Manifesto

We believe in books. In their physicality, sensuality, authority, and beauty

We believe in the printing press. We like the smell of ink and the feel of paper. We love handling something precious, we love taking all the time necessary to savour it to the full.

We believe in quality, in content, but also in form, style, materials. We take care of the details in order to create a memorable sensorial experience.

We believe in projects that offer new prospects, both for small important achievements and for works that have taken an entire life to complete.

We believe the role of a publisher is to valorise the work of a meritorious author, to unearth and influence trends and tastes, rather than cater to them.

In books we trust!

History

The Independent Publishing House

Lazy Dog Press was born in Milan, Italy, on a lazy June day in 2012. In addition to Luca Barcellona and Riccardo Bello, the founders are Debbie Bibo, a Californian transplanted to Italy, and designer Massimo Pitis. The latter, author of the logotype and art director of the first three published titles, was succeeded by Francesco Ceccarelli and Frederic Argazzi of the Modena studio Bunker in 2014. They were later joined by Andrea Savoia (2015), who unfortunately passed away suddenly in early 2021, and Sandra Gobbato (2016), owner of the Mutty cultural center in Castiglione delle Stiviere. The business, therefore, is located between Milan, where the registered office is located; Verona, with the administrative, coordination and warehouse offices; and Modena, where the graphic design studio works.

The publisher’s name is derived from the final part of the famous pangram “The quick brown fox jumps over the lazy dog”, a catch phrase that contains the entire alphabet. In its vaguely surreal narrative, among the protagonists the figure of the lazy dog is the most sympathetic and versatile, the one with whom the group identifies best. The reference to the typographic world is blatant. It is meant to express the first vocation of the publishing house and the predilection for this language.

Books on Visual Culture

The publishing house debuts with the monograph dedication to Luca Barcellona, in which written text often becomes image. It is clear from the outset, however, that the subjects and topics of future publications would not be limited to writing, typography, and letterform. Lazy Dog speaks of visual culture tout-court, of text and image in their inevitable mutual contamination. There is ample room, therefore, for illustration, photography, design and visual arts as well.

The books are conceived, designed and produced with sartorial care and special attention to the choice of materials, manufacture and, above all, style. After all, it would make no sense to publish books on paper unless they are artfully crafted and open-minded. Each book is its own project, with no format constraints; there are no series, no rigidly defined categories.

In Books We Trust!

The goal is to pursue an overall quality of the book, as much in content as in form. Lazy Dog books must be able to convey the same passion with which they are created, to offer the reader vibrant reading experiences and generate authentic emotions, to stimulate curiosity and capture interest, to be inspirational. Books can make all this possible, as long as they remain themselves, printed on paper, fixed in time.

Riccardo Bello

Publisher, administrator, production management and coordination

Bunker

Art direction, editor and book design

Luca Barcellona

Editor, editorial and art consulting

Sandra Gobbato

Editor, editorial consulting

Novità

  •  19,00

    Why Pino Tovaglia kept this unpublished work, or what its true genesis is, we will never know. The fact is that his daughter Irene, getting her hands on her father’s materials, found these 24 plates, held together with tape, with an intriguing cover where the Pirelli logo stands out, front and back. The mystery deepens because the managers of the famous brand claim that there is no trace of such a project in their archives; even during the years of the collaboration between the designer and the multinational company nothing leads back to this pamphlet, which appears to be a real prototype.

    Whatever its origin, it is in any case an interesting and singular study of the elongated form, which Tovaglia evidently enjoys doing of his own free will. The association with the brand, as far as we can surmise, probably arises by analogy with the content, or vice versa.

    The 56 pages of A story as long as are thus a valuable exercise in style, reproposed in its formal integrity, but adapted for a contemporary publication, accompanied by a short text by Marta Sironi, which allows us to investigate and enhance the more human side of one of the most significant figures of Italian graphic design in the second half of the twentieth century. 

    Dedicated to fans of graphic design, illustration and simple admirers of a great protagonist who spontaneously addresses children, with a hint of mystery…

    Illustrations by Pino Tovaglia
    Text by Marta Sironi
    Cover by Flavia Ruotolo
    Book design Bunker and Flavia Ruotolo

    21 × 12 cm
    56 pages
    Paperback with dust jacket
    Italian
    Isbn 978-88-98030-54-5
    First edition November 2022

  •  58,00

    Photography is an act of self-awareness towards oneself and one’s cultural background. In his sixty-year career Franco Fontana has photographed what cannot be seen, succeeding in fixing through framing an ‘other’ image that is abstracted from reality, free from the portrayed subject. Geometry, proportions and composition have allowed him to reach, by progressive degrees, a conceptual synthesis that has been translated into linguistic unity and its formal manifestation, images. 

