{"title":"Design History","description":"","products":[{"product_id":"the-form-of-the-book-book","title":"The Form of the Book Book","description":"\u003cp\u003eNow in its fourth printing, \u003cem\u003eThe Form of the Book Book\u003c\/em\u003e brings together essential essays on the book—its history, present, and possible futures—by preeminent graphic designers and graphic design theorists\/historians including Chrissie Charlton, Catherine de Smet, James Goggin, Jennie Eneqvist, Roland Früh \u0026amp; Corina Neuenschwander, Sarah Gottlieb, Richard Hollis and Armand Mevis.\u003cbr\u003e\u003cbr\u003eIn a nod to Jan Tschichold’s famous collection of essays \u003cem\u003eThe Form of the Book\u003c\/em\u003e (1975), this volume offers in-depth analyses of key moments in the history of book design in order to better imagine the many forms the book will take, and is already taking, in our digital age.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEdited and designed by Sara De Bondt and Fraser Muggeridge\u003c\/p\u003e\n\u003cp\u003ePublished by Occasional Papers \u003cbr\u003eFourth edition, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e96 pages, paperback with color and black and white illustrations, 14 × 23 cm\u003c\/p\u003e\n\u003cp\u003eISBN 978-0-956-26057-4\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":36586356042,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/files\/TheFormOfTheBookBook.jpg?v=1691008160"},{"product_id":"the-most-beautiful-swiss-books-2013","title":"The Most Beautiful Swiss Books 2013","description":"\u003cp\u003eFor the annual roundup of the crème de la crème of books published in Switzerland, designers Julien Tavelli and David Keshavjee of Maximage took the idea of the test print to its extreme by subjecting various pages of the book to continuously changing parameters. 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A movement that originated in the Bauhaus in the 1920s, Modernism revolutionized the way designers combine typography and imagery and affected every corner of the international design community between the 1930s and 1960s. This book is the first comprehensive documentation of the movement and features the work of over 60 graphic designers across 900 pieces of work: magazine, book, and record covers; advertisements and package designs; posters; and other projects that created the visual aesthetics of postwar modernity. Some were émigrés from Europe; others were homegrown—all were intoxicated by elemental typography, primary colors, photography, and geometric or biomorphic forms. 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It's a comprehensive resource for students, and a deliciously striking read for anyone interested in this fascinating period of design.\"\u003c\/em\u003e\u003c\/div\u003e\n\u003cp\u003e—Emily Gosling, AIGA Eye on Design\u003c\/p\u003e\n\u003cp\u003ePublished by Abrams Books, 2017\u003c\/p\u003e\n\u003cp\u003eHardcover with wrap, 336 pages, 785 color images, 9.5 × 11.5 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-1-4197-2401-5\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":12172487524442,"sku":"","price":55.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/THEMODERNS_21S.jpg?v=1622078463"},{"product_id":"poster-collection-25-josef-muller-brockmann","title":"Poster Collection 25: Josef Müller-Brockmann","description":"\u003cp\u003eJosef Müller-Brockmann’s graphics left a lasting mark on Swiss visual communication from the 1950s onward. His posters demonstrate how a sober, formally reduced language works best for conveying a universal, timeless message. 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Although it may not be difficult to find examples of his covers, when they’re shown with other examples of his work it’s easy to overlook them. Displayed alongside his firm’s intimately familiar logos for Mobil, Showtime, MoMA, and Chase, they tend to get lost. We’re inclined to notice and remember what we already know, and miss what’s less familiar to us: when in a crowd we seek out faces we recognize, the rest we barely register.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eKatherine Small Gallery's inaugural exhibition in Somerville, Massachusetts, allowed Chermayeff's (mostly) early covers to take center stage while simultaneously providing an opportunity to share insights about Chermayeff's remarkable career. \u003c\/p\u003e\n\u003cp\u003eThis detailed, full-color catalogue accompanied the exhibition and is the first survey of Chermayeff's early book covers. 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McKnight Kauffer: The Artist in Advertising","description":"\u003cp\u003e\u003cem\u003eHailed in his lifetime as the \"poster king,\" E. McKnight Kauffer's designs for the London transport system, Alfred Hitchcock, and others are an enduring influence on contemporary advertising and graphic arts\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eE. McKnight Kauffer (American, 1890-1954) was a pioneering figure who transformed the field of graphic design between the wars. He drew upon the emerging visual languages of Cubism, Vorticism, and Surrealism to create a modern graphic style that shaped the development of commercial art.