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Your story. Strength by Sappi. You are holding this magazine because you love quality, craftsmanship and visual impact. For these attributes, you can count on Graphius Group. As do we. Sappi has found a loyal partner in Graphius Group, prioritising high and sustainable quality. Together we can create paper that generates impact. So that you in turn can produce print that goes further than you ever thought possible.
Lego for giants Daniel Buren in Strasbourg
“I already know what I’m going to be doing in 100 years’ time” Interview with Arne Quinze
06 Ink is thicker than water
Interview with Denis Geers
One called Paul Smith
36 Now that’s what we call passion Mark Wentein
14 The fan in Ivan De Witte Interview
Glorious with Frank De Mulder
books & tickets You can win the books mentioned in this magazine! Go to www.graphius.com/game for a chance to win free catalogues, art books, cookery books, tickets and much, much more...
Precision in laser blue a chat with Luc Sonck
Photo cover © Maks Richter
CREDITS: Members of Graphius Group: Geers Offset, New Goff, Sintjoris, Druk In De Weer, De Duurzame Drukker and Deckers Snoeck. Editor-in-chief: Denis Geers, Eekhoutdriesstraat 67, 9041 Ghent (Belgium). Subscriptions: subscribe for free through email@example.com. Graphius, Eekhoutdriesstraat 67, B-9041 Ghent, Belgium. Tel. +32 (0)9 251 05 75. firstname.lastname@example.org, www.graphius.com Printed with vegetal inks on a Heidelberg XL 106 – 10 colour press with a hybrid screening 250 lpi. Blistered with compostable and biodegradable plastic.
is in the detail INTERIOR LIFE Gert Voorjans Gert Voorjans has designed shop interiors for such names as Dries Van Noten. Velvet, neo-gothic, blue elephants, Kermit and Chinese furniture: all this groundbreaking director’s sources of inspiration are examined in this beautifully designed book. Paper in different sizes, cardboard and tracing paper, Japanese binding and ten ribbon bookmarks... Gert Voorjans went all the way. Lannoo Publishers, 252 pages
PROGRAMME La Monnaie/de Munt De Munt is always pushing the boundaries. Musicians, theatre directors and actors are not the kind of people to be satisfied with something that is merely ‘good’. This is certainly true of the programme, with pages cut like an untamed wave.
THE CLASSIC CARS BOOK René Staud René Staud drove 31 classics into his photographic studio, ranging from the antique Ford Thunderbird (7,064cc!) to the Bugatti Veyron (100km/h in 2.5 seconds). How do you convey all that chrome and technical perfection in an image? And how do you print that image to perfection in a book? René Staud and Graphius found the answer in (high) gloss. In the words of another top photographer Ansel Adams: “[These are] the kind of cars I would like to be buried in.” Published by teNeues, 304 pages
THE GREAT WAR SEEN FROM THE AIR Birger Stichelbaut and Piet Chielens 1914 was the first time aerial photography was used en masse for spying. Flanders Fields Museum (Ypres), the Imperial War Museum (London), and the Royal Army Museum (Brussels), have joined forces to bring together several hundred of these aerial photographs in one book. Together with illustrative topological maps on tracing paper, they depict trench warfare in a manner rarely seen before.
NEW BYZANCE Corbeyran and Chabbert
Mercatorfonds, 352 pages
This collection from French duo Eric Corbeyran and Eric Chabbert cannot simply be called a ‘comic’. Their sci-fi trilogy plays out in parallel universes, which are all strongly reminiscent of contemporary New York. Only 150 copies of this work have been printed. The cover has a leatherlike feel and... glows in the dark! Editions BD’Emphar, 200 pages
TROUW POETRY Judith Herzberg, Remco Campert, Gerrit Kouwenaar, and others The Dutch newspaper Trouw has a real treat for its readers: they get a poetry collection with their paper. The ten mini-books fit neatly into their own box, so loyal readers can build up an inspiring collection featuring Big Names such as Lucebert, Rutger Kopland, Ida Gerhardt and Remco Campert.
