in Genoa in 1933 and studied at Florence University, where he qualified as an architect in 1960. In the early 1960s he worked in London with Erno Goldfinger and Denys Lasdun, where he came under the strong—and lasting—influence of the then-dominant modernist and brutalist movements. In 1964, he established his own studio, Ponis, on the island of Sardinia, and in the half-century since then he has built a remarkable number of private and public buildings.

This beautifully produced volume is the first comprehensive monograph on this highly interesting and original yet little-known architect. It documents his biography, education, and training, then delves into his extensive research on Sardinia—which focused in particular on the typical housing types of the island’s rural areas. Detailed examinations of eight selected buildings created between 1965 and 1998 enable us to trace the evolution of Ponis’s work and philosophy, while a concluding essay offers thoughts on the essence of his architecture.

Source: www.christies.com License: All Rights Reserved.

achtung.photography:

Moï Ver’s book Paris is iconic in the history of photobooks.

During 1927 Moï Ver (born Moses Vorobeichic, changed later to Moshé Raviv-Vorobeichic) studied at the German Bauhaus in Dessau, under such luminaries as Moholy-Nagy, Josef Albers, Paul Klee and Wassily Kandinsky. Following his time at Dessau Moï Ver had a remarkably productive period. Paris 80 photographies de Moï Ver was published by Éditions Jeanne Walter and Ein Ghetto im Osten – Wilna / The Ghetto lane in Wilna was published by Swiss publishing house Orell Füssli, both in 1931.

Source: www.achtung.photography Image: achtung.photography. License: All Rights Reserved.

Source: www.achtung.photography Image: achtung.photography. License: All Rights Reserved.

Source: www.achtung.photography Image: achtung.photography. License: All Rights Reserved.

Source: www.achtung.photography Image: achtung.photography. License: All Rights Reserved.

Source: photohistorica.myshopify.com Photo by Photohistorica. License: All Rights Reserved.

His visionary style of imagery and avant-garde layouts have inspired many photographers and art directors since. Paris 80 photographies de Moï Ver contains collages and double exposures which are not known to exist as actual photographic prints. It is as if the photographer purposefully chose the book as the ultimate form of photographic expression. Arguably Paris established the photobook as an independent medium and art form.

His choice for the cover design of this book echoes that of E.O. Hoppé’s book Deutsche Arbeit published the previous year, yet Moï Ver takes it one step further.

The Deutsche Arbeit jacket spine uses Futura, issued a few years earlier in 1927. Paris also employs the face throughout its interior, such as the introduction and postscript. The Futura style selection and alignment on the title page is typical of German modernist typography of the time. You can find similar layouts from Ver’s contemporaries, Otto Neurath, Walter Dexel, and Kurt Schwitters.

Source: www.photoeye.com © 2004 Maya Raviv-Vorobeichic. License: All Rights Reserved.

Facsimile edition published in 2002 by Éditions 7L.

Source: gallica.bnf.fr Bibliothèque nationale de France. License: All Rights Reserved.

Advertisement for the book, as it appeared in Arts et métiers graphiques, No. 23 (May, 1931).

On 14 November 2014, a monument was inaugurated in the Trefort Garden on the campus of the Eötvös Loránd University’s Faculty of Humanities (ELTE BTK) in memory of former staff and students who as a result of anti-Jewish laws died during forced labour, or lost their lives in concentration camps and ghettos, as well as all those who met their death while serving in the army and as civilians. ELTE BTK and the Master Association of Architects (ÉME) had announced a competition for students of ÉME’s Master’s studies under the title Trefort Garden Monument Competition.

The double volume Bevésett nevek (“Carved Names”) was presented a year after the inauguration of the monument, in November 2015. The white volume contains the designs submitted to the competition, while the black volume documents the conference lectures with reference to the inauguration of the monument.

The white volume was designed by Ákos Polgárdi and the black one by Dániel L. Németh and Zalán Péter Salát, both under the art direction of Zalán Péter Salát, winner of the German Design Award Gold 2015. The white volume is as varied as the designs submitted to the competition. The book design follows the latest international design trends with a plethora of typographic elements beyond the settled visual world, and a play with sizes and forms provides an engaging experience for the reader.

The puritan appearance of the black volume represents the humility of science, the force of concentration and the calmness of thinking. The dialogue between simplicity and elegance offers the opportunity for absorption where the designer intensifies the minimalism of typography to the extreme. In the black volume, a single size of a single font family, in only Regular and Italic styles, is used. The designer’s acceptance of this provides the feeling of reading a printed version of essays with distinguished academic content on A4 paper in the most unassuming typeface. Stanley, an adaptation of Times New Roman released by the Swiss Optimo Type Foundry in 2012, is applied in the book.

The unusual approach at first sight is the conceptual manifestation of remembrance that characterises the whole project connected with the monument. The homogenized typography is a metaphor, which refers to the intention of destroying diversity — to the consistent practice of the Holocaust when state power sentenced all its discriminated citizens to the same fate without exception.

The names, dates and places of birth and death of the university’s victims can be read in 9,454 characters in a ribbon-like manner of a total length of 200 metres on the walls of the university buildings. In a similar manner, the nearly one million-character-long flow of text in the volume of studies provides the sensation of reading which is both horizontal and elongated.

In a manner that breaks with tradition, footnotes are not separated from the body text. The notes printed in bronze color are inserted right where they appear, visually echoing the bronze strips in the mortar joints of the monument.

The ribbon-like lines become highlights, even in the apparent typographical homogeneity, while the parts of the body text have remained, yet the content has received a stronger meaning. The meticulous use of twenty-seven linear memento signs makes the reader aware of the Prussian-like system of layout rules which the designers created for the volume, but in which the text shapes itself into a coherent system. The soul of the book design is provided by these twenty-seven so-called “thread page pairs”, which also represent the pictorial illustration of the black volume after omitting the photographs and graphic elements from the book.

More information on Behance.