\u003c\/p\u003e\n\u003cp\u003eThrough collaborations with his avant-garde peers in art, literature, and design, including the Bloomsbury Group, Marion Dorn, T.S. Eliot, Langston Hughes, Aldous Huxley, and Man Ray, Kauffer expanded the scope and impact of his field.\u003cbr\u003e\u003cbr\u003eThis groundbreaking publication is the first to address the full range of Kauffer's career, from sophisticated designs for major clients—including the London transport system, Random House, American Airlines, and Shell, as well as Allied propaganda posters during World War II—to book covers, rugs, costumes, and stage sets.\u003c\/p\u003e\n\u003cp\u003eAn interdisciplinary group of authors offer critical perspectives on the cultural context of Kauffer's work, bringing new attention to the designer's depictions of race, gender, and global politics.\u003c\/p\u003e\n\u003cp\u003e“...an intelligently edited, richly visual (with many lesser known works), superlative addition to design history.” - Steven Heller, Design Observer\u003c\/p\u003e\n\u003cp\u003eEdited by Caitlin Condell and Emily M. Orr\u003c\/p\u003e\n\u003cp\u003eDesigned by Lucinda Hitchcock\u003c\/p\u003e\n\u003cp\u003ePublished by Rizzoli, 2020\u003c\/p\u003e\n\u003cp\u003eHardcover, 276 pages, full color, 8.75 × 11.75 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-0-8478-6774-5\u003c\/p\u003e","brand":"Draw Down","offers":[{"title":"Default Title","offer_id":36958495408293,"sku":"","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/EMcKnightKauffer_19s.jpg?v=1606183677"},{"product_id":"best-dutch-book-designs-2019","title":"Best Dutch Book Designs 2019","description":"\u003cp\u003eFor the 2019 Best Dutch Book Designs competition, a total of 295 entries were assessed for their distinctive qualities by a panel of experts looking for outstanding work in areas such as content, design, picture editing, typography, choice of materials, printing, and binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBest Dutch Book Designs 2019\u003c\/em\u003e presents a comprehensive overview of the 33 selections made during this difficult yet rewarding process.\u003c\/p\u003e\n\u003cp\u003eThe catalogue includes detailed information about each publication, its technical execution, and unique insights into the significant aspects that made each one a cut above the rest.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDesigned by Team Thursday\u003c\/p\u003e\n\u003cp\u003ePublished by Cpnb (Stichting Collectieve Propaganda van het Nederlandse Boek)\u003cbr\u003eBilingual, in Dutch and English\u003c\/p\u003e\n\u003cp\u003eSoftcover, 72 pages, full color, 9.8 × 13.4 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-9-05-965909-4\u003cbr\u003e\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":36965860180133,"sku":"","price":41.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/BEST_DUTCH_2019_21s.jpg?v=1622035525"},{"product_id":"revue-faire-no-19-20-21","title":"Revue Faire — no. 19, 20, 21","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eFaire\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eis a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis anthology set, volume 6,  includes three issues, numbers 19 through 21:\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003en°19 — A history: graphic designer-publishers. By Thierry Chancogne \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eIn 1275, the kingdom of France ruled on the rights of s\u003cem\u003etationarii\u003c\/em\u003e (copyists) and \u003cem\u003elibrarii \u003c\/em\u003e(\u003cem\u003elibrairies\u003c\/em\u003e, the French for “bookshop”), newly emancipated from the yoke of the Church (Friedrich Karl von Savigny (author and publisher),\u003cem\u003e Histoire du droit romain au moyen âge\u003c\/em\u003e, Tome III, Charles Hingray, Paris, 1839 (1815), p. 415). The main question was and has always been, even before the invention of printing, the regulation of the circulation of writing, and the designation of those responsible for their inscription and distribution.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eRobin Kinross identified the emergence of the modern figure of the typographer in the 17\u003csup\u003eth\u003c\/sup\u003e century, with \u003cem\u003eThe doctrine of handy-works: applied to the art of printing\u003c\/em\u003e by Joseph Moxon (Robin Kinross, Modern\u003cem\u003e typography: An Essay in Critical History\u003c\/em\u003e, Hyphen Press, London, 2004 (1992) pp. 15-16). But long before this, graphic artists, copyists, and typographers such as Geoffroy Tory and Henri Estienne the elder were both booksellers and publishers who gave much thought to their practice and the contents that they released into the public space. \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eIt would seem that the time has come to reassess this ancient tradition, with more and more graphic artists and designers choosing to establish their own publishing houses in order to defend their editorial approach in both senses of the word—that of “editing” and the choice and organization of graphic material, but also in the sense of “publishing”, applying a certain ethic to the distribution and advertising of the contents.