Daniel Buren in Strasbourg
Daniel Buren, who is known in the art world for his legendary stripes, is presenting his new work in the Strasbourg Museum of Modern and Contemporary Art, under the title ‘Like Child’s Play’. Two gigantic works have been installed on the glass facade of the museum. The colours of sweets
At 142 metres high, Strasbourg Cathedral was for many centuries the tallest building in the world. ‘Worth a detour’ says the Michelin Guide. The same could be said of the French artist Daniel Buren’s exhibition in the city’s Museum of Modern and Contemporary Art. The temporary exhibition space was entirely emptied out for the occasion. Daniel Buren set to work with hundreds of giant geometric wood modules (cuboids, cylinders, pyramids and arches) to create a kind of Lego for giants. The blocks in half the space are left in white, while the rest are painted in bright colours. Along its length, the space is divided by a footpath, through which visitors can walk beneath six metres of high, arched structures. Together, they create the effect of a giant telescope.
In the Strasbourg museum, whose new building only opened in 1998, Daniel Buren stays true to form. His characteristic stripes step into the mix once again and the other ‘stripe artist’, the late Sol LeWitt, seems never to be far away. At the same time, Buren doesn’t skimp on exploring new horizons. He has clad the museum’s high glass facade with films in different tints, creating 1,500m2 of space in the colours of sweets. The effect of these ‘stainedglass windows’ is striking: from the outside the museum is almost unrecognisable, and on the inside, Buren unleashes a magical light that fills visitors with the glee of childlike naiveté. Sorrowful contemporary art buckling under the weight of weltschmerz? Not for Daniel Buren’s young heart at the age of 76.
Daniel Buren is no spring chicken. In the eighties, he became world-famous for his stripes: black-and-white stripes, exactly 8.7cm-wide, often on historic buildings. He created his most controversial work in 1986: blackand-white pillars extending over the entire interior of the Palais Royal in Paris. This work became the subject of hot debate, although it didn’t ignite vandalism and street fights among sensitive Parisians at the time, as Paul McCarthy experienced this winter in the same city when he installed ‘Christmas trees’ that were suspiciously reminiscent of giant blow-up sex toys.
Graphius printed the exhibition catalogue and we have ten catalogues available for ten lucky readers. Find out how to enter on page 1.
© Daniel Buren - ADAGP Paris. Photographies : Phoebé Meyer
interview with Denis Geers
Ink is thicker than water 6
For centuries, printing presses were a parochial matter. The first book printed by the first ever Belgian printer Dirk Martens was ‘Speculum conversionis peccatorum’ which can loosely be translated as: ‘A guide to the conversion of sinners’. This was back in 1473. Faithful townspeople remained the best clients for many centuries. Around 1930 in Oostakker, word started getting around that the verger had plans to buy a small printing press. Verger André Geers loved busying himself with graphic work for the church, such as memorial cards and wedding announcements. Through his village ran the Domien Geersstraat, a street named after the mayor from a good hundred years before. He was another Geers, and the son of... a verger. This is certainly a family with deep roots in Oostakker. Local businesses and societies quickly caught on, and would come to André Geers with all sorts of small requests, from leaflets for the farmer and the baker, to a magazine for the trade union of florists. What started out as a hobby quickly grew into a full-time job. In 1972, son Emiel Geers and his wife Micheline took over the printing presses and five years later, Denis was born. “I took my first steps in the print workshop. I used to do my homework surrounded by the presses”, he reminisces. Then the family made the leap from cottage industry to industry. The Geers family saw the printing world becoming harder and more competitive. Emiel advised his sons to go and study something else. Which they did. But ink is thicker than water and, despite everything, the third generation of Geers, with Denis and Philippe, took over the family business. “When the print workshop was handed down to our generation, it was scary... yes. Would the veterans on the presses accept us? It was quickly apparent that they would. I’ve been running around here for so many years that in fact, I’m already a veteran too!” he laughs. From the outset, the third generation opted to crank things up and take the radical step of looking abroad. “I did some market research in France and the Netherlands. Thanks to the internet, this was a great deal easier than it would have been in my father’s day.” This transpired to be a good move. Nowadays, almost half of the printers’ turnover comes from abroad.
