Victoria Alexander: Home

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Customer

Love Books

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Specifications

Number of pages: 440pp printed on uncoated paper

Product dimensions: 190 x 250 mm 

Cover: coloured cloth

Edges of the book block: printed digitally

H&T bands: two-colored

Binding: cased, smyth-sewn 

 

2022

Victoria Alexander: Home

Pale pink pervades the home of Victoria Alexander:  it colors plates and cups, it tinges the walls and the frames of the woodblock prints that hang on the ancient walls, it comes through the windows, a distillation of the very colors found in Australian sunsets.

Writer, passionate cook, refined photographer, Victoria Alexander together with Love Books, a small but intriguing publishing house in Sidney, gives us a book steeped in pink, starting with the color of the cover.  After a cup of tea sipped in her company, she leads us through Home: a fresh account of what she terms an anthropological pilgrimage through the home, and through houses:  from the tribal tents of Kenya through the colorful constructions of Ethiopia, by way of the blossoms put out to dry in a Japanese house and the slatted balconies of old Stockholm.

Dedicated to those who cheerfully color outside the lines, writes Victoria in the epigraph to this book, wrapped in a coarse cloth with a debossed title, and printed on uncoated paper of a delicate pink shade.  The edge of the pages, printed digitally, repeat the title along with the adjective “sweet.”

Home! Home!
Sweet, sweet home!
There’s no place like home
There’s no place like home!

So goes the popular song.  And with that ditty in mind, the author describes with words and illustrates with her own photos the houses in which she would love to live, the cocoons, the nests which we would love to inhabit.

 

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Biennale Teatro 2022: ROT – Exhibition catalogue

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Customer

La Biennale di Venezia

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Specifications

Number of pages: 396 pages printed 4/4 on 100 gsm Munken Lynx Rough

Product dimensions: 170 × 240mm 

Cover: Printed 4/4 with protective varnish on 350 gsm Fedrigoni Arena White Smooth. Debossing achieved with a male-female die

Inserts: 14 leaves 150×240 mm, printed UV 4/4 on 200 gsm gloss paper as follows: 

13 leaves with silver lamination on the front side and overprinted in four UV colors with matte UV varnish. On the back side: printed in four colors with UV matte varnish, 1 leaf printed 4/4 with matte varnish on the back side 

Binding: smyth-sewn paperback, 13 die-cut index notches cut at 90 degrees to the plane of the page, 14 leaves tipped in between signatures, the opening and the closing pages have no tabs

Design: Headline (www.head-line.it)

 

 

 

2022

Biennale Teatro 2022: ROT – Exhibition catalogue

Venezia 2022:  After the Biennale Arte comes the 50th Biennale Teatro. The international festival boasts a cast of the most important protagonists of the contemporary scene. 

The theme this year is RED (ROT):  the red of passion, the color that denotes emergency, the red of the blood that flows through arteries and veins, such as those in the anatomical machines of Giuseppe Salerno, found in Naples in the Cappella Sansevero, and shown in the pages of the catalogue. 

The red of theatre curtains that open and of the red velvet chairs that are finally occupied once again by spectators.  The red of the cover of the catalogue, an object to keep and to consult once the applause has died down and the theatre is once again empty.

Designed with die-cut thumb notches to help in immediate consultation, the book alternates pages of introductions to each section on shiny, reflective paper with detailed schematic presentations.  The varied graphic design allows for exhaustive elaborations, synthetic summaries, and images of high emotional impact.

Graphicom, after producing the sumptuous catalogue that accompanies Biennale Arte 2022, then printed ROT.  Now we are about to start on the next project:  the catalogue dedicated to Biennale Danza 2022.

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Biennale Arte 2022: The Milk of Dreams

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Customer

La Biennale di venezia

Links

Specifications

Number of pages: 2 volumes 752 and 248 pages
Product dimensions: 210 × 270mm
Slipcase: 2mm boards covered in 120 gsm Wibalin Natural, printed 5/0 with protective acrylic varnish, inside unfinished
Cover: 290 gsm Fedrigoni Sirio Jasmine, printed 5/1, with protective acrylic varnish
Endpapers: 290 gsm Fedrigoni Sirio Jasmine, printed 40
Text: 100 gsm Munken Lynx Rough, printed 4/4 and 5/5
Exposed spine: 120 gsm Wibalin
Binding: Flexicover

2022

Biennale Arte 2022: The Milk of Dreams - Exhibition catalogue

From April 23 on, huge eyes will be watching us from the Riva degli Schiavoni, from the Venetian piazzas, from the traghetto stops, from the covers of the catalogue, The Milk of Dreams, created for the occasion of the 59th Biennale Arte.  The eyes are taken from the works of Belkis Ayón, Felipe Baeza, Tatsuo Ikeda, and Cecilia Vicuña, details chosen to reflect the themes that run through the Biennale: dream, body, transformation, reflection of the soul.  Like the eyes of the monsters and bizarre characters illustrated by Leonora Carrington, surrealist artist and writer, whose illustrated collection of fantastic stories, The Milk of Dreams, provides the title of Biennale Arte 2022.

