{"title":"Graphic Design","description":"\u003cp\u003eBooks - Graphic Design\u003c\/p\u003e","products":[{"product_id":"a-dictionary-of-color-combinations","title":"A Dictionary of Color Combinations Vol.1","description":"\u003cp\u003e\u003cspan\u003eThis book is a collection of 348 color combinations originated by Sanzo Wada (1883-1967) who,in that time of increasingly avant-grade and diversified use of color,was quick to focus on the importance of color and laid the foundation for contemporary color research. Sanzo Wada was active as an artist,art school instructor,costume designer for the movies and the theater, and kimono and fashion designer who employed his extensive and versatile talents to do innovative work that centered primarily on visual perception and form.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e148 × 105 × 20 mm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSoftcover\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e352 pages\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eJapanese\/English\u003cbr\u003eISBN: 978-4-86152-247-5\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e© Seigensha\u003c\/span\u003e \u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":15510035595330,"sku":"","price":19.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/IMG_7336_-_copie.jpg?v=1591720749"},{"product_id":"nasa-graphic-design-guide","title":"NASA - Danne \u0026 Blackburn’s Graphics Standards Manual","description":"\u003cp\u003eFacsimile reprinting of Danne \u0026amp; Blackburn's graphics standards manual for the redesign of NASA's visual identity in 1975.\u003c\/p\u003e\n\u003cp\u003eThe binder containing NASA's visual identity guidelines is a strange object. This original visual communications system designed and augmented by Richard Danne and Bruce Blackburn from 1975 on, was rescinded in 1992. It has resurfaced on the internet these last years in blogs dealing with graphic design, and was made available to the public by NASA as a PDF document before being reprinted in an expanded deluxe edition by Jesse Reed and Hamish Smyth in 2015.\u003c\/p\u003e\n\u003cp\u003eBeyond a simple fascination for NASA, the manual is of interest for several reasons:\u003cbr\u003e— It is an exhaustive presentation of visual identity – from letterheads to the markings on the space shuttle Discovery—and thus allows the reader to apprehend the different formal, political and technical scales of the use of signs.\u003cbr\u003e— The clarity of its texts which guided the personnel responsible for producing new documents contrasts sharply with the mainstream vocabulary in the communications field today.\u003cbr\u003e— As an object, it is worthy of the interest it has created. It demonstrates the ambition and care taken in its presentation. Its format facilitates manipulation to ensure the organization, comprehension and implementation of the instructions and propositions it contains.\u003c\/p\u003e\n\u003cp\u003eThe pages of the original standard will be reprinted in black. All the PMS colors will be transformed into grey tones. The addition of a removable color chart with five PMS colors and consistent annotations on the printed pages allows for a precise transcription of the articulation of the original images.\u003c\/p\u003e\n\u003cp\u003eTexts by Richard Danne and Christopher Bonanos\u003cbr\u003eGraphic design: Syndicat\u003cbr\u003e \u003cbr\u003eFirst published in April 2018\u003cbr\u003eThird reprint in 2020\u003c\/p\u003e\n\u003cp\u003eBilingual edition (English \/ French)\u003cbr\u003e31 x 23.2 cm\u003cbr\u003eSoftcover\u003cbr\u003e184 pages (b\/w ill.), 5 spot colors swatch\u003cbr\u003eISBN : 979-10-95991-20-5\u003c\/p\u003e\n\u003cp\u003e© Empire Books\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":34661026726044,"sku":"","price":22.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/9791095991205.jpg?v=1592315912"},{"product_id":"john-gall-john-gall-collages-2008-2018","title":"John Gall - John Gall Collages 2008-2018","description":"\u003cp\u003e\u003cem\u003eJohn Gall Collage 2008-2018\u003c\/em\u003e is a collection of collage works by American book designer John Gall. John Gall is an American art book publisher, who is the creative director of Abrams Books and is in charge of book design in the house. He started collage work as a hobby and counter-question to the existing book design practice in the late 2000s. He had to design dozens of similar book covers every year, ran out of ideas one night, cut out a portion of an existing book cover and collaged a fictional book cover. This work, which started by chance, developed into a process of exploring a new visual language. And now, 10 years later, his collage has evolved into a field as independent and professional as his book design. \u003cem\u003eJohn Gall Collage 2008-2018\u003c\/em\u003e is the first collage collection of the designer. At the same time, this book is a design book that contains questions about design behavior as a problem-solving method by a 20-year-old book designer through collage, and is also  a photo book that looks into a section of 'found photography' that functions as a collage material. The book contains a total of 241 collages and John Gall's words that explain the collage process, and the witty preface of Matthew Dorfman, the current art director of the New York Times Book Review, serves as a guide to the John Gall's collage.\u003c\/p\u003e\n\u003cp\u003eCollages by John Gall\u003cbr\u003eForeword by Matt Dorfman\u003cbr\u003ePublished in July 2018\u003cbr\u003eKorean edition. 350 \/ US edition. 500\u003cbr\u003e192 Pages\u003cbr\u003eDimension. 228(w) x 285(h) x 18(d) mm\u003cbr\u003eHardcover bound\u003cbr\u003e241 Collages included\u003cbr\u003ePlanned and edited by Kay Jun\u003cbr\u003eBook Cover designed by John Gall\u003cbr\u003eBook designed by Jeong Jaewan\u003cbr\u003ePrinted and bound by Munsung Printing\u003cbr\u003eISBN 978-89-969373-9-5 (03600)\u003c\/p\u003e\n\u003cp\u003eAprilsnow Press is a small publishing house based in Daegu, Korea. Launched in the year 2013, it publishes a small number of books per year, mostly photobooks. Run by design writer Kay Jun and book designer Jeong Jae-wan, Aprilsnow Press evolves around three keywords; photography, text and design. Having background in graphic design, both Kay Jun and Jeong Jaewan see publishing as part of their project of questioning the relationship between photography, text and design. Each book published by Aprilsnow Press is thus interpreted as a live platform of practicing the relationship of these three keywords.