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
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
Early 1980s. From Milan to Marsala, Charles H. Traub composes an ironic and spontaneous portrait of an Italy that today we cannot say whether it really existed. The candid gaze of the American photographer immediately captures the idiosyncrasies of the Bel Paese: laziness, the unbearable and wonderful weight of history, the warm light of the countryside and the vivid light of the sea, the carefree and delightful life of the provinces. Bright blues, reds and yellows engulf the poses and gestures of strangers, transformed into affectionate archetypal caricatures, because Traub has in mind the work of another great master: Federico Fellini.
On his travels in Italy, it is Luigi Ghirri who is his guide: the two do not speak the same language, but share a form of sincere curiosity for what surrounds them and the ability to observe reality with ever new eyes. So it was that in 2012 Traub recognised a lost magic in the photographs from thirty years earlier and decided to make a series out of them. Published for the first time in 2013, Dolce Via Nova renews the original sequence with a wide selection of previously unpublished photographs, edited by Giulia Zorzi and Francesco Ceccarelli, and transforms the book with a new design by Bunker. An essay by poet Luigi Ballerini and a dialogue with Gus Powell complete the work.
Texts by Luigi Ballerini, Gus Powell Book design Bunker
21 × 26 cm 144 pages Hardback English Isbn 978-88-98030-49-1 First published June 2022
“What is a sigh made of?” A mother’s sigh is made of worries and tiredness, but the little ones do not know what it is, otherwise they would be… big! What can they do then to make this sigh lighter? And what can daddy do?
This volume stems from the need to recount in pictures the affection between children and their parents, leaving, as is the artist’s custom, the few words associated with the evocative power of images to communicate to us the profound sense of this relationship. The eleven illustrated plates that make up this work tell of small and essential emotions waiting to be discovered.
Lazy Dog’s first book for very young children is dedicated to all mothers and the weight they are able to carry on their shoulders, but also to all the families who bend over backwards to share it.
Text and illustrations by Ayumi Kudo Book design Bunker
24 × 16 cm 24 pages Hardback Italian Isbn 978-88-98030-47-7 First published May 2022
Luca Barcellona is an internationally known calligrapher, whom we are used to knowing for his immediate language, made of sinuous letters that bring calligraphic art into the contemporary world. Lost in Strokes is a publication about the artist’s current work, which, however, differs from the ‘Barcelona world’ we all know.
The book speaks an unprecedented language, on the borderline between asemic writing and painting, which photographs Barcelona’s expressive, stylistic and emotional evolution and his work of very recent times, demonstrating once again how for the author writing represents a dense, meditative, certainly artistic act. Letters for the first time are transformed into urban landscapes that create new pictorial alphabets, skylines start from types, are nourished by writing, but also take their distance from it to become something else, much more complex, as if to summarise the artist’s journey so far.
Certainly “using writing, making writing, and partly overcoming writing itself is an urgent issue in our contemporary times” (Fabiola Naldi), and once again Luca Barcellona positions himself as one of the most interesting artists on the international calligraphy scene, who indeed each time seems to push the boundary of the discipline a little further, trespassing, through an expressive metamorphosis, into contemporary art.
NOTE TO COLLECTORS A limited edition boxed set will be released in Fall, which will contain, in addition to the volume, 3 posters and the vinyl LP with Dj Craim’s specially reissued soundtrack.
Texts by Fabiola Naldi and Luca Barcellona Soundtrack by Dj Craim Book design by Bunker
21 × 28 cm 48 pages Gloo bound Italian Isbn 978-88-98030-46-0 First published February 2022
“Cast it” is a publication that uses CAST fonts and deals with the history and culture of type. Issue 5 presents The Processes of Type-making, an excerpt from the first chapter of Plain Printing Types, a book written by the American scholar-printer Theodore Low De Vinne and included in his four-volume treatise The Practice of Typography (1900-1904).
The excerpt focuses on De Vinne’s summaries of electrotypes, stereotypes, printing presses and especially his analyses of typeface wear. As pointed out by Paul Shaw in his preface: “De Vinne’s account of typography, typesetting and printing is that of a large-scale commercial printer” […] “His language is lucid and easily understood by a modern reader in contrast to that of Moxon, Fournier, or even Mackellar.”
