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Le Papillon imprimeur | Fanette Mellier
Continue shopping Checkout Continue shopping. Chi ama i libri sceglie Kobo e inMondadori. Unavailable in Russia This item can't be purchased in Russia. Or, get it for Kobo Super Points! Ratings and Reviews 0 0 star ratings 0 reviews. As often in my work, the printing process guides the graphic design.
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For that reason, two sets of posters were printed. The series of standard posters with logotypes and text played their role as a communication tool, within the city and far beyond. The care with which it is made and its character as an object that is both popular and elegant represent a cheeky nod to the tradition of Decorative Arts. The design of the numbers is a contemporary homage to the types of applied arts collected by the museum mosaic, marquetry, woven fabrics…. Echoing the context of Decorative Arts, I chose to present my work as museum objects: The idea was to show the movement between colors and scales, the repetition and variety of different questions concealed in the box-shaped universe that is… Pinball!
They rise to the challenge of presenting the joyful audacity of work without resorting to redundancy or competitive comparisons. What a colorful endeavor! Les Deux Ponts Description: The fold-out flaps allow the reader to play with dis continuity of the landscape… and the strange characters running around in the margins. Danspace Project Platform, Printed by: Photographs, drawings, poems, interviews and analyses mingle freely, providing the reader with a deeper understanding of her approach.
The covers are divided into 3 colors, in the order of cyan, magenta and faded yellow. The title is hot foiled with a holographic pattern. The cover works with a system of non-symmetrical flaps like arm movements. A sheet of stickers, printed separately, allows one to compose instinctively with images, for a more personal arrangement. The inside of the book is printed in black, on hammered paper. The double column provides an ample amount of space available to arrange the words freely: Imprimerie Nationale, Poem: It is also a journey into the graphic side of characters.
The first part consists of photographs taken during the printing of the book, providing a deeper look into the manufacturing process. The papers used are disparate vestiges of often precious and sometimes older bibliophile works. This recycling process produces unique combinations for each piece.
These papers were overprinted with a blue hue, and the printing press, with its irregular tint block, brings out the roughness. The blue color strays from the typically warm colors one associates with bibliophile books. The random speckled pattern on the outer band in reference to Annonay paper was done in aquatint, printed on the back of ancient marbled paper, also covered with blue ink.
The film for the hot foil stamping were made by hand and combined to produce a variety of unique reflections. The letters are inspired by some non-Latin scripts Greek, Russian … , without taking reference of one specific style in particular. As Bubunne is not based on one particular country. I also designed the main symbols representing the kingdom of Bubunne, the emblem of the crossed horse heads and the flags which was then used elsewhere in the film.
Each member has a unique approach and has its own visual identity.
The simplicity of the graphic system reflects this composite identity. All communication is based on an original script, the consonants are used commonly, by all members of the Cartel. Vowels are, however, specific to each of the six associations, which has its own version of the alphabet. The unconventional design of these vowels, more graphic than typographical, only decipherable in the flux of the text. The overall sense of diversity is echoed further, by the multiplicity of colors, types of paper and varied formats and media.
In the booklet-calendar, the sign is built and then deconstructed. Inside the front cover, flaps unfold to reveal a calendar, and inside the booklet, the program is presented blue on blue. The double gray cover a refinement of canvas paper and raw cardboard underscores a particular desire to present the inner workings and ramifications of his work. La Fabrique de Fotokino, Printed by: Once colored, they could be put back into use, as the value increased, once in circulation.
The graphic identity of Cipac Congress is based on the American Typewriter typeface, whose familiar letter design is, of course, inspired by the classic writing machines. Each letter is cut horizontally, vertically or diagonally , opening up further possibilities, such as the use of typographical polychrome. Across the different uses and media, the colors and dynamics of the lettering vary and intertwine, echoing the diversity of the viewpoints presented by those invited to speak at the Congress. Villa Medici, Printed by: Cosmic landscapes were offset printed on translucent paper, front or front and back, at times using mixtures of colors in the ink to obtain random gradients.