\u003c\/p\u003e\n\u003cp\u003e© \u003ca href=\"https:\/\/www.aprilsnow.kr\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAprilsnow\u003c\/a\u003e\u003c\/p\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":40803452944540,"sku":"","price":49.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/7f01f4_b147279a65fc4b3baa8410a785514c04_mv2_d_4032_2835_s_4_2.jpg?v=1630492219"},{"product_id":"richard-hollis-stuart-bertolotti-bailey-ways-of-working","title":"Richard Hollis, Stuart Bertolotti-Bailey - Ways of working","description":"\u003cp\u003e\u003cu\u003eAbout the book\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003ehis book, titled \u003cem\u003eWays of Working\u003c\/em\u003e, starts from an article in the 5th issue of \u003cem\u003eDot Dot Dot\u003c\/em\u003e (April 2003). Stuart Bertolotti-Bailey, a British graphic designer, contributed an article to the 5th issue of \u003cem\u003eDot Dot Dot\u003c\/em\u003e, in which he participated as a co-publisher and designer. The title was “Way of Working”. It was an introduction to four books designed by British graphic designer and design writer Richard Hollis over a period of 10 years from the 1970s to the 1980s. This essay was a detailed observation of 'Richard Hollis Book Design' by a designer who experienced a different time period than Hollis, with a time difference between the era of paste-up work and the era of digital design. This insightful essay is now reproduced in the book \u003cem\u003eWays of Working \u003c\/em\u003ecompiled with a new essay by Richard Hollis titled “The Audio-visual Page”, where Hollis recalls the four books he designed with the keyword ‘audio-visual’.\u003c\/p\u003e\n\u003cp\u003eThe subjects of these two essays are four books designed by Hollis: \u003cem\u003eWays of Seeing\u003c\/em\u003e(1972), \u003cem\u003eA Seventh Man\u003c\/em\u003e(1975), \u003cem\u003eGodard: Image, Sound, Politics\u003c\/em\u003e(1980) and \u003cem\u003eHumphrey Jennings: Film-maker, Painter, Poet\u003c\/em\u003e(1982). The first two books are books by John Berger and were published by Yeolhwadang and Noonbit, respectively, in Korea, and the other two have not been translated. In the hope that the book under discussion can be fully observed and savored from a design point of view, book spreads were scanned in actual size, except for the book \u003cem\u003eHumphrey Jennings: Filmmaker, Painter, Poet\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIn the middle of this book, a stapled 16-page yellow sheet is inserted, which is “Book Design by Richard Hollis through the Lens of Translation” written by Korean book designer Dongshin Kim. As an invitation to the 'conversation' between the two previous authors, Kim’s essay gives a 'third person's perspective' comparing the Korean version of \u003cem\u003eWays of Seeing\u003c\/em\u003e and \u003cem\u003eThe 7th Man\u003c\/em\u003e with the first English version designed by Hollis and discusses the possibility of 'translation of book design'.\u003c\/p\u003e\n\u003cp\u003eAs Bertolotti-Bailey pointed out, these books are prints from 40 to 50 years ago. However, they are interesting examples of how the image and the text, the two types of information channels, interact with each other in the space called ‘book’. Overall, the topic is still relevant in relation to today’s multimedia digital environment.\u003c\/p\u003e\n\u003cp\u003eLastly, by publishing \u003cem\u003eThe Ways of Working\u003c\/em\u003e, Aprilsnow Press tried to understand John Berger in a 'slightly different way'. John Berger is one of the most well-known foreign authors in Korea, as well as a widely read author. However, most of the understanding about him was focused on the contents of his writings, and as a result, little is known about the unique storytelling method he attempted in the book or his collaboration with designer and photographer. Hopefully, the book \u003cem\u003eWays of Working\u003c\/em\u003e serves as another way of seeing John Berger.\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003eFrom the book \u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003eThe book version, made by an eccentric team of Berger’s acquaintances, including Hollis as designer, demonstrates the fruition of ideas bubbling under in Berger’s earlier publications. The book proper begins already on the cover, flagging at once its maverick character and outspoken point of view. This is reinforced by a number of obtuse image-only chapters, and emphatically ragged-right blocks of non-hyphenated bold type, broken and positioned to emphasize meaning. Images appear precisely where they are mentioned within the text, their size determined by first aligning the left edge on the large text indent, then centering, which reinforces the equal status of verbal and pictorial elements; the idea being that printed text and image should approximate to Berger’s voice-over in the TV episodes, akin to the act of scrolling through a length of film while listening to the soundtrack.\u003c\/p\u003e\n\u003cp\u003e- from “Way of Working” by Stuart Bertolotti-Bailey\u003c\/p\u003e\n\u003cp\u003eThere is a strong sense of mutual trust between Hollis and the various authors and editors involved in the four books. This trail of work developed because the commissioning parties in each case had recognized Hollis’s previous work and interest. In each case a relationship was established on the basis of his approach, and because of this implicit understanding, the shared wavelength, the end product ends up greater than the sum of its constituent contributors. An intense working relationship results from a joint search for the best means of communicating ideas, through familiarity with the subject matter and the author’s relation to it. Rather than the books being editor- or designer-led, they push for a third, uncharted way.