Zoé et les papillons du souvenir (Hors-collection) (French Edition)

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Would you like us to take another look at this review? No, cancel Yes, report it Thanks! You've successfully reported this review. We appreciate your feedback. September 6, Imprint: Moveable letters forming the word SWING were placed at the entrance to the exhibition, visitors being free to rearrrange them as they wished….

Clifton and Basetica, TF This exhibition catalogue presents a variety of different images: The metallic ink constitutes a unifying visual background, linking the many different meteorites illustrated throughout the work. The layout of the pages takes its inspiration from the idea of gravity the text is placed at the top of the page with the images and titles at the bottom.

The bluish sheen of the hot foil printing and the recurring motif of meteorites apparently suspended in space instantly convey us to a cosmic dimension. These presentations conform to certain rules, generally being of standard poster format A0 with text in simple lettering. They are hung on mesh screens that provide temporary exhibition space in a large hall or multi-purpose room. We started by holding discussions with a team made up of researchers from different fields, accustomed to this kind of procedure. Our solution was to make a poster tree, a collapsible stand on which fabric posters — varying in graphic design and format according to what is being presented — can be displayed.

The posters can also be used as scarves or clothes for the scientists during their presentations. It is work in progress. The young graphic artists Quentin Juhel and Dimitri Charrel took part in the project and the design of some of the posters presented at this event. The range of colours inks, end papers, hot foil… is new, the order of the moons has been changed around and… a new moon makes its appearance! The solution was a box of surprises illustrating the remarkable typographical work produced by this studio. Frac Aquitaine, Printed by: Graphic identity The graphic identity created for Frac Aquitaine is based around a single strong shape or emblem.

Resembling an A standing on its own inverted reflection, it also has elements of a compass or a banner.

It focusses, centers, points… It plays a part in the graphic structure of every document on which it appears dividing columns, marking the gutter folds, spacing the text, superimposing itself…. Color is all-important in the graphic design, using only spot colors. Each item is designed to be functional. The brochure separates text from image with a fold running midway down the page — making it easier to put in your pocket as well. The logo on successive publications appears in a variety of different colors making it possible to distinguish them one from the other and collect them!

On the posters, the logo is centered, giving it a hieratic appearance that enables it to be instantly recognized in urban spaces. Text and images are added in a tightly controlled format. The changing gradations in the colors in the course of a print run give a feeling of fluidity to the whole. Cipac, Printed by: Brochures, bags, business cards, etc. The Cipac is an association which brings together professionals of contemporary art and organizes professional training courses, among other activities. Elementary forms with bright colors complement each other and mutate. The folds and playful layout bring surprises and compose a dynamic union.

Fondation Facim, Printed by: The Foundation produces a wide variety of documents brochures for tourists, cultural and corporate communications, etc aimed at specific sectors of the public. The aim of this graphic identity is to give a kind of coherence to this diversity. My approach to the design was essentially pragmatic since each document is, first and foremost, a practical tool. The arrangement of the indexes, maps and photographs is dictated by the way in which the document is to be used.

The unifying theme of the work as a whole is photography. Centre Pompidou, 4 February Printed by: The designs of each of the different series refer to one of the graphic features of the centre: At a certain point during the celebrations, the giant confetti was shot out of cannons, the visitors picking up pieces from the ground to keep as a small printed souvenir of this joyful occasion!

Centre Pompidou-Metz, Printed by: The title appears through holes cut in the dust jacket, the cut-outs being preserved and placed between the pages of the book as in a flower press. The plain background colours luminous, earthy, vegetable applied to the offset paper act as a screen for the texts and images. They indicate the different parts of the book and, in particular, point to the essays that punctuate the book. Graphius — Geers Offset Description: The book, with its transparent envelope and 16 stickers, makes iconoclastic reference to the popular Panini sticker albums.

The works of art are printed in colour on the shiny side of the stickers. Inside the book, coloured rectangles with captions show where the stickers should be placed. The page numbers appear now in this corner, now in that, in a variety of different combinations. A ghostly arrangement of piled up images appears in black on the back cover. Logic, chance, system, playfulness, humour… a printed and graphic homage to the mischievous nature of the artist!

