News

  •  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    Why Pino Tovaglia kept this unpublished work, or what its true genesis is, we will never know.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

  •  54,00

    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

  •  19,00

    “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

  •  29,00 120,00

    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.

    The special edition boxed contains, in addition to the volume, three 30 × 60 cm posters and the vinyl LP with Dj Craim’s specially reissued soundtrack. Issued in 100 copies, it is available only on our website.

    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

  •  13,00

    “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

Discover the author

Luca Barcellona

He is the leading name in the world of contemporary Italian and international calligraphy (as well as a partner of the publishing house).

The Printing Office

This is the name we have chosen to define a network among publishers who collaborate in disseminating visual culture texts. Paraphrasing Beatrice Warde’s famous manifesto (“from this place words may fly abroad”) this appellation indicates both a network of relationships and a careful selection of books.

  •  40,00

    Published in 1997, this volume, the catalogue of the Roy Lichtenstein exhibition held at the Anthony d’Offay Gallery in London from 23 October to 27 November – only three weeks after his death –, contains six lithographic plaquettes of new paintings and two interviews with the artist, both recorded by David Sylvester, the influential British modern art critic of the second half of the 20th century. The first was recorded in January 1966, the second in April 1997 – a few months before Lichtenstein’s death.

    The first interview was commissioned by the BBC’s Third Programme for a non-specialist audience, who might have been interested in learning about the then exciting new phenomenon called Pop Art, probably largely without ever having seen an example of it in the original, and therefore altogether more general and theoretical. The second interview is a brief collection of information about an interesting new technical development in Lichtenstein’s work; as it was to be published in the catalogue of an exhibition for a specialised audience, the interviewer assumed the reader’s knowledge of the artist’s long previous career.

    Sylvester, unaware of the events, thus arrives at some considerations that, with hindsight, sound like a definitive summary of Lichtenstein’s work, which he has always claimed to have been inspired by Cubism, and likens him – perhaps unexpectedly – more to Braque and Picasso than to Gleizes and Metzinger.

    Published by Anthony d’Offay Gallery, 1997
    16.3 × 29 cm
    40 pages
    6 colour plates
    Hardback
    English
    Isbn 094756473X

  •  50,00

    This book celebrates two ‘titans’ of 20th century book design: John Mardersteig and Jan Tschichold. Hans Schmoller tells the story of two men who, from humble beginnings, became influential typographers of the last century: Tschichold as head of design at Penguin Books and Mardersteig as founder of Officina Bodoni. Illustrated with 30 examples of their work, this book was printed at the Stamperia Valdonega in Verona by Mardersteig’s son Martino. Schmoller was also a recognised book designer and was Tschichold’s successor in designing Penguin Books. The book was prepared for printing by Abe Lerner.

    Published by Typophiles, 1990
    11 × 18.5 cm
    96 pages
    30 illustrations
    Hardback with slipcase
    English
    Isbn 9780945074014

  •  90,00

    A collection – compiled by Carla Marzoli and published in 1962 by La Bibliofila – of seventy-two calligraphic manuscripts and specimens ranging from the 16th to the 19th century, from the Italian, French, Dutch and Spanish schools, catalogued, described and richly illustrated with 210 illustrations and an introduction by Stanley Morison. Each 178-page volume, originally printed in 2000 copies, is numbered; design by Max Huber.

    Published by La Bibliografica, 1962
    Compiled by Carla Marzoli
    Introduction by Stanley Morison
    Book design Max Huber

    17 × 24.5 cm
    178 pages
    210 illustrations
    Paperback
    English

  •  30,00

    Teoria del type design (Type Design Theory), the first comprehensive theory of type design, is published in its first Italian edition by Ronzani Editore.

    Written by Gerard Unger – a Dutch designer and lecturer internationally recognised as one of the most authoritative exponents of the discipline – and published in its original edition in 2018, the theory immediately established itself as a classic of typographic literature.

    The book is divided into 25 short chapters, each addressing a specific aspect of type design, from the relationship to language to styles, from the importance of historical patterns to digital evolution, from legibility to expressiveness. The chapters are accompanied by more than 200 images and practical examples; terminology is clarified by a comprehensive glossary.

    The ‘Theory’ will appeal to anyone with a sincere interest in typography; the comprehensiveness of the treatment and the clarity of the exposition make it suitable for a wide audience: from professionals in the field to students of typography and design, to simple enthusiasts of this marvellous art that has been giving shape to our words for more than five centuries.

    Published by Ronzani Editore
    Preface by Gerry Leonidas and a recollection by Riccardo Olocco

    16.5 × 24 cm
    252 pages
    Dutch hardback
    Italian
    Isbn 978-88-94911-43-5

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