Geers Offset is the go-to printer for many brands. Funnily enough, the printer has the 2008 economic crisis to thank for this, as it was the catalyst for a wave of consolidation. Acquisitions followed acquisitions in a short space of time. Here, their strategic nous came into play. “To tackle competition from abroad head-on, we decided to team up with our Belgian competitors. Was that de rigueur? Not particularly”, laughs Denis Geers.
But it did work. Many printers like Sintjoris, DeckersSnoek and New Goff were finding themselves at a crux and saw in the plans of the Geers family a chance for a new lease of life. With the expertise of the ‘green’ printers Druk in de Weer and De Duurzame Drukker, which Geers Offset took over in 2012, a complete green production line was set up. Competitors with decades of rivalry between them now sit together around the conference table. Denis Geers: “In the first place we wanted to combine our strengths into a single business. I am glad that we dared to make this leap. Otherwise, we may have seen a different picture and may have been battling a price war with the Polish, the Romanians and the Italians right now.” Creating a steady increase in turnover for almost a century is not a piece of cake. “It’s tempting to quote world famous marketing gurus with catchy sound bites, but the reality is very down to earth. The man and women working here and their stubborn drive for quality makes all the difference. Add loyal customers and mix with it more than a spoon full of plain luck. In our world family spirit is also important. The combined experience of three generations often makes the difference.” Of the 250 magazines Graphius prints, not even five can be found in the news agents. “This means that we have captured a segment of the market that stays under the radar, for our competitors too”, says Denis Geers. “Investing smartly is also a must. In certain areas we want to use machines more, further automating the process. There is a lot to learn from sectors entirely different to the printing world. For example, we study the work flows in the highly automated food industry. This could lead to new standards in the printing industry.”
In 2014 the printer generated a turnover of over 40 million euros with some 200 employees. Things are going well for the group, which is slowly coming together under one moniker: Graphius. After 84 years, the family name Geers is finally to disappear from the letterhead.
“We are starting to see a countermovement emerging.”
And what about the bête noir of the printing world? Isn’t he worried about the digital revolution? He says not. “We are starting to see a countermovement emerging. Invitations and newsletters are not just sent by email nowadays. Inboxes have reached saturation point. At the same time, we are not fearful of digital innovation. I am convinced that print and internet can live alongside each other. It gives us both the opportunity to work more efficiently for an international market and on the other hand we can expand our range of services with a variety of online services that go wider than just printed matter.” And in terms of succession, Graphius can rest assured. Denis Geers has two sons and his eldest wants to go into the printing business. Text Ine Bonte
“I already know what I’m going to be doing
in 100 years’ time” Text Thijs Demeulemeester
In Belgium, he is best known for his mega-sculpture on the Tomorrowland site, his fluorescent rocks in Oostende, and his pergola made of wooden planks in Brussels. But artist Arne Quinze is constantly setting the bar higher in his mission to conquer the world. On the site of the dance festival Tomorrowland in Boom, he built the immense ‘One World’ bridge: 537 metres, 1,100 tonnes and 210,000 wooden planks on which people could have their positive message inscribed. The middle of the bridge features a 25 metre-high steel sculpture. This is Quinze’s interpretation of the Winged Victory of Samothrace, an antique Greek sculpture displayed in the Louvre. Love him or hate him, Arne Quinze is one of our country’s most successful artists. Few have as many large-scale projects to their name. Commercially he is on a roll. And his international breakthrough, backed by his gallery owner Guy Pieters, doesn’t look as though it’s going to come to a stop any time soon. But does he feel that he is slowly edging towards the risk of delusions of grandeur now that his sculptures are becoming larger than life? “Large is relative. For many
people what I’m making now is monumental. But I think I’m still working on a small scale. Think of the Eiffel Tower. Now that’s ‘large’. We are currently working on even bigger city sculptures for cities in China, Myanmar and Indonesia”, Quinze tells us on the site in Boom. “I have become something of a foreman: in the morning I have to monitor progress on projects in China, during the day in Europe and in the evening, in the States. I invite anyone to come and work with us for a month. They’ll need half a year to recover.” The art world views Arne Quinze with ardent suspicion, and he is often referred to as an über-commercial artist. But that doesn’t bother him. “They have already tried to clip my wings a couple of times. But I take it as a compliment. Claude Monet had to exhibit in the ‘Salon des Refusés’ (exhibition of rejects) after all. And James Ensor and Francis Bacon were also reviled in their time.