\u003c\/p\u003e\n\u003cp\u003e- from “Way of Working” by Stuart Bertolotti-Bailey\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWays of Seeing\u003c\/em\u003e followed the same method, although it was printed offset and the text was photoset. Again, there was no grid to control the horizontal placing of images. The large paragraph indent was used as a guide for placing the left-hand edge of the images, so that they appeared more or less centred in the type area. This mixed symmetry (type centred on the cover and images) with asymmetry (a ranged-left unjustified column). There was a repeated position for the top of the x-height aligned with the first line of a chapter and the top of the first image. These principles were established on the cover.\u003c\/p\u003e\n\u003cp\u003e- from “The Audio-visual Page” by Richard Hollis\u003c\/p\u003e\n\u003cp\u003eThe mixed symmetry and asymmetry of the front cover was a foretaste of the relaxed discipline of the typography, a feature common to the four books.\u003c\/p\u003e\n\u003cp\u003e- from “The Audio-visual Page” by Richard Hollis\u003c\/p\u003e\n\u003cp\u003e Some may find this text less than easy reading. However, to be clear, the facts mentioned above do not imply that the Roman alphabet is superior nor that Hangul bears some typographic disadvantage. What is important is that the points where literal translation is impossible may turn out to be a starting point for unconventional design and genuine dynamic equivalence. The Korean edition of \u003cem\u003eWays of Seeing \u003c\/em\u003eensured conformity to the contents by reproducing sequences of the original. But other formal properties were eliminated in the process of translation and the final outcome turned out to be a partial success. A question to raise now is how we should deal with text that requires translation of design. One may ask how to secure readability, while not being haunted by conventions, and maintain the aesthetic pleasure of the original text.  \u003c\/p\u003e\n\u003cp\u003e- from “Book Design by Richard Hollis through the Lens of Translation” by Dongshin Kim\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003eAuthors \u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRichard Hollis\u003c\/strong\u003e has been a freelance designer since 1957. Trained and taught at London art schools. Worked as artists’ printer, as publicity designer in Paris, magazine art editor, book designer, production manager, publisher. Teacher and lecturer in design schools in Britain and Europe. Touring retrospective exhibition, London 2012–2013. Author of \u003cem\u003eGraphic Design: A Concise History\u003c\/em\u003e, \u003cem\u003eSwiss Graphic Design\u003c\/em\u003e, \u003cem\u003eAbout Graphic Design\u003c\/em\u003e, and \u003cem\u003eHenry van de Velde: The Artist as Designer\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStuart Bertolotti-Bailey\u003c\/strong\u003e is a freelance graphic designer, writer and publisher who currently lives in Scotland and works as Head of Design at the Institute of Contemporary Arts in London. He co-founded the left-field arts journal \u003cem\u003eDot Dot Dot\u003c\/em\u003e in 2000, is one half of the design duo Dexter Sinister, and a quarter of archiving\/publishing platform The Serving Library.\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003eContributor\u003c\/u\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDongshin Kim\u003c\/strong\u003e runs a personal design studio and small press called Dongshinsa and is engaged in various activities such as designing, curating, writing and lecturing. Kim has designed books such as \u003cem\u003eHistory and History\u003c\/em\u003e(2018), \u003cem\u003eLove of this Era\u003c\/em\u003e(2020), \u003cem\u003eOlympic Effect: Korean Architecture and Design from 1980s to 1990s\u003c\/em\u003e(2021). Since 2015, she's been working on her own publishing project called ‘Index Card Index’ series. In 2018 and 2019, she was the curator and artist of the exhibition 'Open Recent Graphic Design', which explores and records contemporary graphic design.\u003c\/p\u003e\n\u003cp\u003eText by Richard Hollis, Stuart Bertolotti-Bailey \u003cbr\u003eEssay contribution by Dongshin Kim \u003cbr\u003eEnglish translation by Angelina-Gieun Lee\u003cbr\u003eKorean translation by Hyunsong Lee, Kay Jun \u003cbr\u003ePublished in June 2021\u003cbr\u003e2nd edition printed in March 2023 \u003cbr\u003eEdition of 500\u003cbr\u003e176 pgs\u003cbr\u003e195(w) x 280(h) x 10(d)mm\u003cbr\u003eSewn ota-bind \u003cbr\u003eConcept and editing by Kay Jun \u003cbr\u003eBook design by Jeong Jaewan \u003cbr\u003ePrinted and bound by KB Printing \u003cbr\u003eISBN 979-11-89478-05-6 (03600)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e© \u003ca href=\"https:\/\/www.aprilsnow.kr\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAprilsnow\u003c\/a\u003e\u003c\/p\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":40803819323548,"sku":"","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/cover_front.jpg?v=1703673836"},{"product_id":"paul-rand-lart-du-designer","title":"Paul Rand - L'Art du designer","description":"\u003cp\u003e\u003cstrong\u003eLancement \/ Signature\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e18 janvier 2022\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e18h - 20h\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBook Launch \/ Signing\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJanuary 18, 2022\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e6PM - 8PM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003ePaul Rand fut incontestablement l’un des designers graphiques majeurs du XXe siècle et son travail précurseur dans les champs du design graphique et de la typographie a exercé une profonde influence sur l’ensemble de la profession. Appliquant les leçons de l’art moderne, en particulier celles du Bauhaus, au domaine industriel, il contribua à faire de l’« art commercial », pratique jadis située au plus bas de l’échelle des valeurs, une partie intégrante des beaux-arts.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eL’Art du designer regroupe une sélection d’essais de Paul Rand sur le design ainsi qu’un aperçu de son travail réalisé entre les années 1930 et 1980. Dans cet ouvrage publié ici pour la première fois en français, l’auteur explore un large éventail de sujets comme le rôle de l’humour dans tout travail de design, la création de logotypes, le rapport entre forme et couleur, le rôle des symboles, ou le lien entre politique et design. Chacun de ces essais est illustré par des créations de Rand – affiches, jaquettes de livres, publicités, logotypes, packaging – et par les œuvres d’artistes qu’il admirait.