Woodblock poster, edition of 200, signed in pencil, 51x76cm.
Printed by Adams of Rye onto 100% recycled paper using traditional woodblock printing techniques.
£75.00 + P&P
Shopping
mono.editionen #03 with Taryn Simon
A pretty little package in those lovely photographers’ glassine envelopes, containing not only a reprint of our original issue #15 from 2008. And also an interview addendum with Simon talking about her latest work ‘A Living Man Declared Dead and Other Chapters’, as well as ten plates thereof, printed as a set of separate cards.
MasterMind
Art direction, fashion styling and visionary photography
The world of fashion has always been motivated by new ideas and changes. Parallel to its evolution are the images put up by visionary art directors and fashion photographers who ensured the beauty of life and visions of the future are explored.
With focuses on the artistry of art direction and fashion photography, MasterMind highlights the modern sensibility to beautiful ideals built around the world’s immediate environment, technicalities and basic body forms. Bringing together 23 astute creative units whose diverse expertise are consistently awe-inspiring, this book gives a multi-dimensional review on how these artists have made discoveries and visualised ideas through scene setting, fashion direction and character design in real space. Get to understand more about these visual artists in their most recent portfolios of fashion editorials, advertorials, portraiture, movie stills and personal works, introduced with a heart-to-heart dialogue with every one of them.
Published by Victionary
Price and Availability
US$42.00
Available worldwide in October 2011
Specifications
- 288 pages
- 190 x 255 mm (H)
- Full colour throughout
- Softcover
- English
- ISBN 978-988-19438-6-6
Eye Sea Posters sources original vintage film posters from around the world and makes them available at affordable prices. The collection is handpicked with an emphasis on design. Eye Sea Posters specialize in Polish film posters from the 60′s and 70′s by artists like Jerzy Flisak, Maciej Zbikowski and Maciej Hibner and upload new stock to our site regularly.
What does a beautiful book mean in this contemporary era? This issue of GRAPHIC features the best book competitions mostly in Europe. Through the interviews with the members of committee/jury and the designers’ comments on the winning books, this issue is looking for the meaning of beautiful book.
EDITORIAL
This issue of GRAPHIC covers best book competitions that judge the “beauty” of the contending books. A total of eight competitions or events are included: national competitions (from the Netherlands, France, Belgium, and Sweden as well as the best-known one, The Most Beautiful Swiss Books) that reflect the book culture of their respective countries; Best Book Design From All Over the World held in Germany, which is the most representative international competition; Walter Tiemann Prize which is a unique competition focusing on typography; and Beautiful Books in Korea, which was held for the first time to select Korean books with good design.
As the titles suggest, the purpose of these competitions is to select the most beautiful books from each country. This means we can look at current trends in book design by examining them, which is the starting point of this issue. We hope the biggest benefit is that it provides a comprehensive overview of the criteria of a “beautiful” book sought by each competition.
The key sentence that penetrates the theme of this issue should be “What does a beautiful book mean to you?”, which is the question we presented to every interviewee. Of course, the intention was not to get the best answer but to collect various ideas on the qualities of a “beautiful book” from this ambiguous question. This question is also directed at ourselves and our readers, with the goal of prompting renewed reflection on book design by reading the answers and asking ourselves the same question at the same time.
Every text (such as interviews or comments from juries and designers) is, in fact, linked to this question. While the interviews with the organizers of the competition explain the unique cultural background of selecting “beautiful books,” the jury’s commentaries provide aesthetic justifications for it by summarizing why a particular book is beautiful. The comments from the designers strenuously reflect current trends, which equate the design process to book design itself.
It was only with the generous cooperation from the organizers and jurors of the competitions and the designers that this issue of GRAPHIC could be published. We would like to convey our sincere gratitude to every contributor.
CONTRIBUTORS
Anisha Imhasly
Arina Stoenescu
Cornel Windlin
Etienne Robial
Greger Bergvall
Julia Blume
Julien Magnani
Just Enschedé
Konstanze Berner
Lim Kyungyong
Pierre Huyghebaert
Uta Schneider
Vanessa van Dam