Criticism only comes from a few individuals. The cultural sector always turns up its nose at large commissioned works of art. But in Thailand, Indonesia and China they get it. Over there, one city after another asks me for large spatial art projects. Just with the projects that are now on the drawing board, we’ve got work for the next five years or so.” Where does the artist end and the entrepreneur begin? For Arne Quinze, this question is unimportant. “All great artists become entrepreneurs at a certain point. Look at Jan Fabre or Jeff Koons. As long as you maintain control of the end result of your large projects, it doesn’t matter. Bruegel and Michelangelo also worked mainly on commission. My entrepreneurship doesn’t stand in the way of my artistry at all.
“Building the Atomium nowadays? It would never happen.” Arne Quinze
Under fire Arne Quinze came into the public eye for the first time with his monumental pergolas made of wooden planks. He set ‘Uchronia’ (2006)—a sculpture of 30 metres in length and 60 metres in height—on fire in the Nevada desert. 150 kilometres of wood and 350,000 nails went up in flames. ‘Cityscape’ (2007) in Guldenvlieslaan in Brussels and ‘The Sequence’ (2008) next to the Flemish Parliament have in the meantime also been taken down. However, anyone driving along Kustlaan in Knokke probably knows which garage he erected a sculpture of wooden planks around. A little further down the coast, his fluorescent orange ‘Rock Strangers’ has stood on the promenade in Oostende since 2012.
Right after the installation, complaints flooded in about his rocks that “didn’t fit in with the zoning regulations”. It seemed the fluorescent colours reflected into people’s living rooms and obstructed their sea view. Quinze remains unperturbed. “The unregulated housing boom has greatly affected the Belgian coastline. It could certainly use some sculptural positivity. These rocks have become a gathering place. Cities need these kinds of icons. Unfortunately they are difficult to bring about in Belgium, because of all sorts of political delaying tactics. If someone came up with the idea for the Atomium now, they would have no chance on earth, even though it’s been Belgium’s greatest icon now since 1958. Cities should be open-air museums with a wealth of green spaces, iconic buildings or works of art. Modern cities need a new lease of life breathed into them, places where you can feel the seasons change. An injection of green and culture is good for city dwellers. It opens up their perspective and makes them more tolerant to changes in their environment. Culture can only contribute to social harmony if it is accessible to as many people as possible. Museums do a good job, but they only reach one per cent of the population. And this fraction of the population doesn’t need to be educated, because they are already convinced of the power of art. I want to reach the other 99 per cent. The ones who go to big cities or Tomorrowland. Worldwide, I have already built 25 monumental installations in public
spaces. Do you know how many people have already seen them? You could never make such an impact with a museum show. There are already enough artists who never break out of the museum and gallery circuit. My path is a completely different one.”