Co-produced with CAST Cooperativa Anonima Servizi Tipografici Type designers: Erasmo Ciufo, Alessandro Colizzi, Beatrice D’Agostino, Riccardo De Franceschi, Giovanni De Faccio & Lui Karner, Rafael Dietzsch, Alessio D’Ellena, Giulio Galli, Radek Lukasiewicz, Riccardo Olocco, Luciano Perondi, Leo Philp, Gianluca Sandrone, Tipiblu Preface by Paul Shaw Editing by Andrea Amato, James Clough, Massimo Gonzato, Riccardo Olocco Book design by +fortuna
16.5 × 24 cm 48 pages English Issn 2531-765 Isbn 978-88-98030-44-6 First published December 2021
1963. Gusmano Cesaretti, 19 years old, a passion for the ‘American dream’, a camera and a one-way ticket to New York. Thus was born the incredible story of ‘The Picture Man’, the man who, from the province of Lucca, without speaking English, landed in the United States, becoming perhaps the most authoritative and direct eye on American subcultures.
First in Chicago, then in Los Angeles, Gusmano and his camera are one and the same, his eye documenting first-hand the urban subcultures of the time: metropolitan jazz, the beat generation, the East L.A. of the Chicanos, the Mexican mystical experiences. He is in the right place at the right time, a direct and reliable eyewitness, with his raw, instinctive, vibrant and authentic style of so-called street photography, contributing to the genesis of the Western collective imagination. He later worked, as director of photography and image consultant, alongside some of the most influential directors of late 20th century American cinema, such as Michael Mann, Tony Scott and Marc Forster.
It is a life ‘on film’ that of Gusmano, traced in this book thanks to an interview conducted in 2018 by young photographer and creative director Stefano Lemon, who outlines his human experience and artistic career. 168 pages and 85 photographs, most of which have never been published, recount the stages of an extraordinary journey that began more than fifty years earlier, creating a sort of magical passing of the baton.
Photographs by Gusmano Cesaretti Preface by Jeffrey Deitch, Chaz Bojorquez Texts by Stefano Lemon Calligraphy by Luca Barcellona Book design by Bunker
17 × 25 cm 168 pages Swiss style paperback English/Italian Isbn 978-88-98030-38-5 First published November 2021
Lorenzo Mattotti, an internationally renowned illustrator, much loved by the public, has always looked to the seventh art as an inexhaustible source of inspiration.
This book, produced on the occasion of the 2021 edition of the Festival International du Film de La Roche-sur-Yon, which has dedicated an unprecedented exhibition to the artist, aims to highlight the double thread that links Mattotti’s work to cinema. This double thread has led him over the years to design the posters of films and major film festivals, until signing in 2019 the highly successful animated feature film The Famous Invasion of the Bears in Sicily, which was presented at the Cannes Film Festival.
The volume is divided into four sections: Film festival posters, from the image of numerous festivals in the 1990s, to the prestigious commission for Cannes, to the Venice Film Festival; Editorial illustrations, commissioned by “The New Yorker” during its long collaboration with the famous American magazine; Film posters, including Eros, for which he drew the poetic interludes that open the three episodes directed by Wong Kar-wai, Michelangelo Antonioni and Steven Soderbergh; and finally, animated films, from the very first Bluebeard, through Pinocchio to the aforementioned The Famous Invasion of the Bears in Sicily, accompanied by unpublished sketches and storyboards.
The volume concludes with a long and impassioned interview with Lorenzo Mattotti by the Festival’s artistic director Charlotte Serrand, who traces the stages of his journey into the seventh art, which began in his great-uncle’s cinema, Cinema Mattotti.
Edited by Melania Gazzotti With the collaboration of Charlotte Serrand Illustrations by Lorenzo Mattotti Texts by Melania Gazzotti, Charlotte Serrand, Maximilien Schnel Book design by Bunker
19.5 × 26 cm 112 pages Hardback French/Italian Isbn 978-88-98030-43-9 First published October 2021
The result of 6 years of work, Il bacio della lucertola (The Lizard’s Kiss) is the graphic novel with which Luca Zamoc debuts in the publishing world. The story stems from an intense journey of Zamoc in 2013 through the Thai jungle and creeps into the mind and pen of the author until it becomes today a masterpiece of 96 pages, redrawn three times before arriving at the final form. Everything starts from an accident in the Indonesian jungle: the dramatic fate of the protagonist and his companion will be the pretext for deep existential and spiritual reflections, while in the background reality dialogues with fantasy, opening to the reader imaginative, primordial and visionary scenarios.