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAvec une préface de Yorgo Tloupas et une postface de Steven Heller.\u003c\/p\u003e\n\u003cp\u003eTraduit de l’anglais par Perrine Chambon.\u003c\/p\u003e\n\u003cp\u003eParution : novembre 2021\u003cbr\u003eLangue : Français\u003cbr\u003eDesigner : Paul Rand\u003cbr\u003eFormat : 190 x 254mm\u003cbr\u003ePages : 248 p.\u003cbr\u003eISBN : 9782490077465\u003c\/p\u003e\n\u003cp\u003e© B42\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":42234814726377,"sku":"","price":33.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/66yE0fMOp2zbTSc4qTthB0f1tdmwcjcbb92Ob8VEI5Z0ByPDzgkofw-cover-large.jpg?v=1639760551"},{"product_id":"paris-rave-flyers-1991-1994","title":"Paris Rave Flyers 1991-1994","description":"\u003cp\u003eFor Antoine Molkhou and the REX Club\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e5.5 x 8.5 inches\u003cbr data-mce-fragment=\"1\"\u003e84 pages\u003cbr data-mce-fragment=\"1\"\u003eDigital Press\u003cbr data-mce-fragment=\"1\"\u003eOpen Edition\u003cbr data-mce-fragment=\"1\"\u003e2022\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA collection of Paris Rave Flyers from 1991 to 1994.\u003cbr data-mce-fragment=\"1\"\u003eCourtesy of Antoine Molkhou and the REX Club.\u003c\/p\u003e\n\u003cp\u003e© Colpa Press\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":43610088505577,"sku":"","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/AB-9764_b45bbeb3-2c43-4346-8068-e09bf70e49a2.jpg?v=1706706627"},{"product_id":"steidl-werk-no-31-ghosts-in-the-machine","title":"STEIDL–WERK No.31: Ghosts in the machine","description":"\u003cp\u003eSTEIDL–WERK No.31: GHOSTS IN THE MACHINE is Theseus Chan and Gerhard Steidl’s latest adventure in redefining what constitutes a book. The normal starting-point for any book is blank sheets of paper, yet for STEIDL–WERK No.31 that is not the case. Instead, Chan and Steidl have taken already printed “make-ready” sheets from a recent Steidl book—the sheets produced on press while the printing plates build up the right levels of ink to deliver optimal results. Each make-ready sheet shows a different collection of inks and they are normally discarded; here they are the very heart of the book. On top of these sheets (fed into the press in a random order) is printed a new series of Chan’s ink drawings—shifting, bleeding, abstract forms or “ghosts,” which interact with the underlying images and texts in unpredictable ways. The result is an experiment with technical and optical accidents; each book in the edition, like Chan’s drawings, is unique. 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Un Sedicesimo does not have an editorial team, nor a theme, nor a specific graphic layout; and that’s why the illustrators, artists, architects, graphic artists and designers are asked to design it with one single instruction: it must be a project designed for those specific pages and format. \u003cbr\u003e\u003cbr\u003eEach issue is different from the next, sometimes it just features photographs, sometimes it is illustrated, sometimes it is completely free and unrestrained to the point of showing the shapes of cardboard packaging or the reverse relief of an OSB wooden plate on paper. 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It was made and remade as an idea of itself: versions of it were spoken aloud, thought through, dismissed. It began to manifest in text before it had any material specifications. Its happening as an exhibition, in Hangzhou, concentrated it and gave it structure. Negotiation of its production as an industrial design object gave its pages gravity and specificity. In its final phase it became a collective pursuit of synchronicity, its sequences of technical parameters brought into rhythm with its content. \u003c\/p\u003e\n\u003cp\u003eThis book is A Meaningful Order by OK-RM. Across its 328 pages it holds a new history of the distributed realities of design. It depicts designed objects on their own terms to give an account of vision, material, and curiosity—representing a selection of the vast archive of more than 16 years of work from OK-RM through an orchestration of the lithographic process with a special set of colours.\u003c\/p\u003e\n\u003cp\u003eIt is a site for committed study and experimentation, away from the structures of academe. It generates examples, prototypes, and models. It stages a dialogue rendered in a designerly writing through 26 alphabetised chapters (A–Z). It is unashamedly performative in its play with language, direction, and story. It captures the ongoing conversation between the editors, who are makers and thinkers of design, including a long form discussion in the form of an interview with Jack Self and is introduced by Lila Matsumoto.  \u003c\/p\u003e\n\u003cp\u003eIn this social arena, the book is considered as everyday object and object of art. 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It includes information on research methods, funding strategies, production techniques and distribution approaches, all underpinned by the perspectives and advice of experienced publishers.\u003c\/p\u003e\n\u003cp\u003eOur ultimate ambition is to alleviate the challenges often associated with the journey of creating artists’ books and to foster meaningful connections within the diverse and vibrant artists’ book communities.