Graffiti in 3D Quinze’s path is certainly atypical. At 16 he packed in art college, became a graffiti artist and did odd jobs for a living. “Painting houses, building garages, welding, washing cars: I did it all to survive. Purely because I didn’t make any money with my art. Even though that was what I always wanted to do. He caught the public’s attention for the first time in 1999 as a furniture designer at Quinze & Milan with a successful collection of hard foam poufs. “I carved out my own path. I took a detour, via the street. My monumental sculptures are in fact graffiti in 3D. What I used to spray onto trains and walls, I now make in space,” says Quinze, while quickly giving some orders to his team of welders. “I’m not averse to getting my hands dirty or taking risks.”
Virus Despite all the criticism, Quinze still succeeded in completing immense projects in a relatively short period of time. But does he still find the time to reflect on what he’s doing? “We leave a mark in the lives of so many people. Our positive message reaches a very wide audience. That is incredible. When we arrived in Sao Paolo for an exhibition, there were young people standing at the gates waiting for us. To be recognised in Belgium is not very difficult, but to be well-received in places like Brazil and Asia, that’s another thing entirely.” Does he see himself still doing this in 20 years’ time? “Surely you mean 100? I will continue to be an artist until my dying breath. It’s not something I choose. It’s in my blood.” ‘One World’ bridge for Tomorrowland (2014).
Â© Christophe Ketels - Belgaimage
in Ivan De Witte The housewarming (a 2-0 win against VfB Stuttgart) was ‘una noche mágica’, according to the Spanish trainer and the Buffalos. However, it took a whole season for the players and fans to really feel at home in the Ghelamco Arena. “Even I felt a little lost at first”, admits Chairman Ivan De Witte. “Only now can I really talk about a home advantage.” Firework, parties, DJs and still more parties. And when the smoke cleared, KAA lost match after match. The new stadium, far from giving the players wings, seemed to put lead in their shoes. “The players had to get used to it”, admits Chairman Ivan De Witte now. “They were thrown off balance themselves. They didn’t yet feel at home, which meant they didn’t have a home advantage. In addition, the opponents were wound up. They came in here, looked around a bit and thought: you’re not getting us! And granted: our focus wasn’t quite there. The whole construction saga absorbed us, as the management, to such an extent that the sport side of things got shoved to the side.”
Soccer heaven. ‘Soccer heaven’ is how the American Contract Design Magazine described the interior of the Ghelamco Arena, KAA Ghent’s new home. They awarded the design the Interior Award 2014 for best sports stadium. Contractor Ghelamco worked with the Polish architect Przemyslaw
Stopa. Stopa drew inspiration from the team’s signature colour blue and from the shape of a football. “The architect has translated the football team’s branding into progressive architecture that intensifies the fans’ experience”, says the poetic Jury report. Chairman Ivan De Witte tries not to gloat too visibly. “Don’t forget the outside though too, with the glass media facade and light effects. A true landmark! At the same time everything is functional and well thought-out. Every group has its own floor. On the ground floor you can find all the sport accommodation and on the first, third and fourth floors you have the VIP club, catering and corporate boxes respectively. On the second floor you have the main circulation corridor. Here, supporters can meet up and have a bite to eat or a drink. We took some good examples from abroad, but a large part really grew out of our own experience and inspiration. The circulation corridor for instance is a first. We have also invested a lot in facilities for wheelchair-users and for people with a visual or hearing impairment. The UEFA imposes this to a cer-
tain extent but we wanted to be extra generous in these aspects. People value that.”