    Today, the crisis of the liquid society opens to the author the opportunity to explore new territories of the invisible ‘naked eye’, expanding the visual horizon and the iconographic structure while maintaining stylistic coherence and identity. If unity originates from the hybridization of differences, from the affirmation of unity itself originate the differences, in a system in constant balance between conceptual and formal, invisible and visible.

    Invisible, a 168-page book with more than 100 photographs, is the restitution of meticulous archival research from which many previously unpublished shots have emerged: from the most experimental research to more intimate evidence of expressive freedom, which constitute the fertile ground from which grew the unmistakable style that has made Franco Fontana internationally famous.

    Dedicated to those who know or approach the expressive path of the author, to those who want to explore that inner space, beyond reality, which belongs to the subjective interpretation, where you go in search of the image that is not yet there and that only the sensitivity of the photographer’s eye can capture and translate into a unique and unrepeatable shot. Thus, suddenly, the invisible becomes visible.

    Photographs by Franco Fontana
    Editing by Lorenzo Respi
    Book design Bunker

    22 × 27 cm
    168 pages
    Hardcover
    English
    Isbn 978-88-98030-58-3
    First published November 2022

  •  16,00

    There are places that exist only in memory, some of them so bizarre that they seem instead to be the figment of a child’s imagination-or perhaps an artist’s or even a designer’s. This is not the case with The Shops of Aoi Huber Kono: the meticulously illustrated facades in this leporello, which Aoi began composing in 1974, correspond to places that did indeed exist, everyday and familiar places. 

    If we are all accustomed to going to the bakery or the fish market, what happened instead to the confectionery, the dairy, the milliner or the haberdashery? Perhaps someday we will tell our children, as if it were a legend, that toys were not always crammed into the aisles of a shopping mall but that there were stores in which to spend hours looking at them all, magical places to be taken to after being at the doctor’s, or grandparents in secret. Or that once upon a time, when the world was a little less interconnected and much more diverse, there were no places in which to find everything from celery to tires: there were stores. 

    In this book, whose plates were designed for a small volume in the Tantibambini series, edited by Bruno Munari for Einaudi, Aoi Huber Kono illustrates the facades of 16 stores, making a summary of the most characteristic features of each: some still exist, but who can say for how long?

    The title on the cover is a small jewel of design and graphics, the result of the intense collaboration between husband and wife: Max Huber made the curtain strips with colored cutouts and composed the lettering, Aoi embellished it with a punctuated hemming.

    Illustrations by Aoi Huber Kono
    Book design Bunker

    23 × 16 cm
    16 pages
    Leporello with jacket
    Italian
    Isbn 978-88-98030-51-4
    First published July 2022

  •  22,50

    Many typefaces created today are related to types of the past, and interest in older letterforms is stimulated by the great number of visual resources available. We are surrounded by digital fonts based in one way or another on historical models, but it is clear that we cannot consider all of them as revivals. So, how to distinguish a type revival from a typeface that is loosely based on historical forms? More reflection on this subject is necessary, both to help navigate the landscape of contemporary typefaces, and to give greater clarity to discussions on the history of type. This 104 pages pamphlet provides tools for researching and designing revival types. A concise publication that will show a practical perspective and fresh content, fuelling the conversation among and between designers and scholars.

    The content is organised into four parts. The authors begin by defining the theoretical ground, including a definition of revivals, and a discussion on the boundaries of a revival project. The second part introduces the framework of analysis developed for recording the relevant design features of the type used as a model. In the third part, Olocco and Patané apply the framework to the roman type cut by Francesco Griffo for the De Aetna (1496). Based on this analysis, the fourth part showcases the process of reviving this historical type.

    Although the authors are focusing on defining a procedure to design a type revival, those suggestions can be adopted beyond the scope of a revival project. Their approach will ensure a strong connection with the original source and a substantial help towards understanding how to employ historical models in a contemporary context.

    Texts by Riccardo Olocco and Michele Patanè
    Preface by Gerry Leonidas
    Book design by Riccardo Olocco and Michele Patanè

    12.5 × 21 cm
    112 pages
    Paperback
    English
    Isbn 978-88-98030-48-4
    First published May 2022