Overlays of these posters on a light table make it possible to compose landscapes. The fragility of the paper and the delimitation of formats contrasts with the immateriality and depth of the Cosmos as shown here. In light of modern science, the words of Marcus Manilius may seem fanciful, but a universal allegorical dimension emerges from his singular interpretations of physical and meteorological phenomena.
Book I of Astronomicon is based on the first printed edition of the text, prepared by Joseph Justus Scaliger, a passionate astronomy scholar. This Latin edition is preserved in a few sparse libraries in Europe. A facsimile in the same scale as the original version, this edition is immersed in a mysterious night mood, echoing the oblivion into which the text has fallen.
The French translation of the text, dating from the eighteenth century, is located on the backside of the pages, facing the Japanese version: The same logic was applied to the front of the book, which is covered in a blue-black stingray leather, on which small particles of golden dust were hot foiled.
The cover displays a photographic image of the starry sky, printed in black on canvas paper, alluding to the stardust visible on the facsimile. It has the appropriate size, smell and materials. Each double page features a rocket, which stretches horizontally, left to right, split in half by the v-center fold. The rockets are carriers of dreams and visions of the future, like a potential tool. They exist on the edge of abstraction, simply reclining shapes and colors.
Their acquaintance eventually protected Galileo from the Inquisition. Lunar soil from these satellites was screen printed on 4 posters, using phosphorescent inks mixed with colored pigments.
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Chemical experiments on silkscreens generated strange reactions when mix with the lunar soil. The posters, laminated onto wooden panels resembling slices of color. They were then placed around the Loggia del Bosco, leaning against various edges and corners. A good deal of lighting was used to charge the light pigments with energy, bathing the panels in color, causing them to glow, with a luminescent aura. At regular intervals, the panels were plunged into darkness, left to generate their own light. That brief second of luminescence is recorded in the retina, like a cosmic residue of sorts.
Also part of the exhibition, Emmanuel van der Meulen exhibited a series of paintings in reference to the Cosmos and the circle as a form, beneath the terrace of Bosco. The installation was a cosmic trip, among the auras of colors, from palpable to ethereal. It was written by James Christmas, who somehow had an early premonition of the collapse of the walls of the Villa Medicis, which came to happen shortly thereafter. Residue of the fallen wall are on the double cover. The text is quite a snug fit between the fairly hard covers; the book opens on its own, enticing the the reader to venture inside.
The French text, coexists with its translation in Italian, with a fissure separating both languages. The Italian text follows the French version, typographically, following the order and logic of the translation process. The original language is the foundation for the other. The cracks are formed by the rhythm of the words. I modified the Century typeface by placing small dots in the center of each letter, creating a visual continuity, like a string of pearls, like words in a poem.
The choice of materials was inspired by stone walls, Roman walls in particular: On the occasion of the residents exhibition at the Villa Medici, I created oversized confetti which featured the planets of the solar system. The black side displays a photographic reproduction of the planets in delicate black and white halftone. Layers of color create abstract shapes, inspired by the chromatic atmospheres of the planets. The backside, printed in silver, reflected the light during our evening launch. The scenography, overseen by Olivier Vadrot, was to shoot large white, helium-filled balloons with a rifle, liberating the confetti into the night sky.
The traditional codes of popular festivities were revisited, with a sense of movement and diversion, under the theme of print as a field of symbolic exploration. This performance also represented a first presentation of my work in Rome, regarding the Cosmos, as well as an interrogation about the fragility of printed objects.
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This modulation of surfaces plays with light as a stained-glass window could be perceived differently, when seen from the inside or outside the building. Nine color compositions were offset printed on paper normally used for printing medication instructions. Sheer and transparent, the effect was dynamic, both outside and inside the building.
Superposing the paper modules allowed for multiple combinations. In this ephemeral installation, I revisited the idea of architectural ornament with means culled from the technical nature of contemporary graphic design, normally used in the context of book design. The proposed matrix is a negative version of the Fontenew project.
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Here, the matrix functions with the same grid, but in the opposite way. The inks fade into one another, mixtures of cyan, magenta and yellow. They were screen printed and varnished. The typographic grid was then overprinted in black ink, designed to be scratched off. After scratching the letters, tables were stood on end transforming them into display easels.
