How is it that print still has a place in the market when digital is so much cheaper, faster and more efficient? The answer is probably best summarized by one of this issue’s contributors, Aris Zenone, who says the following about publishing on paper: “It’s like a piece of art in a museum — the colours, the texture of the painting and the volumes… everything will be lost if you look at the same piece on a screen.
“For a publication it is the same thing, it has to give us what a screen can’t — the feeling of touch, the textures, the volume, the weight. This is the key, to provide added value with materials and printing techniques, it must give warmth, surprise and become an object. This can never be replaced by a digital product.”
Designers are acutely aware of this difference and, on the whole, seem to prefer working with paper and all that that implies: choosing the types of paper, format and size, layouts, etc. There is just so much more scope for the truly creative mind to work with. It makes a publication not only a medium through which to deliver the author’s thoughts and points of view, but a collectible item that readers can keep and treasure.
Albert Cheng-Syun Tang | Alejandra Román | Aleš Brce | Alexander Roidl | And Atelier | Andrea Csuport | Anti | Aris Zenone | Aurelio Sánchez | Brando Corradini | Bruketa&Zinic&Grey | Buenos Días | Cleber de Campos | desescribir | Fundamental | Gianluca Piovesan | Grotesca Design | Hybrid Design | Isabella Conticello | Keller Maurer Design | Lau Eve Lyn | Lyn Ashi | MÄHLERBRANDT | Makkaihang Design | Mane Tatoulian | Masha Fee | Matteo Vandelli | Mayan Mistry | Nick Öhlo | Oh Babushka | Ozan Akkoyun | Paleworks | Quatrième Étage | Rafael Neder | Re-public | Stille Studio | Studio Claus Due | Studio Stubbs | Studio–igs | Stupendous Studio | Tim Bisschop | underbau | Viktor Suszter | Yap Weng Nam | Zupagrafika
160p + 8p cover
160mm (w) x 230mm (h)
4 varying paper stocks
4C process + matt lamination
ISSN (English Edition): 1029 4805
ISSN (Chinese Edition): 1029 4813