Also in this case it is possible to find the stylistic code of the authors, who are distinguished by the investigation on the relationship between Man, Nature and Mythology. A journey of exploration in an inhospitable and wild place, in which, however, coexist, together with archaeological traces and tropical fauna, singular spiritual connotations. It is in this way that, at the crossroads between nature and culture, the journey through the forest becomes a profound inner journey. The passages are marked by continuous flashbacks full of tension and surprise, where past and present, escape and search, inexorably mix, pushing the protagonist to look for answers on the border between the environment that surrounds him and his interiority. The figurative complex, here rendered with ink drawings, manages to immerse and involve the reader in the shamanic and mysterious atmosphere.
Aimed at admirers of graphic novels and comics, to discover a new authoritative protagonist.
Illustrations by Luca Zamoc Texts by Luca Speranzoni Cover title Luca Barcellona Calligraphy Lorenzo Bolzoni Book design Bunker
20,5 × 29 cm 96 pages Paperback Italian Isbn 978-88-98030-42-2 First published October 2021
Claudio Rocha and Tony de Marco founded “Tupigrafia” magazine at the beginning of the millennium in São Paulo and have been working on it ever since. They are editorial designers and have always been a reference point for visual artists, communicators, researchers, teachers, calligraphers, street writers and typographers in Brazil. They created “Tupigrafia” because they wanted to have fun with letterforms and stay in touch with like-minded readers, exchanging ideas and experiences on the typographic scene. Their surprising and unconventional magazine has always reflected the state of typographic arts and lettering in Brazil and around the world.
Now, after more than 20 years and 13 issues only available in Portuguese and almost all out of print, the masters of “Tupigrafia”, Rocha and De Marco, launch the first English-language anthology of the original magazine. A powerful and colourful 208-page volume presenting the vibrant content of “Tupigrafia” for an international audience of lettering and typeface enthusiasts.
This unpredictable and unmissable anthology will feature some of ‘Tupigrafia’s most inventive and innovative subjects such as, among others, the sign painters known as “abridores de letras”, who work on boats in the Amazon; the Dutch postage stamps created by Gerrit Noordzij, Wim Crouwel, Joost Swarte and others; Fefê Talavera’s wall paintings for the ‘concrete jungle’ of São Paulo; the bizarre wooden typefaces of the Tipoteca Italiana and even the hidden typography of a pencil collection.
Special edition limited to 50 copies for collectors also available with: 60 × 40 cm dust jacket/poster with alphabet by Luca Barcellona, Canvas slipcase with hot foil stamping.
Design and curatorship by Claudio Rocha and Tony de Marco Cover title by Luca Barcellona
15.5 × 22.5 cm 208 pages with letterpress insert Hardback Isbn 978-88-98030-41-5 First published September 2021
The effect of fireworks at the moment of explosion seems impossible to reproduce on paper, due to its ephemeral and iridescent nature. Yet in late 19th century Japan, Jinta Hirayama undertook this challenge by publishing an extraordinary catalogue.
While the purpose of the booklet was once to show Hirayama Fireworks Company’s customers the variety and originality of its pyrotechnic productions, complete with instructions for use, today the illustrated fireworks catalogue stands before our eyes as a valuable work of graphic art. 86 magnetic illustrations, geometric and elegant, rigorous and striking, that manage to evoke the brilliance and magnificence of the fireworks as they appear at night and constitute the restored reproduction of the original catalogue, dated 1883.
It was precisely in those years that Hirayama’s company distinguished itself in the production of fireworks, making notable technical innovations that culminated in a new expressive horizon: from the exclusive use of orange hues, it moved on to a riot of colours.
As well as being a source of inspiration, the singular illustrations intrigue the beholder with ever-changing combinations, and lead right back to the Japanese etymology of the term: page after page one seems to see ‘flowers of fire’ (in Japanese, hanabi). An unusual and original book, with the unmistakable flavour of yesteryear of an art that has never gone out of fashion.