“Humbert was the most beautiful boy in the town. He had blue eyes and golden curls. He was very beautiful, but he was nasty. He liked putting rats in the beds of his sisters. The little girls cried.

One day Rose, his sister, put a crocodile in his bed.

– AI, – yelled Humbert, – I’m afraid there’s a crocodile in my bed! –

But Humbert was so beautiful the crocodile gave him an agreeable smile. Humbert and the crocodile had become friends.

The child is even nastier than he was before because he goes everywhere with the crocodile.”

When asked why she chose this literary work as inspiration, Cecilia Alemanni, curator of the 59th Biennale, recounts: “The book describes a free world, without hierarchies, where it is always possible to become something else, to transform and to change; where humans live with animals and machines in a symbiotic communion, at times joyous and at times disturbing.  In Carrington’s figures of transformation, I found a synthesis that seemed to sum up the concerns of many contemporary artists.”

The first thematic capsule of the Central Pavilion hosts a group of women painters from the 1930s who are adjacent to Surrealism. In the catalogue, their work is reproduced splendidly from page 93 on.  The catalogue is a particular point of pride for Graphicom, who saw to printing and binding the books and making the slipcase.  It is another example of the dance of the printer’s eye and the latest technology, the considered choice of materials and meticulous workmanship, put to the service of color and art, for a show as prestigious and international as the Venice Biennale.

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Women Painters, 1780–1830

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Customer

Rmn – Grand Palais Publishing

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Specifications

Binding: hardcover 
Number of pages: 208 pp
Product dimensions: 180 × 280 mm
Special features: flush cut book

2021

Women painters, 1780 - 1830 The birth of a battle - Exhibition catalogue

In 1765, for the first time, the Nouvelles de la République des Lettres et des Arts, in the Revue du Salon de la correspondance pour les sciences et les arts, published a section entitled “women painters”.

This catalogue brings together works and documents that make it possible to understand how – i.e. under what conditions and according to what strategies – painters, because they are women, have had to learn the trade, enter the art scene, build their careers and forge their public figure.

Text by Rmn – Grand Palais Publishing

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Beata Heuman: Every Room Should Sing

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Customer

Rizzoli NY

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Specifications

Binding: hardcover with cloth
Number of pages: 240 pp
Product dimensions: 210 × 260 mm
Special features: 

2021

Beata Heuman: Every Room Should Sing

Swedish-born, London-based interior designer Beata Heuman founded her eponymous studio in 2013 after working for Nicky Haslam for nine years. In a short amount of time her lively interiors and custom furnishings have made her one of today’s most in-demand creatives. Heuman’s rooms, colorful spaces enlivened by exuberant elements and poetic inspirations, capture her signature quirkiness and Scandinavian attention to detail while staying rooted in practicality. Lauded for international residential and commercial projects, Heuman has also garnered praise for her growing collection of bespoke fabrics, wallpaper, lighting, homewares, and furniture.
This beautifully crafted volume presents Heuman’s innovative approach in book form for the very first time. Organized according to design principle, each chapter offers fresh ways to think about decorating a home, finding your voice, making ordinary details extraordinary, and forging a truly unique space. Vibrant photographs showcase standout properties–including several London town houses and a Nantucket vacation residence–that are brought to life by cheerful color palettes, unexpected contrasts, and a dégagé use of bold patterns and texture. With original drawings and whimsical graphic details, this new tome is a dynamic look into the ethos and work of one of the most exciting names in interior design today.

Text by Rizzoli NY

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The Book of Citrus Fruits

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Customer

TASCHEN

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Specifications

Binding: hardcover with printed cover on cloth
Number of pages: 384 pp
Product dimensions: 276 × 395 mm
Special features: numbered copies

2020

J. C. Volkamer. The Book of Citrus Fruits

Have you ever thought of citrus fruits as celestial bodies, angelically suspended in the sky? Perhaps not, but J. C. Volkamer (1644–1720) did—commissioning an extravagant and breathtaking series of large-sized copperplates representing citrons, lemons, and bitter oranges in surreal scenes of majesty and wonder.

Ordering plants by post mostly from Italy, Germany, North Africa, and even the Cape of Good Hope, the Nuremberg merchant Volkamer was a devotee of the fragrant and exotic citrus at a time when such fruits were still largely unknown north of the Alps. His garden came to contain a wide variety of specimens, and he became so obsessed with the fruits that he commissioned a team of copperplate engravers to create 256 plates of 170 varieties of citrus fruits, many depicted life size, published in a two-volume work. The first volume appeared in 1708, with the impressively lengthy title The Nuremberg Hesperides, or: A detailed description of the noble fruits of the citron, lemon and bitter orange; how these may be correctly planted, cared for and propagated in that and neighboring regions.

In both volumes, Volkamer draws on years of hands-on experience to present a far-reaching account of citrus fruits and how to tend them—from a meticulous walk-through of how to construct temporary orangeries, glasshouses, and hothouses for growing pineapples to commentary on each fruit variety, including its size, shape, color, scent, tree or shrub, leaves, and country of origin.