Turning the tables is a strong gesture, indeed! Festival des cultures urbaines , Canteleu Printed by: If the principle of folding posters to reveal the letters is the same, the plasticity of this project was very different. The structure was marked by geometric fields, colored on the front and black on the back. The result is an excessive overload that plays with the reading of shapes and colors, a nod to the big printing screen of mainstream advertising posters.
Les Trois Ours, Printed by: They publish art books for children, and promote diverse artists work through exhibitions and workshops. They are designed to stand up on their own, in the image of this ambitious yet modest association. They stand as a volume and defend the values of symbols contained within.
The text is set in a typeface inspired by the original design of Futura. But the endings are here rounded, mid-way between avant-garde and childish lettering… Each document is available in two different versions: In the latter version, only certain forms have been preserved in the letters, to form a landscape on the edge of abstraction: Editions du Centre Pompidou, Description: Its complementary color, orange, permeates the whole color range.
The orange solids, present on the pages of text, punctuate the presentation of the works in pairs, and enrobes them in a subtle yet vivid setting. As these contracts are printed on request, it was necessary to design a media that could be printed again and again. Graphic codes contracts boxes, blanks, dotted lines… were playfully re-distributed within the space of the page. These signs, printed in ink mixed with a transparent base, does not compete with the overprinted text, while providing, nonetheless, a creative counterpoint to the formal rigor of the contract.
Editions Analogues, Printed by: We worked in close collaboration on the design of his first monographic catalog. I wanted the graphic design to provide a subtle connection to the world of wine, which permeates his work. The jacket displays an essential piece: Screen-printed with a mixture of inks selected together with the artist, which varied as the print run progressed, each copy is unique. The book cover has a glossy back that takes its intensity from the dark color of the wine. The first part of the book was printed on cream-colored, hammered paper, usually used for wine labels.
The page numbers occupy an atypical space, printed over the text and images. At times annoying, sometimes camouflaged, it disturbs the reader much like a nettlesome fly, once more reflecting this truly provocative artist! The cover is designed by Winschluss. Within these pages are clamped twenty pages displaying his work arranged as if it was a mute comic book. They are printed with a visible raster, and the frames that surround the boxes are cyan, magenta, yellow and black. At the center of the book are placed the pages of text written by Jacques Samson, a comic book specialist.
Each text page refers to an image page same pagination. Captions, between which the texts literally flows, are composed in a redesigned typography from the comic Jeff Curtiss. This editorial UFO contains the stigma of comic books, and offers an iconoclastic look at the work of Gilles Barbier.
Mova Architecture, Printing: The graphic identity is progessive. The 4 letters of the word Mova recall architectural and landscape basics: I wanted the graphic identity to work like a toolbox that the client could use differently for each media, in order to constantly recompose this mini-landscape, like a game. Pre-cut stickers were printed in order to be added and bring some contrast to any corporate media manila envelope, card cards… or on a larger scale on building permits panels.
Works are impregnated with their millennial Far Eastern culture as well as with the Western pictorial experimentation from the interwar period. Two works are printed on the front and back of the fabric used for the dust cover. The title is printed in black lacquer ink on the ocher cover. On the back of this raw material, full spreads present works that are juxtaposed to the flaps of the dust cover and to pages that also show some paintings. The multiple possibilities of combinations transmits the idea of diversity of influences and pictorial expressions.
The different parts of the book are materialized by a variety of colors and paper qualities. They were used in a simple layout: Despite its small number of pages, I wanted this book to have a real presence, hence the choice of a thick cardboard for cover, and a bulky paper for the inside. The book presents a drawing per page in a hieratic way, without marking the edges of the original.
Printing techniques pay tribute to the liveliness of the colors used by the artist: This immersion in her work and the color is interrupted by the text printed in black. These parks have engaged collaboration with four artists that have created eight in situ works. The drawings that go with the typogram the eye, the woven sun, the factory and the compass echo the architectural, human and social context of this command. Several craft marbled papers were used for the cover and endpapers.