With a precious childhood memory by Aoi Huber Kono, and lettering on the cover by Luca Barcellona.
With a text by Aoi Huber Kono Cover lettering by Luca Barcellona Book design by Bunker
12 × 18 cm 96 pages Paperback + dust jacket Italian Isbn 978-88-98030-40-8 First published July 2021
Seven incredible drawings of the same landscape, portrayed from 1953 to 1972, and how it changes in such a short time. The debut work by Swiss artist and illustrator Jörg Müller, first published in 1973 and thanks to which the author made an international name for himself, was then something completely new in the world of picture books and is today as relevant as ever.
No words, it is only the plates that speak and a date that marks time: where there was a meadow, a stream, a house painted with vegetable gardens and flowering trees, shortly afterwards there is also a tractor and a train passing in the background. Page after page the forest and the stream are gone, chimneys and industrial plants arrive, the painted house is demolished to make way for a busy motorway and a supermarket.
A landscape that changes face in the space of a few years, a tale in pictures that is not intended to be a nostalgic cliché of the rural environment, but a chronicle of vivid immediacy of the change brought about by the glorious age of progress. The author’s beautifully drawn plates are timeless and without place, painting a scenario that most of us have experienced over the past sixty years: we all remember that childhood meadow that is now gone, and unfortunately we continue to see others disappear.
The edition of this book tries to be partly faithful to the first, original German edition by giving the pictures space and centrality. Dove c’era un prato (Where There Was a Meadow), which won the author the German Youth Literature Award in 1974, is today a great classic on the environment, which triggers urgent and necessary reflection.
With a text by Giulia Mirandola, careful curator of cultural projects that focus on visual reading and the relationship with the landscape.
Illustrations by Jörg Müller With a text by Giulia Mirandola Book design by Bunker
30 × 23.5 cm 24 pages Hardback Italian Isbn 978-88-98030-39-2 First published May 2021
A cult book, dedicated to the undisputed master of visual communication Bob Noorda, which reviews half a century of his career in which he created more than one hundred and sixty brands.
In a long and impassioned dialogue with graphic designer Francesco Dondina, Noorda retraces contemporary icons whose sign, with its deep-rooted rationalist imprint, has given face and identity to industry and recognisability to our metropolitan routes. A timeless communication, Noorda’s, as demonstrated by the fact that many of the logos and designs he designed have survived the visual trends of recent decades, remaining almost identical to the original versions: the signage of the Milan and New York subways, the logos of Coop, Mondadori, Touring Club and Feltrinelli are just a few examples.
The book also reveals a strong regret for a cultured Italy, open to the new, where the company directors were Enrico Mattei and Adriano Olivetti; where Milanese culture was marked by Gio Ponti’s Pirelli and Piero Bassetti’s Regione Lombardia; where architects, designers and intellectuals exchanged views with each other and with the world, in a free flow of thought and planning. According to Bob Noorda, reflection on visual design cannot elude the need to bring the culture of design back to the centre of debate, from academic lecture halls to boards of directors and even the seats of politics. After the first edition in 2009, Una vita nel segno della grafica (A Life in the Sign of Graphic Design) returns in this renewed 184-page edition, 48 of which are in colour, with a selection of the great master’s most representative works and an unpublished text by Massimo Vignelli, founder together with Noorda of the internationally renowned agency Unimark.
The book is aimed at the entire world of visual design, enthusiasts, teachers, students of graphics and design, and of course the connoisseurs of this now legendary figure.
Interview by Francesco Dondina with Bob Noorda Book design by Bunker
13.5 × 21.5 cm 184 pages (48 full colour) Paperback Italian Isbn 978-88-98030-37-8 First published April 2021
Caleidoscopica takes us on a journey through the last ten years of the career of Olimpia Zagnoli, an internationally renowned illustrator whose sinuous and colourful images have quickly conquered the worlds of publishing, fashion and communication. Her unmistakable stroke guides us through the 148 pages of this anthology in an overwhelming sequence of works – drawings, prints, neon, textiles and sculptures – that are juxtaposed by free association or by clear affinities of theme, colour and form.
