Word Rain is about a reader. The novel enacts the act of reading itself. Before the title page, a spread appears on which the background of the apartment is printed. The pages are unnumbered, and the book bulges with typographic interventions: a point that keeps hanging, words and paragraphs that suddenly appear in capitals, underlined or struck through, incomprehensible mathematical formulas. Language is pushed to the foreground as material. In Word Rain, language behaves like a horde of revolting parasites and reading becomes alchemical, synesthetic, uncontrollable. What I find extraordinary is how this book activates a reading that involves the whole body and truly engages all the senses. The reader-protagonist pays close attention to the sensory qualities of the manuscript: she feels the texture of the paper, smells the page, notices how the sun falls on certain words. Word Rain reminds you that reading goes far beyond the purely intellectual comprehension of words. Reading is a multisensory experience.

Visual History of Type is a complete visual survey of the history of type showing the original typefaces in the forms in which their designers intended them to be seen. The book contains many archived scans of the original fonts.

Untold Stories: Designers Femmes en Belgique/Vrouwelijke Ontwerpers in België/Women Designers in Belgium 1880-1980 is the continuation of the exhibition of the same name, which was held at the Design Museum Brussels until April 13, 2025. For the first time, it brought together the works of over 50 female designers and creators active in Belgium between 1880 and 1980.

Two incredible books by Artist Batia Suter. The books are filled with found images taken from older books, encyclopedias, scientific publications, art histories, magazines, and archives and combined in a new associative manner.

This book displays the many books, zines and book projects Ettore Sottsass made in his live. Sottsass is mostly known as a furniture and product designer but is a phenomenal boomaker, also. His ways of going about a page, composition, typography and image editing are joyful yet at times a little unhinged. Some designs are textured and can veen feel a little spartan, displaying the use of a tool or scruffy handwriting and nothing much else.

"Some Faggy Gestures the book" is better than the art work. The art work displays a large series of wooden panels on which Olesen lays out endless amounts of image clippings of the representation of queer bodies in classical painting, carefully categorized and labeled. We see images of male bodies fighting (very hot), mothers and their sons (very recongnizable), men bathing, butch women, effeminate poses (like hand in hip or staring into a distance). It's a striking work, yet the book is better as it provides a slower way of experiencing the work. Olesen's cut-out typography is charming and endearing. The work contains certain easter eggs, like some stills from a prison-themed porn video or a cute portrait of Queen's late frontman Freddie Mercury.

It's a publishing collective with a focus on activist topics and high quality design. Their books are very beautifully produced and the collective is a really great group of people.

Stefaniia Bodnia made a very beautiful book for her graduation at the KABK, she is currently developing it further. It's based on her Ukrainian home region and touches upon geo-politics. It includes lots of interesting printing and production methods.

16pp – EN – 24 x 21.6 cm – softcover, stapled This catalogue was published to accompany an exhibition of Josef Albers’ work at the Sidney Janis Gallery in New York in October 1961. The catalogue lists 33 works from ‘Homage to the Square’ plus 5 variants. Catalogue design by Norman Ives, who was deeply involved in many of Albers’ later publications featuring screen-printed plates. The catalogue begins with a remarkable text: “Since colour in Albers’ paintings too frequently misleads the camera, the black and white plates in the catalogue do not adequately represent the actual painting. These reproductions, therefore, remain unnumbered and are included mainly to demonstrate the artist’s instrumentation of light and colour within a restricted order of design.” This catalogue therefore does not aim to show the perfect reproduction (which was technically unfeasible in 1961) but presents a translation of the work. The catalogue reveals an aspect of the work; in a different way than in the exhibition itself. This makes you look at the work in a different way. Since it has become technically possible to present the perfect reproduction in print, the emphasis has shifted to this, and there is less focus on the question of how a work can be translated for the specific medium of the book. This makes this book particularly relevant to me today.

64p – FR/EN – 21 x 14,5 cm – softcover A tribute to the French artist Jean Dubuffet (1901–1985) and to the typographic strategies with which Dubuffet achieves, on a visual level, his plan to destroy language through books and lithographs. Dubuffet Typographe/r investigates the former wine-dealer's professional acumen, demonstrated by Dubuffet's creation of Art Brut and culminating in the management of an entire staff working to promote, document, and archive his activities. In the light of today's obsession with self-promotion, Dubuffet can be understood as a forerunner of artists such as Jeff Koons or Damien Hirst. Once again, Leguillon's approach follows seemingly marginal paths, which ultimately prove to be unexpectedly revelatory. Travelling to public and private archives such as la Fondation Dubuffet in Paris, the Bibliothèque Kandinsky at Centre Pompidou or to IMEC in Caen, Leguillon has photographed ephemera such as invitations, posters, catalogs, artist's books, flyers, tickets, and record sleeves. These images were then used to execute a “recadrage“ (re-framing) of Jean Dubuffet and his activities. Like a meticulous “detective,“ Leguillon shows us how “for each project, Dubuffet invented a new way of writing and composing text—quite possibly by simply improvising. By this, he rejected the standardization as imposed by the printing process and typing, an education he himself went through. In books and lithographs, Dubuffet thoroughly sabotaged writing and typography (l'écriture) by fragmenting and distorting it, thus achieving, on a visual level, his plan to destroy language.” Published as a part of the second project of Pierre Leguillon for the 2013 Carnegie International. Pierre Leguillon (born 1969 in Nogent-sur-Marne, France, lives and works in Paris) is an artist, curator, and writer. This book highlights one aspect of Dubuffet. It once again demonstrates how a particular aspect of an artist’s work can be better showcased in a book than in an exhibition.

80 pp. (b/w ill.), 21 × 27 cm, English/​French “A book by R.H. Fuchs with the collaboration of Daniel Buren and with contributions by André Bompard, B.H.D. Buchloh, Douglas Crimp, René Denizot. All descriptions (photographs+texts+diagrams) here included correspond with works selected by Rudi Fuchs. This selection represents approximately seven percent of the work executed since 1965. Most descriptions are being done here for the first time. All descriptions have been written (or rewritten) especially for this book. Walter Nikkels’ work should not be underestimated. This catalogue is structured around a clear concept; yet every spread is different and a delight to see.

Amazing book shop in Paris.

The largest online index of carefully selected designers / design agencies / typographers / artists etc., compiled by Thierry Chancogne (lecturer, theorist and writer on graphic design).

For the AMAP of Fedrigoni (Another Month Another Paper) I created a small booklet full of information on books and paper. It includes how paper is made, what different papers exist, how to use paper in books, the anatomy of books, binding methods, etc. I call it 'a little bible on paper and books'.