The random combinations of these make each book unique. This mix and match creates sometimes harmonious, sometimes dissonant associations, still always amazing! The book is entirely composed in Bodoni, and the simplicity of the layout allows this bountiful content to be organized. The purple holy color! This first summer volume adresses the aquatic aspects of Royans. I wanted to create a more literary and sharp format than the conventional guides.
The rusticity of kraft cover contrasts with the delicacy of the poems initiations that are printed on it. The inside pages are all superimposed with a pastel hue, like the veil of light from a season that gently covers text and images. The image of a windmill was very obvious to me, emphasized by the title of the festival and the relationship to childhood.
The bottom of the poster is a sort of inverted, deconstructed mirror: I worked around all of these elements to design the book, articulating spot colors for this book made with 6 hands. The book is printed on poster paper, the front of which is literally painted in blue, yellow and red. The three-color printing matches the colors of those specific papers and offers the work to the viewer through this strange spectrum. The covers follow each other, gradually revealing the title. Color defines the entire book, in its organization, its ink, its materiality, and offers the content throughout its bright prism.
Therefore, at the beginning of the cycle, the moon is made out of a single layer of ink. At the end of the cycle, the moon is superimposed to the 30 previous layers. The colorful hazards, opacity tricks, ink sensualities and random streaks dictated the evolution of the cycle. Experimenting with the plasticity of screen printing is at the heart of the project. The theme is halfway between science and pure poetry: The moons embedded in a wooden stand and arranged according to the calendar logic, were displayed horizontally day after day.
At the end of the exhibition, they all formed a massive didactic board. The act of wandering in a space is at the heart of this set design. Multipli was created referring too a poster folding principle. The letters appear from the folds and the back of the subtracted shapes make new colors arise.
The color temperatures vary between the front and the back of the poster, which were screen printed. The inks were changed during the printing process. These modifications have allowed letters to materialize themselves through unique combinations. The folding grid is overprinted with a varnis, creating a shimmer-like effect.
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Since this calendar is a mutual document, all of the logos swirl around the title deliberately without any hierarchy instead of displaying them all in a conventional way; the cover reflects the collective dynamic that gave birth to this calendar. Certain characteristics of typical calendars are used for this document hot foil, elongated format, thin paper, maps, etc. The inside pages are printed with spotted colors—which vary for each new calendar—that allow the reader to immediately identify the geographical areas, and produces subtle effects of overprinting.
The design proposal is based on these contrasts between respected or diverted codes, and color jubilation! I was inspired by the name of their magazine which also is the name of their exhibition space: The hidden part is always present, like a ghost of black colors. All these printing codes were presented as references to issues worked on during my residency, they are also usual elements for graphic designers.
Every morning, the kiosk opened its doors to showcase the work I created during the residency. They were all bounded together in large books and connected to the table thanks to giant silk bookmarks. The most epic moment of this installation was the evening during which Andrew Sharpley played an original music composed from printing sounds he had recorded; a poetic way to picture and decontextualized of a prosaic moment of graphic design. I selected a warmer color palette to symbolize his relationship with money, and a colder one for his philosophical thoughts.
Color helped hierarchize the different speech levels, which allow us to grasp the content via different angles. Some of these posters were overprinted with practical info in order to spread excerpts of the exhibition in the city. Others were used as typographical templates in order to write money related anagrams: In substance, the layers of ink are never complete like maculas , and offer a poetic vision on this scientific content.
The front, fully saturated with color and technical elements related to printing scale 1 , is offset printed with a very thin raster. This space saturation, like an obsessive canvas, presents graphical tools that are a common vocabulary for books makers. The title and info are printed on the back. The fold lets the title appear: Its particularity comes from the fact that the content text and images of the newspaper itself becomes the actual convector of a colorful dynamic, like a screen. These two components meet and mingle in order to question the medium. The language is direct and layered, swinging between violence, cynicism and tenderness.
The text is highly compressed and there is not sufficient material to make a book in the traditional sense of the word. Following the same evolving progression, the colour of the ink changes from black to the colour of a faded tattoo! Very structured while at the same time fluid and poetic, the writing imposes highly specific limits.