The rhythm of this immersive journey is punctuated by a series of texts and thoughts from authors working in the fields of illustration, design and art, offering multiple and original readings of Olimpia’s work. The uniqueness of the publication is enhanced by a series of sketches, contained in notebooks of visual notes and preparatory works that reveal the creative process through which Olimpia, seeking the synthesis of the image, arrives at the essence of the message with the freshness and naturalness that make her unique. The book, edited by Melania Gazzotti, is addressed to lovers of illustration, to all those interested in design, fashion, style and looking for inspiration, and to all Olimpia’s fans. Caleidoscopica will also be an exhibition in Reggio Emilia planned for September 2021.
Edited by Melania Gazzotti Texts by Melania Gazzotti, Kim Hastreiter, Steven Heller, Italo Lupi, Paola Pallottino, Guido Scarabottolo, Leanne Shapton, Peter Shire, Tamara Shopsin Book design by Bunker
19.5 × 26 cm 148 pages Hardback with mirror glasses Italian/English Isbn 978-88-98030-35-4 First published March 2021
“Cast it” is a publication typeset in CAST characters. Issue 4 presents Fournier’s preface to Modéles de caracteres de l’imprimerie (1742) followed by Harry Carter’s English version (1930) commented by James Mosley (1995). The preface is by Sébastien Morlighem.
In 1736, the French engraver and typefounder Fournier le jeune (1712-1768) began producing new typefaces in his foundry in Paris. Six years later, he published the type specimen book Modéles de caracteres including a “Notice to lovers of printing” that we are happy to republish. In this text, Fournier traces a history of typography by talking about his most famous colleagues who preceded him. He describes his aesthetic choices, explains his system of point measurement of typefaces and reasoning on the need to produce them in new bodies. He concludes by pledging to improve his typefaces and the quality of French printing.
Co-produced with CAST Cooperativa Anonima Servizi Tipografici Type designers: Erasmo Ciufo, Alessandro Colizzi, Giovanni De Faccio & Lui Karner, Alessio D’Ellena, Rafael Dietzsch, Giulio Galli, Riccardo Olocco, Luciano Perondi, Leo Philp, Tipiblu Preface by Sébastien Morlinghem Translation by Harry Carter (commented by James Mosley) Editing by James Clough, Massimo Gonzato, Riccardo Olocco Book design by Esterson Associates
16.5 × 24 cm 48 pages English edition (original text in French) Issn 2531-765 Isbn 978-88-98030-36-1 First published November 2020
“It was a kind of music. Six months later I found an album of oriental paper, and I started to draw a kind of landscape score. I tried to find this music of forms, I looked for my Patagonia from the Patagonia I had crossed”. – Lorenzo Mattotti
This is not the first time that Mattotti has felt the need to make an illustrated travelogue, he had already done so in 2014, collecting a series of drawings documenting his discovery of Vietnam in a precious travel book, later published by Louis Vuitton. On Patagonia, however, the artist does not want to make a full-fledged reportage, as he had done for the eastern country; what interests him about this place is only one aspect: its boundless and virgin nature, not its inhabitants and their stories that had so fascinated storytellers such as Bruce Chatwin and Louis Sepulveda. For Mattotti, Patagonia is first and foremost a place of the mind and that is why he strips it of colour to represent it, synthesising its forms, making it almost abstract to succeed in giving us back a sensation before an image, the sensation that every man feels when he finds himself in an extreme land, in a land at the end of the world.
Edited by Melania Gazzotti, the book presents all the 24 black and white plates contained in the Nepalese paper notebook where Mattotti copied his travel notes, together with a selection of colour drawings made by the artist in a classic Moleskine® notebook while he was in Patagonia. Both notebooks are unpublished and were made between 2003 and 2004.
The world’s best-known Italian illustrator, a never-before-seen exhibition and a book to collect: Patagonia by Lorenzo Mattotti promises to be a not-to-be-missed event for all lovers of contemporary illustration and beyond.
Edited by Melania Gazzotti Texts by Lorenzo Mattotti, Melania Gazzotti, Jorge Zentner Book design by Bunker
28 × 15 cm 116 pages Swiss-style hardback Italian/English/French/Spanish Isbn 978-88-98030-28-6 First published October 2020