Text by TASCHEN

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Un château sur la Riviera

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Customer

Flammarion

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Specifications

Binding: hardcover with slipcase
Number of pages: 224pp
Product dimensions: 248 × 330 mm
Special features: slipcase

2020

Un château sur la Riviera - L'art de vivre par Oitoemponto

Discover a luxurious wine château and private residence in the south of France designed by the innovative architecture firm OITOEMPONTO.

Near the glittering coast of the French Riviera, surrounded by a luscious cru classé vineyard, OITOEMPONTO architects oversaw the renaissance of Château Saint-Maur de Cogolin through an assiduous, four-year renovation. Using refined materials, they created a sumptuous and relaxing oasis that combines art, signature design pieces, and a sense of harmony both inside and outside the château.

This volume traces the renovation, from initial watercolor sketches and photographs–reproduced here on offset paper–through to the finished private family residence. This exquisitely illustrated volume takes readers on an intimate tour of the immense reception rooms, bedrooms and suites, entertainment areas, and secret chambers in the vast 17,000-square-foot château. This reinvention into a splendid reception space of incomparable charm is the residence’s most luxurious incarnation to date.

Text by OITOEMPONTO

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Cover to Cover

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Customer

Dunmanifestin Limited

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Specifications

Binding: hardcover with slipcase
Number of pages: 272 pp
Product dimensions: 307 × 306 mm
Special features: signed and numbered copies

2020

Cover to Cover - the designs & photography of Simon Halfon

For the first time Simon’s body of work has been collated into a premium book, Cover to Cover, celebrating the best of his record sleeves, design work and photography. 
As well as beautifully reproduced artwork, it features never before seen photographs and personal ephemera, alongside anecdotes and recollections that tell the stories behind the artwork.
It also take a side-step into the fascinating world of film making.
The book itself is the size of an LP, making it a unique and original addition to any collector’s shelf. 
The Deluxe Edition is limited to 900 copies. It is signed and numbered from 101-1000 and comes with a sewn hardback cover and silk ribbon marker, with over 250 full-colour pages printed on thick 170gsm satin coated paper.
The slipcased Super Deluxe Edition books were limited to 100 copies and have now sold out.
The books are produced by an award-winning Italian printer, specialising in high-end publications, with strong eco credentials, full FSC certification, and a print process that uses 100% clean energy.  
Their clients include the world’s biggest publishers, as well as art  galleries and museums worldwide.

Text by Nemperor

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Le muse inquiete

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Customer

La Biennale di Venezia

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Specifications

Binding: paperback, open spine with cloth
Number of pages: 456 pp
Product dimensions: 210 × 270 mm
Special features: 

2020

Le Muse inquiete

In presenting the exhibition, Roberto Cicutto, President of La Biennale di Venezia, expressed his gratitude “for the generous support that the directors and staff of the Historical Archives and the entire Biennale have given to this project, parallel to their work on the exhibitions and festivals. It is one that bolsters La Biennale’s role as a hub of research in the contemporary arts, a fundamental driving force for investigating the present and future, and a strategic tool for development, even in terms of economic growth.”

For this exhibition, the directors have selected rare footage, first-hand accounts, and a range of artworks, following various lines of research to examine the many times when the history of La Biennale has overlapped with the history of the world—revealing or generating institutional rifts and political and ethical crises, but also new creative languages.

The exhibition is laid out in the rooms of the Central Pavilion and weaves its way through all six disciplines: from Fascism (1928-1945) to the Cold War and new world order (1948-1964), to the unrest of ’68 and the Biennales chaired by Carlo Ripa di Meana (1974-78), then from the postmodernism to the first Architecture Biennale and until the 1990s, and the beginning of globalization (see attached document “The Rooms” with details).

In a period of global instability that over the course of just a few months has brought a succession of environmental disasters, new pandemics, and social revolutions, La Biennale di Venezia serves as a wellspring and channel for the most innovative currents in the artistic disciplines of our era—but also continues to bear witness to the many shifts and crises that have supervened from the late nineteenth century to the present, like a seismometer recording the tremors of history.

Text by La Biennale di Venezia

Graphic project by TOMOTOMO

Photo by Louis De Belle 

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“MOM” Charlie Engman

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Customer

Edition Patrick Frey

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Specifications

Binding: Hardback with cloth
Number of pages: 218 pp
Product dimensions: 205 × 275 mm
Special features: 

2020

MOM

The book’s title reveals the identity of its protagonist: Kathleen McCain Engman has been posing for her son Charlie since 2009. And yet MOM shows us a face we never really get to know: while we soon become acquainted with her freckled complexion and intense gaze, her position in the images becomes increasingly unclear. Engman first began shooting his mother because she was available, ever-willing to meet the demands of one of her children. But what began as a casual, organic process evolved into an intense collaboration. The result is neither a family album nor a filial tribute but a much deeper and far more complex interaction: one that raises questions about the limits of familiarity, the rules and boundaries of roles and representation, vulnerability and control, and what it means to look and to be seen.

Text by Edition Patrick Frey

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