\u003c\/p\u003e\n\u003cp\u003eContributors include: Vanessa Adler (Argobooks), Franziska Brandt \u0026amp; Moritz Grünke (Gloria Glitzer \u0026amp; We Make It), Ipek Burçak (Well Gedacht Publishing), Andreas Bülhoff (sync.ed), Jonas von Lenthe (Wirklichkeit Books), Anja Lutz (The Green Box), Johanna Maierski (Colorama), Thomas Monses (Melo Melo Print), Rada Nastai (bruise studio), Michalis Pichler (MISS READ), Nina Prader (Lady Liberty Press), Malte Spindler (Lucky Punch Press), Claudia de la Torre (backbonebooks), Martijn in ‘t Veld (Happy Potato Press)\u003c\/p\u003e\n\u003cp\u003eBased on the original title, How to Book\u003cbr\u003eEd. Hanson Coleman and Hannah Yukiko Pierce\u003cbr\u003epublished by Small Editions\u003c\/p\u003e\n\u003cp\u003eEd. Jae Kyung Kim and Anna Schanowski\u003c\/p\u003e\n\u003cp\u003eeinBuch.haus, 2023\u003cbr\u003e140 x 195 mm\u003cbr\u003e80pp\u003cbr\u003eEnglish \u0026amp; German\u003cbr\u003eSoftcover\u003cbr\u003ePerfect binding\u003c\/p\u003e\n\u003cp\u003eTranslation: Katharina Kamph\u003cbr\u003eEnglish Proofreading: Winnie Zhu and Hannah Yukiko Pierce\u003cbr\u003eGerman Proofreading: Lea Giesecke\u003cbr\u003eIllustrations: Hanson Coleman\u003cbr\u003eDesign: Jae Kyung Kim\u003cbr\u003eRisograph: we make it, Berlin\u003c\/p\u003e\n\u003cp\u003eInterior: 70g\/m² Werkdruck recycling rough\u003cbr\u003eCover: 220g\/m² Folia bananengelb rough\u003c\/p\u003e\n\u003cp\u003e2026 (third edition)\u003c\/p\u003e\n\u003cp\u003e© \u003cmeta charset=\"utf-8\"\u003eeinBuch.haus\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":54048830259548,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/howtobook_contributors_3d7ee7a6-395b-4d4f-bd1c-48c158576b0b.jpg?v=1740502700"},{"product_id":"walter-nikkels-denkwerk","title":"Walter Nikkels - Denkwerk","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eWalter Nikkels’ designs and sketches for the invitation cards for the Stedelijk Museum Amsterdam.\u003c\/p\u003e\n\u003cp\u003eTypography, the determination of the placement of words and images on the page and the working of these into a visual rhythm, has a certain intimacy – just as opening a book is intimate and for my eyes alone. Due to the typography, letters and words are situated next to, above and below each other, while the image has its modest place among them; and in this way the distinct form of the letters and the words and the images convey the form of the meaning. Typography shows the words or, I should say, typography brings them closer so that they can be read. Walter Nikkels is a master of this. He deals with the material very carefully; that’s visible, it’s his character. One time, on a journey through the Po Valley in winter: mist lingered in the early morning, later the sun came out. The lonely farmhouses lay in fine, filtered, diffused light. On their sunny side the walls were bright pink; the shady side wasn’t much darker and the pink almost as bright. Even so, both sides stood out sharply. 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Beginning in the 1960s when he was appointed director of Sweden's first museum of modern art, he fully embraced the challenge of the exhibition catalog, even becoming involved in its design.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMalou Messien is a freelance graphic designer based in Paris. Her design practice and passion for printed and design objects have led her to create collections that she shares in the form of texts, lectures and online sales platforms.\u003c\/p\u003e\n\u003cp\u003eFaire is a bi-monthly magazine dedicated to graphic design, published from October to June, distributed issue by issue or in the form of anthologies of three or four issues.\u003c\/p\u003e\n\u003cp\u003eCreated by Empire, Syndicat studio's publishing house, Faire is aimed for undergraduate students as well as researchers and professionals, documenting contemporary and international practices of graphic design, along with the history and grammar of styles. Each issue focuses on a single subject, addressed by a renowned author.\u003c\/p\u003e\n\u003cp\u003e\"Critical publications dedicated to the analysis of Graphic design are sadly few and far between today, particularly in France, but also in Europe as a whole. Adopting an analytical and critical posture with regard to the forms and activities of Graphic design, Sacha Léopold and François Havegeer intend to establish a printed publication that deals with these practices. The publication will work with seven authors in its first year (Lise Brosseau, Manon Bruet, Thierry Chancogne, Céline Chazalviel, Jérôme Dupeyrat, Catherine Guiral and Étienne Hervy). This initially limited choice, linked to a desire to propose an experience with a group that has previously participated together in projects, will then allow for the inclusion of foreign authors in the second year of publication.\"\u003cbr\u003eAn art historian and exhibition curator, Pontus Hultén (1924-2006) helped to establish several major museums including the Moderna Museet in Stockholm, which he headed from 1958 to 1973, and the Musée National d'Art Moderne at the Pompidou Centre, whose first director he was between 1973 and 1981. He left his mark on the history of these museums and consolidated their global renown with exhibitions designed both as critiques of society and as all-embracing experiences blurring the frontiers between art and life. Some exhibitions presented at the Moderna Museet in the 1960s were groundbreaking, for example the iconic monumental sculpture titled \"Hon\" by Niki de Saint Phalle, Jean Tinguely and Per Olof Ultvedt, whose giant vagina visitors thronged to enter. The exhibition \"Modellen – för ett bättre samhälle\" invited children to explore and reshape the museum space as a metaphor of social change. Similarly, visitors could take part in the creation of part of the exhibition \"Poesin måste göras av alla. Förändra världen!\" and call a number to express their opinions about the programme. To make art accessible to all and allow it to integrate with daily life, Pontus Hultén was among the first to extend museum opening hours. His pricing policy also formed part of a desire for openness and democratisation: the catalogue for the exhibition \"Andy Warhol\" (1968, Moderna Museet) was, for instance, on sale for a dollar.\u003c\/p\u003e\n\u003cp\u003eHultén shaped the visual worlds of the museums he headed by bringing together artists, curators, graphic designers, publishers, authors and printers and setting them to work on bold projects that ran counter to established conventions. These collaborations exploded traditional hierarchies: different roles intermingled, were reinvented, or simply disappeared. Although he rarely designed or printed material himself, Hultén's influence could be felt at each stage of the creative process. Among the people he regularly worked with were the Swedish graphic designers Hubert Johansson, John Melin \u0026amp; Anders Österlin (M\u0026amp;Ö) and Gösta Svensson, and, later on, international figures such as Jean Widmer and Roman Cieślewicz.