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°20 — A ski resort: Pierre Faucheux and Les Arcs. From the space to the sign. By Catherine Guiral\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eKnown as “the man of a hundred million covers” and for being a major actor in the history of French Graphic Design during the Trente Glorieuses, the three decades of flourishing economic and cultural activity in France following World War II, Pierre Faucheux also had a rich activity as an architect. At the end of the 1960s, Charlotte Perriand invited him to become involved in the adventure of constructing the winter sports resort called Les Arcs. “The construction of a fantasy” designed by engineer Roger Godino, Les Arcs, a different type of Savoyard resort, would find itself embodied in a particular sign, which expresses the different instincts that Faucheux had for both the space and its transformation.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°21 — An original: The Most Beautiful Swiss books 2004-2006. By James Langdon, Laurent Benner \u0026amp; Adrian Samson \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eThe awards competition, The Most Beautiful Swiss Books, has been organized almost without interruption by the Swiss Federal Office of Culture since 1943. A book design award with such history, particularly in a book-making culture as rich as Switzerland’s, offers insightful perspectives on Graphic Design for publishing, the culture that commissions and values it, and the critical discourse that surrounds it.\u003cbr\u003e\u003cbr\u003e Each year the awarded books are documented in a substantial catalogue, made by one of the graphic designers awarded in previous years. The inherently self-reflexive tendencies of such catalogues—books about books, Graphic Design in the context of Graphic Design—present stimulating yet rather fraught conditions for graphic designers to work in. Looking back over the catalogues produced during the last two decades, a conversation-through-practice is clearly legible. After a conceptually sophisticated catalogue or series (often designers have been commissioned for series of two or three catalogues) follows a simple visual document. After a modest, finely-crafted production comes something more lavish or experimental.\u003cbr\u003e\u003cbr\u003e The 2004–2006 catalogues were conceived by Laurent Benner, a Swiss designer working in London, and designed with English designer Jonathan Hares. Laurent’s proposition for the 2004 catalogue was audacious. He contacted the printers of each of the 20 awarded books from that year and asked them to reprint a section of their book. These reprinted sections were then transported to a single Swiss bookbinder and bound, with some additional pages of front- and back-matter, to comprise the catalogue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Editions Empire, 2020\u003cbr\u003eBilingual, in French and English\u003cbr\u003e\u003cbr\u003e60 pages total, each issue separately bound, b\u0026amp;w and color images, 8.25 × 11.75 inches\u003cbr\u003e\u003cbr\u003eISBN: 979-1-09-599116-8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37209856770213,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/RevueFaireno192021_19s.jpg?v=1606154986"},{"product_id":"meggs-history-of-graphic-design-6th-edition","title":"Meggs' History of Graphic Design","description":"\u003cp\u003e\u003cstrong\u003eThe bestselling graphic design reference, updated for the digital age\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMeggs' History of Graphic Design\u003c\/em\u003e is the industry's unparalleled, award-winning reference.\u003c\/p\u003e\n\u003cp\u003eWith over 1,400 high-quality images throughout, this visually rich text guides readers through a saga of artistic innovators, breakthrough technologies, and groundbreaking developments that define the graphic design field.\u003c\/p\u003e\n\u003cp\u003eThe initial publication of this book was heralded as a publishing landmark, and author Philip B. Meggs is credited with significantly shaping the academic field of graphic design.\u003cbr\u003e\u003cbr\u003eThe text includes classic topics such as the invention of writing and alphabets, the origins of printing and typography, and the advent of postmodern design.\u003c\/p\u003e\n\u003cp\u003eThis new sixth edition has also been updated to provide: the latest key developments in web, multimedia, and interactive design; expanded coverage of design in Asia and the Middle East; emerging twenty-first-century design trends and technologies; timelines framed in a broader historical context to help readers better understand the evolution of contemporary graphic design; and extensive ancillary materials including an instructor's manual, expanded image identification banks, flashcards, and quizzes.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis classic book presents an all-inclusive, visually spectacular arrangement of graphic design knowledge for students and professionals. Learn the milestones, developments, and pioneers of the trade so that you can shape the future.\u003c\/p\u003e\n\u003cp\u003eYou can't master a field without knowing its history.\u003c\/p\u003e\n\u003cp\u003ePublished by Wiley, 2016\u003cbr\u003eSixth Edition\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHardcover, 9 × 11 inches, full color, 704 pages\u003c\/p\u003e\n\u003cp\u003eISBN: 978-1-11-877205-8\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37511022084261,"sku":"","price":99.