This tangled composition emphasises the geometric and coloured connections between the various works… as if these square shapes were carrying on a friendly conversation! Describing himself as a gypsy painter, he works in a wide variety of mediums, often in collaboration with others in a wide circle of friends he calls La Demestria.

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Begun when he was still a teenager, the series of engravings presented in this book is reproduced in a blue identical with that of the original proofs. The surrounding page surface, slightly greenish in colour, creates an effect of luminous contrast, the images seeming to float in it. The materials, colours and eclectic typographical registers used in the book suggest now alchemy, now something more down-to-earth, reflecting aspects of the artist himself.

I sought to turn to advantage the various constraints imposed by the project the variety of different supports and formats, the need to use four-colour process printing, the amount of content… in order to assert and enhance its visual identity. Regardless of the type of support, the designs feature a schematic house.

While always keeping the same proportions, this could be adjusted according to the format required augmented, repeated, with bleed printing, etc. The layout of the content varied depending on the type of support: When superimposed next to a photograph, the house adapts itself to it like a chameleon. The initials of the title are also those of Pernelle Poyet, with whom we collaborated in the design of the exhibition. One section of the book presents the Jeu de Marseille, the set of tarot cards designed by the Surrealists. Some of these esoteric figures reappear in the form of pictogrammes to indicate the different parts of the catalogue.

Enigmatic lips depicted by Man Ray and Raoul Hausmann appear on the dust jacket. The filmy texture of the paper allows the works printed on the reverse side to show through, coming to the surface like distant memories. The Butterfly Printer Context: Printed using a variety of different techniques silk screen, offset, hot gilding , the detachable pages can be freely arranged like a color chart to create new combinations of colored wings.

Variations occurring in the printing process make each book unique. The book can be stood on end, the central fold separating the day butterflies section from the phosphorescent night moths section. The book is dedicated to my mother Manu who taught me to love beautiful printing and who regularly sends me real butterflies! This wonderful poetry lurked on the page in shredded strips, passed around like secret messages. The little book with its gilded top edge seems to thank us: I am determined to believe that this is not only because of the weight of the paper!

A leaflet of the fan-fold type used for postcards is tucked around the fluorescent cover encrusted with blue hairs. Appearing on the different faces of the leaflet are photographs of their Road Movie Pop Corn in which the artists take a trip on a concrete-mixer-cum-tandem-bicycle. Fotokino, Printed by: The transparency of the thin paper, offset printed on both sides, results in interesting light and color effects, while the hot foil printing both blocks out the light and adds reflections. The remaining exemplars have been folded in order to make them into books. The repetition and then subtraction of the graphic elements of the titles, in the style of a code, evoke the tension between the material and immaterial nature of digital data.

The thinness of the inner pages allows the architecture of the book to show through while the band running down the cover reveals the stigmata of some strange recycled material. The contrast between the plastic of the dust jacket and the canvas of the cover is a reference to the cross-fertilization between tradition and modernity. Motifs inspired by traditional weaving are used on the jacket that covers and protects the book. They are arranged in such a way as to allow the gold lettering on the canvas cover, applied by hot foil technique, to emerge between the patterns.

Confort Moderne, Poitiers Printed by: Television sequences created by Jean-Christophe Averty were projected in spaces designed Olivier Vadrot. Related works of contemporary art were exhibited at the same time. These test cards, in colors that do not relate to technical standards quite the opposite! Flammarion, Printed by: It explores the mutual echoes and visual and literary links permeating their creations. The cover shows the names and signatures of the artists intertwined with a restrained delicacy.

The gray background highlights the white spaces allotted to the text and to the images, reinforcing the impression of a book within a book. Some characteristics of the books are identical format, printing technique ….

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Others are different and emphasise the uniqueness of each book: The colour is diffused through a series of haloes between the sun and the sky that run into one another in an almost immaterial way. It follows on from Astronomicon and Dans la lune in an exploration of the space of a book in the same way as the space of the cosmos. The book itself, its format based on the famous series published by Gallimard, has a text in black with numbers in violet.

The paragraphs follow on from one another, the page layout being very simple. The typeface in code and the mysterious diagrams that punctuate the book are also based on the same diameter as the dots. Echoing the dot motif, all the dice faces featured in the book appear in relief on the inside front and back covers made of unbleached cardboard.