\u003c\/p\u003e\n\u003cp\u003eAccording to Hultén, each piece of printed material was entitled to its own individual character. Form must reflect not only content but also the personality of its designer, and it must make the invisible, visible. The \"aura\" of each document arose from a close relationship between content and form, where the format was adapted to the subject, the materials used were carefully chosen to convey a message, and printing used the most advanced techniques of the time. The idea was to constantly push back the boundaries of what was possible.\u003c\/p\u003e\n\u003cp\u003eThe common thread that runs through Hultén's legacy is a joyful, ironic, free-spirited anarchism that is profoundly inventive and utopian. Drawing inspiration from Dadaism, he saw art as a critique of reality. His productions wove a subtle network of signs and created a constellation of questions that defied conventions.\u003c\/p\u003e\n\u003cp\u003eText by Malou Messien\u003cbr\u003ePhotographs by Aurélien Mole\u003cbr\u003e \u003cbr\u003ePublished in November 2025\u003cbr\u003eBilingual edition (English \/ French)\u003cbr\u003e21,5 x 29,7 cm\u003cbr\u003eSoftcover\u003cbr\u003e64 pages (67 ill.)\u003cbr\u003eISBN: 979-10-95991-80-9\u003c\/p\u003e\n\u003cp\u003e© Revue Faire\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":56047197487452,"sku":null,"price":14.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/1_c1bbc110-038c-4c76-95e9-11a657cc8d23.png?v=1763915529"},{"product_id":"revue-faire-55-the-billboard-image-in-around-and-about","title":"Revue Faire - N°55 \"The Billboard Image: In, Around and About\"","description":"\u003cp\u003eBillboards are urban devices with significant potential for exploring the mechanisms that shape our perception of photographs in everyday life. As ‘contemporary visual monuments’ accessible to all, they foster open discussions about the everyday imagery that permeates that permeates our field of vision in public spaces. Drawing from an awareness of photography’s essential role in defining both personal identity and social belonging, this publication explores various practices: the rise of billboards as sought-after advertising spaces, the work of historical and contemporary artists who engage with them as sites of reflection, and cultural initiatives that transform them into a democratic exhibition format.\u003c\/p\u003e\n\u003cp\u003eIn an era dominated by online image consumption, ‘The Billboard Image: In, Around and About’ emphasizes the importance of bringing the focus back to the experience in physical space and cultivating consciousness of the photographs we passively encounter in the public realm—the place where opinions, value systems, power dynamics, and civic consciousness take shape. As public spaces become more fragmented by privatization, gentrification, and individualism, understanding the role of billboards in transforming urban space and, crucially, our collective imagination, is an essential step in reclaiming the spaces we inhabit.\u003cbr\u003e \u003cbr\u003eThe project ‘The Billboard Image: In, Around and About’ is supported by Strategia Fotografia 2024, promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eText by Rica Cerbarano\u003cbr\u003e \u003cbr\u003ePublished in January 2026\u003cbr\u003ebilingual edition (English \/ French)\u003cbr\u003eSoftcover\u003cbr\u003e21.5 x 29.7 cm\u003cbr\u003e52 pages (51 ill.)\u003cbr\u003eISBN : 979-10-95991-83-0\u003c\/p\u003e\n\u003cp\u003e© Revue Faire\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":56602833289564,"sku":null,"price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/Revue_Faire_55_The_Bilboard_Image_Rica_Cerbarano_01.jpg?v=1769707331"},{"product_id":"16-millions-de-signes-from-and-about-books","title":"16 millions de signes – From and about books","description":"\u003cp\u003eReflections by Alexandra Midal, Thierry Chancogne, and graphic design duo Syndicat on books and printed surfaces, based on the hundred or so publications produced by MAC VAL over two decades of commitment to contemporary graphic design.\u003c\/p\u003e\n\u003cp\u003eTo mark the twentieth anniversary of MAC VAL, the museum has invited the duo Syndicat to explore the 104 publications it has produced over the past two decades. The books are presented on a display platform that brings together all of the published texts—a total of 16,465,721 typographic characters. Alongside a selection of works from the museum's collection, enlarged pages from catalogs are exhibited so that the formats of the reproductions and the originals correspond. The exhibition is accompanied by a reflection on the book as an object, with Alexandra Midal and Thierry Chancogne offering historical, semantic, technical, and sociological perspectives in this publication.\u003c\/p\u003e\n\u003cp\u003eArtist, curator, and teacher at HEAD-Genève \/ HES-SO, Alexandra Midal conducts research on visual culture that takes the form of exhibitions, books, and films.\u003c\/p\u003e\n\u003cp\u003eTeacher, publisher, and author Thierry Chancogne teaches, reflects on, and brings to life the fields of graphic design and typography.\u003cbr\u003e \u003cbr\u003eContributions by Alexandra Midal and Thierry Chancogne\u003cbr\u003eGraphic design: Syndicat\u003cbr\u003e \u003cbr\u003ePublished in January 2026\u003cbr\u003eBilingual edition (English \/ French)\u003cbr\u003eSoftcover\u003cbr\u003e10,5 x 15 cm\u003cbr\u003e240 pages (40 ill.)