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/files\/jan5a00079.jpg?v=1704484933"},{"product_id":"a-history-of-arab-graphic-design","title":"A History of Arab Graphic Design","description":"\u003cp\u003eBy Bahia Shehab and Haytham Nawar\u003c\/p\u003e\n\u003cp\u003eArab graphic design emerged in the early twentieth century out of a need to influence, and give expression to, the far-reaching economic, social, and political changes that were taking place in the Arab world at the time. But graphic design as a formally recognized genre of visual art only came into its own in the region in the twenty-first century and, to date, there has been no published study on the subject to speak of.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA History of Arab Graphic Design\u003c\/em\u003e traces the people and events that were integral to the shaping of a field of graphic design in the Arab world.\u003c\/p\u003e\n\u003cp\u003eExamining the work of over eighty key designers from Morocco to Iraq, and covering the period from pre-1900 to the end of the twentieth century, graphic designers and design educators Bahia Shehab and Haytham Nawar chart the development of design in the region, beginning with Islamic art and Arabic calligraphy, and their impact on Arab visual culture, through to the digital revolution and the arrival of the Internet. They look at how cinema, economic prosperity, and political and cultural events gave birth to and shaped the founders of Arab graphic design.\u003c\/p\u003e\n\u003cp\u003eHighlighting the work of key designers and stunningly illustrated with over 600 color images, \u003cem\u003eA History of Arab Graphic Design\u003c\/em\u003e is an invaluable resource tool for graphic designers, one which, it is hoped, will place Arab visual culture and design on the map of a thriving international design discourse.\u003c\/p\u003e\n\u003cp\u003eDesigned by Sharah Shebl and Ahmed Helmy\u003c\/p\u003e\n\u003cp\u003ePublished by The American University in Cairo Press, 2020\u003c\/p\u003e\n\u003cp\u003eSoftcover, 360 pages, full color, 8.25 × 9.5 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-9-77-416891-8\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37526911287461,"sku":"","price":49.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/HistoryArab_21.jpg?v=1621723238"},{"product_id":"revue-faire-no-23-24-25-26","title":"Revue Faire — no. 23, 24, 25, 26","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eFaire\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eis a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis anthology set, volume 7,  includes four issues, numbers 23 through 26:\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003en°23 — A portrait: The Master approving of his own work. By Žiga Testen \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-style=\"padding-left: 30px;\"\u003eDesign 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 instrumentalization 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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e 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.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e In this article, Testen rummages through the ruins of design history and tries 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, Testen focuses 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?\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°24 — A theater identity: The Schauspielhaus by Cornel Windlin. By Étienne Hervy and Thierry Chancogne\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eDesigned 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eOnce 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eA 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°25 — Exhibition views: Jonathan Monk. By Remi Parcollet\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-style=\"padding-left: 30px;\"\u003e\u003cspan\u003ePhotographs 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.\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.”\u003cbr\u003e\u003cbr\u003e 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?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-style=\"padding-left: 30px;\"\u003e\u003cspan\u003en°26 — Production process: Print on Demand. By Manon Bruet\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-style=\"padding-left: 30px;\"\u003e\u003cspan\u003eIn 2008, graphic design 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 \u003ca href=\"https:\/\/draw-down.com\/products\/dear-blurb?_pos=3\u0026amp;_sid=e34d57905\u0026amp;_ss=r\"\u003ethis book\u003c\/a\u003e was proposed as a test.\u003cbr\u003e\u003cbr\u003e Ten years later, print-on-demand offerings have 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.\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Editions Empire, 2020\u003cbr\u003eBilingual, in French and English\u003cbr\u003e\u003cbr\u003e100 pages total, each issue separately bound, b\u0026amp;w and color images, 8.25 × 11.75 inches\u003cbr\u003e\u003cbr\u003eISBN: 979-1-09-599117-5\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37527685431461,"sku":"","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/RevueFaire23-26_19s.jpg?v=1609626528"}],"url":"https:\/\/draw-down.com\/collections\/design-history.oembed?page=5","provider":"Draw Down","version":"1.0","type":"link"}