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Printed in white ink on blue-black paper, it has a layout exactly matching that of the book, the only difference being that here the dots represent constellations in the margins or else fill the empty spaces vertically and not horizontally. The cards that go with the book, numbered like giant cosmic dice, accompany us in six stages in the game. It was created in collaboration with a working group of professionals from the fields of education and graphic design. I was involved from the beginning and designed it. The kit consists of two parts. Typography, Colour, Data visualisation, Images and Layout.

The other consists of five posters presenting these themes, intended for display in the classroom. This grid becomes a multi-coloured graphic playground without influencing the layout of the text which ignores the lines. The different parts of the booklet each have their own colour, making them instantly recognisable. The images are printed in six spot colours. The typeface for the headings, designed specifically for this project, is a free adaptation of the original design by Paul Renner for Futura. The letters are composed by combining forms the pieces of a kit! The five posters the coloured backs of which correspond to the themes in the booklet so that they can be told apart when folded have the appearance of educational illustrations.

The arrangement of the visuals displays the richness of each theme and hints at their complexities. The deceptively simple and archetypical character of the graphic elements and the absence of captions which do, however, appear in the booklet are an invitation to discussion with the pupils. Not only the colours but also the types of paper differ from poster to poster, giving a glimpse of the subtleties available to graphic design. This nocturnal butterfly is a more subtle and muted. It is overprinted with a photoluminescent varnish that makes it visible in the dark….

One of these, Silvio, through contact with a woman who seems to be a double of the writer, decides to memorise the existing data on extinct languages, to save those languages on the road to extinction and also to create a language… As if to echo this story, this book is not bound.

It takes substance, nevertheless, from the magic of its folds, folded and unfolded, and can be opened up in space. It invites us to a different kind of reading, resistance reading. In loudly proclaiming its iconoclastic materiality, it gives echo to languages that are disappearing. The body of the book the inner pages is a concertina-like horizontal leaflet, the text laid out on a zigzag pagination.

A list of recently extinct languages is given as an appendix. Arranged on a vertical concertina leaflet the list can be viewed as a continuous loop… The whole book can be flattened out and then reconstructed, like a potential space. In format and layout, the softback book has been designed to be read. The flesh-coloured leatherette cover laminated onto red paper bears the name of the artist, the letters hot gilded and surrounded by small flames. The text follows, arranged on the page like a novel but printed in colour.

Une Saison graphique, Le Havre, Exhibition display: Olivier Vadrot with Dimitri Mallet Text: Vincent Vauchez This exhibition has been designed as a veritable workshop on typographical composition typesetting. An enormous oak chest is used to display and store the letters and magnetic composing sticks that allow one to compose words. The techniques and production sites vary.

Printed on the front or back, multi-page, folded or not, each letter exists as a unique graphic object, whether familiar or not. The work was naturally delimited by the economic constraints of the project, regarding format and print mode. The constant margin of 13 mm is a rather extravagant common denominator! The effort necessary for the creation of a new graphic object was, basically, multiplied 26 times!

This aspect also represents the experimental dimension of the project. A Pangram, written by Vincent Vauchez, was displayed in the window of the gallery: Through this exhibition, my idea is to reverse the scale of words which are usually contained by the printed object: A potential grammar of sorts, questioning the notion of printed documents, poetically, existentially and playfully. Une saison graphique, Le Havre, Printed by: I also wanted to suggest a parallel between a collection of butterflies and a collection of posters: The colors and reflections arouse a similar sense of enchantment.

The graceful movement of the symmetrical wings acts as a reflection of one another. Poetically, they invoke the idea of an exchange between printing and printed form… So, text and informative elements become image, following this logic.

As often in my work, the printing process guides the graphic design. For that reason, two sets of posters were printed. The series of standard posters with logotypes and text played their role as a communication tool, within the city and far beyond. The care with which it is made and its character as an object that is both popular and elegant represent a cheeky nod to the tradition of Decorative Arts. The design of the numbers is a contemporary homage to the types of applied arts collected by the museum mosaic, marquetry, woven fabrics….

Echoing the context of Decorative Arts, I chose to present my work as museum objects: The idea was to show the movement between colors and scales, the repetition and variety of different questions concealed in the box-shaped universe that is… Pinball!