\u003cbr\u003eISBN : 979-10-95991-84-7\u003c\/p\u003e\n\u003cp\u003e© Empire Books\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":56609658831196,"sku":null,"price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/1_d57bb9ea-38e7-4383-982a-bd015d26bc76.jpg?v=1769790358"},{"product_id":"john-morgan-baskerville-s-teardrop-explodes","title":"John Morgan - Baskerville’s Teardrop Explodes","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eCompleted shortly before John Morgan died in September 2025, Baskerville’s Teardrop Explodes: A Selection of Books as Muses presents his selection of 31 books as Muses. Chosen primarily for their visual appearance and associative value, they are books that have touched him and his work as a book designer in some way or another. Collected together as a Library of Muses, they express all the contradictions and compound sensibilities found in John’s work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eThe criteria for selection are numerous and variable. Some were chosen for the title alone, or for the colour or materiality of the book, for the feel, the weight, the lightness, the rightness, the wrongness, the modesty, the excess, the charm, the humour, the attitude or bite of a book, the memory it conjures. Each Muse has its own magic and energy. Some bring reverberations of romance, others of fear, anxiety, humour or tragedy. Some are heroic. Some fail in technique or just miss the mark; they are imperfect. Some are chosen as signs, others as votives for direction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePublisher: Ten Thousand Angels Press, Oxford\u003cbr\u003eDesign: John Morgan studio\u003cbr\u003eEditor: Thomas Weave\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eJanuary 2026\u003cbr\u003eEnglish\u003cbr\u003ePaperback\u003cbr\u003e20.5 × 13.7 cm\u003cbr\u003e256 pages  \u003cbr\u003eISBN 978-1-0682940-1-3\u003c\/p\u003e\n\u003cp\u003e© \u003cmeta charset=\"utf-8\"\u003eTen Thousand Angels Press\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":56816005677404,"sku":null,"price":39.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/baskerville_02_jpg.jpg?v=1771952485"},{"product_id":"revue-faire-n-56-reading-until-i-sleep-manuel-raeder","title":"Revue Faire - N°56 \"Reading Until I Sleep: Manuel Raeder\"","description":"\u003cp\u003e\u003cem\u003eReading Until I Sleep\u003c\/em\u003e reflects on the work of designer and publisher Manuel Raeder. His practice unfolds between readers and books, artists and places, bodies and infrastructures, materials and memories, working with objects that bear their histories openly and resist disposability by insisting on the ongoing life of things. The essay brings multiple perspectives into contact with the inequities that determine who can work, rest, make and be seen; within this landscape, Raeder’s practice, like reading and sleep, becomes an act of resistance, an interval that reopens the possibility of relation, autonomy and care. Across two decades he has developed a distinctive body of work spanning books, furniture, textiles, exhibitions and long-term collaborations, founding Studio Manuel Raeder and remaining co-founder of BOM DIA BOA TARDE BOA NOITE, which continues as a collaborative team based in his Berlin studio.\u003c\/p\u003e\n\u003cp\u003eText by Joel Mu\u003cbr\u003e \u003cbr\u003eMarch 2026\u003cbr\u003eBilingual edition (English \/ French)\u003cbr\u003e21.5 x 29.7 cm\u003cbr\u003eSoftcover\u003cbr\u003e52 pages (ill.)\u003cbr\u003eISBN : 979-10-95991-86-1\u003c\/p\u003e\n\u003cp\u003e© Revue Faire\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":56985340445020,"sku":null,"price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/Readin_Until_I_Sleep_Manuel_Raeder_Revue_Faire_56_1.jpg?v=1773332401"},{"product_id":"ibm-paul-rand-s-graphic-standards-manual","title":"IBM - Paul Rand’s Graphic Standards Manual","description":"\u003cp\u003eFacsimile reprinting of Paul Rand's graphics standards manuals for the redesign of the visual identity of the multinational technology company IBM from 1962 to 1987.\u003c\/p\u003e\n\u003cp\u003eIn 1956 the designer Eliot Noyes was employed by the Director of IBM to rethink the company’s design as a whole, from products to communication right up to the architecture of the buildings.\u003c\/p\u003e\n\u003cp\u003eGraphic Designer Paul Rand was invited to define all of the graphic documents used in the company. Thus began one of the most memorable graphic design projects of the 20th century, at the heart of the “IBM Graphic Design Program”.\u003c\/p\u003e\n\u003cp\u003eThe series of IBM logotypes created by Paul Rand culminated in 1972 in a drawn version made up of layered strips, making the company’s initials instantly recognisable all over the world. This iconic logo, composed of 8 bars, continues to be used today.\u003c\/p\u003e\n\u003cp\u003eBetween the sixties and the eighties a significant group of graphic rules and uses was documented and regularly updated in a folder that was organised into sections. Inside we can find the instructions that allow us to reproduce the logotype, graphic and typographic rules, designs for internal and external documents, signage and architectural applications. This document allows one to work with the company’s graphic signs in coherence and efficient discussion with other trades. Today this folder is an iconic, rare and little documented object and it seems important to us to render it accessible and distributable, to Graphic designers, students and anyone interested in the adventure undertaken by this emblematic company.\u003c\/p\u003e\n\u003cp\u003eConsidering the many updates that were made to graphic design standards and norms, the different folders of the IBM norm that we consulted often differed greatly in terms of their content.\u003c\/p\u003e\n\u003cp\u003eThe successive documents from the folder and their developments will be published and reproduced so as to offer the widest possible vision of the work accomplished over a period of more than twenty years. This work will be done in collaboration with the archive team from IBM New York, and the Kandinsky Library of the Georges Pompidou Centre in Paris.\u003c\/p\u003e\n\u003cp\u003eThe project is being undertaken with the approval of the legal successors of Paul Rand and IBM itself.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePreface by Steven Heller\u003cbr\u003eGraphic Design by Syndicat\u003cbr\u003eTranslated by Quentin Schmerber\u003c\/p\u003e\n\u003cp\u003eBilingual edition (English \/ French)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePublished in 2018\u003cbr\u003eSoftcover\u003cbr\u003e23.5 × 32 cm\u003cbr\u003e292 + 44 pages\u003cbr\u003eCMYK + 9 Pantone ©\u003cbr\u003eHigh resolution scans of the original pages, scale 1\/1\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eISBN: 979-10-95991-07-6\u003c\/p\u003e\n\u003cp\u003e© Empire Books\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":56993362968924,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/IBM-Paul-Rand-Graphic-Standards-Manual-reprint-Empire-Books_Couverture-1_11420fb4-7210-4eb4-8b5a-e92907ade9bf.jpg?v=1773413875"},{"product_id":"hans-gremmen-the-incomplete-deck","title":"Hans Gremmen - The Incomplete Deck","description":"\u003cp\u003eSince 2014 Hans Gremmen has been picking up abandoned playing cards from the streets, hoping to once complete a deck. He followed two simple rules: 1. only single cards can be taken \/ 2. if there are more cards from the same deck on the street: only take the first card I see + (if there are any) the Jokers. The cards where found during walks in: Amsterdam, Utrecht, London, Sankt Johann, New York, Las Vegas, Los Angeles, Venice, Lille, Paris, Heelsum, Arnhem, Rotterdam, Uden, Landskrona.\u003c\/p\u003e\n\u003cp\u003eIn ‘The Incomplete Deck’ Gremmen shows in a playfull way the history of playing card design. This zine is a postscript to pages 77 and 147-150 of the publication In Between, and Incomplete Index (2001-2026)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eEach book contains a random playcard\u003c\/p\u003e\n\u003cp\u003e2026\u003cbr\u003e16 pages\u003cbr\u003e16.5 x 21.5 cm\u003cbr\u003ePaperback\u003cbr\u003eColour\u003cbr\u003eISBN 9789083612744\u003c\/p\u003e\n\u003cp\u003e© Fw:Books\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":57142414508380,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/incomplete_01_new.jpg?v=1783005687"},{"product_id":"statement-and-counter-statement-notes-on-experimental-jetset-volume-1","title":"Statement and Counter-Statement (Notes on Experimental Jetset \/ Volume 1)","description":"\u003cp\u003eBack by popular demand, this is the third reissue of the first monograph on the work of Dutch power trio Experimental Jetset. Presenting almost two decades of graphic design praxis, it is more a loose personal archive than a monolithic tome. The book features essays by Mark Owens, Ian Svenonius, and Linda van Deursen, plus two photographic chapters with a selection of the studio’s work, covering both printed matter and the documentation of site-specific pieces and installations. It also includes a glossary-like anthology of texts (fragments of interviews, lectures, correspondence, etc.) written by Experimental Jetset and selected, edited, and structured by Jon Sueda.\u003c\/p\u003e\n\u003cp\u003e2026\u003cbr\u003e592 pages\u003cbr\u003eIlls colour \u0026amp; bw\u003cbr\u003e10 x 18 cm\u003cbr\u003ePaperback\u003cbr\u003eEnglish\u003cbr\u003eISBN 9789464460926\u003c\/p\u003e\n\u003cp\u003e© Roma Publications\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":58185941451100,"sku":null,"price":34.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/260174.statement.9789464460926.jpg_1920x1920_b0626a6b-4c6c-487b-8099-cdd89da450c2.jpg?v=1783071001"},{"product_id":"statement-and-counter-statement-2-typologies-typographies-topologies-topographies-notes-on-experimental-jetset-vol-4","title":"Statement and Counter-Statement 2: Typologies\/Typographies\/Topologies\/Topographies (Notes on Experimental Jetset \/ Vol. 4)","description":"\u003cp\u003eTen years after the publication of ‘Statement and Counter-Statement’ (2015), Amsterdam-based graphic design collective Experimental Jetset returns with the second instalment of their dense monograph. Edited and designed by Experimental Jetset, ‘Typologies\/Typographies\/Topologies\/Topographies’ brings together a broad selection of work by the designers and features a selection of essays contributed by several guest authors – James Goggin, Lieven Lahaye, Greil Marcus, Yasmil Raymond, and Lucy Sante – plus excerpts from other essays and interviews by Experimental Jetset from between 2015 and 2025, diligently compiled and edited by James Goggin.\u003c\/p\u003e\n\u003cp\u003e2026\u003cbr\u003e656 pages\u003cbr\u003eIlls colour \u0026amp; bw\u003cbr\u003e10 x 18 cm\u003cbr\u003ePaperback\u003cbr\u003eEnglish\u003cbr\u003eISBN \u003cspan\u003e9789464460995\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e© Roma Publications\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":58185989816668,"sku":null,"price":34.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/R500-01_7c4b8a9f-049f-42e0-bd23-b0cf48174669.jpg?v=1783071524"},{"product_id":"karel-martens-birthday-calendar","title":"Karel Martens - Birthday Calendar","description":"\u003cp\u003eThe colorful, layered patterns in this A3 birthday calendar are based on a single shape punched out of colored card stock in multiple directions. A prototype of this design was created by Karel Martens in 1968, but not produced in a larger edition until now.\u003c\/p\u003e\n\u003cp\u003e2026\u003cbr\u003e29.7 × 42 cm\u003cbr\u003e14 pages\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e© Roma Publications\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":58308905795932,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/R512-01_c6602204-b0c9-46db-abdd-c01c2f0ec7f6.jpg?v=1784360617"},{"product_id":"karel-martens-12-a4-wallpaper","title":"Karel Martens - 12 \/ A4 Wallpaper","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eA room full of colours! Renowned for his inventiveness, and his playful and experimental approach, Karel Martens is also resourceful, able to accomplish a lot with very little. Selected from 216 variations, this hand-picked unique set of twelve A4 sheets can be composed as wallpaper. A special edition release, the sets are released on the occasion of the exhibition ‘Karel Martens – Unbound’ at the Stedelijk Museum in Amsterdam, the first major retrospective of one of the most influential post-war graphic designers of the Netherlands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2025\u003cbr\u003e21 x 29.7 cm \u003cbr\u003e12 pages\u003cbr\u003eUnbound\u003cbr\u003eISBN \u003cspan\u003e9789464460827\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e© Roma Publications\u003c\/span\u003e\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":58308972872028,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/files\/R489-05.jpg?v=1784361485"}],"url":"https:\/\/www.yvon-lambert.com\/collections\/graphic-design.oembed?page=2","provider":"Yvon Lambert Paris","version":"1.0","type":"link"}