Zoé et les papillons du souvenir

They rise to the challenge of presenting the joyful audacity of work without resorting to redundancy or competitive comparisons. What a colorful endeavor! Les Deux Ponts Description: The fold-out flaps allow the reader to play with dis continuity of the landscape… and the strange characters running around in the margins. Danspace Project Platform, Printed by: Photographs, drawings, poems, interviews and analyses mingle freely, providing the reader with a deeper understanding of her approach.

The covers are divided into 3 colors, in the order of cyan, magenta and faded yellow.

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The title is hot foiled with a holographic pattern. The cover works with a system of non-symmetrical flaps like arm movements. A sheet of stickers, printed separately, allows one to compose instinctively with images, for a more personal arrangement. The inside of the book is printed in black, on hammered paper.

The double column provides an ample amount of space available to arrange the words freely: Imprimerie Nationale, Poem: It is also a journey into the graphic side of characters. The first part consists of photographs taken during the printing of the book, providing a deeper look into the manufacturing process. The papers used are disparate vestiges of often precious and sometimes older bibliophile works. This recycling process produces unique combinations for each piece. These papers were overprinted with a blue hue, and the printing press, with its irregular tint block, brings out the roughness.

The blue color strays from the typically warm colors one associates with bibliophile books. The random speckled pattern on the outer band in reference to Annonay paper was done in aquatint, printed on the back of ancient marbled paper, also covered with blue ink. The film for the hot foil stamping were made by hand and combined to produce a variety of unique reflections.

The letters are inspired by some non-Latin scripts Greek, Russian … , without taking reference of one specific style in particular. As Bubunne is not based on one particular country. I also designed the main symbols representing the kingdom of Bubunne, the emblem of the crossed horse heads and the flags which was then used elsewhere in the film. Each member has a unique approach and has its own visual identity. The simplicity of the graphic system reflects this composite identity. All communication is based on an original script, the consonants are used commonly, by all members of the Cartel.

Vowels are, however, specific to each of the six associations, which has its own version of the alphabet. The unconventional design of these vowels, more graphic than typographical, only decipherable in the flux of the text. The overall sense of diversity is echoed further, by the multiplicity of colors, types of paper and varied formats and media. In the booklet-calendar, the sign is built and then deconstructed. Inside the front cover, flaps unfold to reveal a calendar, and inside the booklet, the program is presented blue on blue.

The double gray cover a refinement of canvas paper and raw cardboard underscores a particular desire to present the inner workings and ramifications of his work. La Fabrique de Fotokino, Printed by: Once colored, they could be put back into use, as the value increased, once in circulation. The graphic identity of Cipac Congress is based on the American Typewriter typeface, whose familiar letter design is, of course, inspired by the classic writing machines.

Each letter is cut horizontally, vertically or diagonally , opening up further possibilities, such as the use of typographical polychrome. Across the different uses and media, the colors and dynamics of the lettering vary and intertwine, echoing the diversity of the viewpoints presented by those invited to speak at the Congress. Villa Medici, Printed by: Cosmic landscapes were offset printed on translucent paper, front or front and back, at times using mixtures of colors in the ink to obtain random gradients.

Overlays of these posters on a light table make it possible to compose landscapes. The fragility of the paper and the delimitation of formats contrasts with the immateriality and depth of the Cosmos as shown here. In light of modern science, the words of Marcus Manilius may seem fanciful, but a universal allegorical dimension emerges from his singular interpretations of physical and meteorological phenomena. Book I of Astronomicon is based on the first printed edition of the text, prepared by Joseph Justus Scaliger, a passionate astronomy scholar.

This Latin edition is preserved in a few sparse libraries in Europe. A facsimile in the same scale as the original version, this edition is immersed in a mysterious night mood, echoing the oblivion into which the text has fallen. The French translation of the text, dating from the eighteenth century, is located on the backside of the pages, facing the Japanese version: The same logic was applied to the front of the book, which is covered in a blue-black stingray leather, on which small particles of golden dust were hot foiled.

The cover displays a photographic image of the starry sky, printed in black on canvas paper, alluding to the stardust visible on the facsimile. It has the appropriate size, smell and materials. Each double page features a rocket, which stretches horizontally, left to right, split in half by the v-center fold. The rockets are carriers of dreams and visions of the future, like a potential tool.

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