Ivan De Witte
So no daydreams or financial exploits for Ivan De Witte. You can take the butcher’s son out of Moortsele but you can’t take Moortsele out of the butcher’s son. “My mother took care of the shop and my father had a modest wholesale business. This is where I learned to watch every penny. Even my own business, De Witte & Morel (now the HR advisers Hudson Belgium - Ed), I built up from scratch. I delivered the first invoice to the client by hand so that I could pick up the cheque there and then. This is how you learn the importance of good financial health and taking calculated risks. The stadium was a risk but we knew exactly what we were doing. Last year we made profit and this year we will again. Make no mistake: I am a fan. As a youngster I played in the provincial leagues, first in Moortsele then in Merelbeke. That was when I was still quick (laughs). After the match we washed ourselves in the basins and five minutes hadn’t passed before I was asking what the ‘Gantoise’ had done. But the fact that you are a supporter can’t blur your judgement. The Chairman can be a fan but not a fantasist.” Text Bart Desomer
© Carlo Coppemans - Imagedesk
A faltering mobile network, a sputtering heating system and a disapproving fire brigade; it put a bit of a dampener on things when the media initially seemed only to focus on the teething problems. Ivan De Witte brushes off the bad memories. “All of these things have now been resolved. We have created a new standard in Europe of how a new stadium should be. The national safety authorities put us under extra close scrutiny. Today, in terms of comfort and safety, I would give Ghelamco Arena a score of nine. I think that the average stadium in Belgium barely scrapes a five. When you see how long it takes sometimes just to get out of those stadiums, heaven forbid that something should happen.” In the meantime, their new home now feels like home. At the time of writing, KAA Ghent is “in the first column”. This is also where the club belongs, thinks the Chairman. “The first step is a secure position in the top five. In five years’ time, we should be aiming to always be playing in the top three. Could we be champions? It’s possible, but only if the other teams let down their guard.”
“The Chairman is allowed to be a fan, just not a fantasist.”
age. The number of season-ticket-holders is now 14,000 instead of 9,000. As a result, our turnover has grown from 17 million to 24 million euros. If you add the catering to that, we reach 32 million euros. For top matches we are sold out. Expansion? We can easily increase the seating to 25,000. But let’s not get carried away here: we have to take things step-by-step.”
The Ghelamco Arena is the financial catalyst for our sporting ambitions. More visitors and more income also make it possible to make good investments in players. Are the 20,000 seats now filled? “We have grown from 10,000 to 18,000 spectators on aver-
Sitting in a railway station
Got a ticket for
my destination British Rail was still demolishing historic stations well into the 1980s, and voices raised in protest were invariably regarded as irritating, anachronistic nuisances by both the railway industry and by central government. In the late 1980s however, the balance began to shift – just in time to exert a strong influence on the post-privatisation companies which succeeded British Rail after 1993. The National Railway Heritage Trust and books like ‘The Railway Stations of Britain’ brought this needless vandalism to a mainstream general audience. Steven Parissien, author of the new book ‘The English Railway Station’, describes the revival: “After decades of underinvestment and diminishing expectations, the 1990s saw a dramatic turnaround in the fortunes of Britain’s railways. A crucial element of this revival derived from the railway companies’ belated realisation that inspiring new stations would attract new custom.” The standard bearer for the new era became the revamped St Pancras. The British government conjured a consortium – 50 per cent owned by the French and Belgian national railway operators SNCF and NMBS – to ensure the completion of St Pancras in 2007. The soaring iron roof, painted sky blue, now presided over the comings and goings of Eurostar trains to France and Belgium as well as the more
prosaic services to the Midlands. Adjacent to the Eurostar platforms, the developers optimistically installed the longest champagne bar in the world, next to the luxurious St. Pancras Renaissance Marriott hotel and ultra-premium apartments. Whilst new stations are rising across the country, many fine old stations survive in private hands as homes or hotels. Even railway companies embrace their heritage and proudly restore stationmaster’s houses. The handsome Gothic station at Minehead in Somerset of 1874 was reopened as the headquarters of the West Somerset Railway. Historian dr. Steven Parissien ends on a optimistic note: “The future for England’s stations is incomparably rosier than it was 50 years ago. Much of the much-abused rail passengers of the 1960s and 1970s would be astonished at the sea change in services and stations.”
The English Railway Station, by Steven Parissien, ed. English Heritage, was printed by Graphius.
Paul Smith Text Frank Goetmaeckers
Paul Smith had landed! The whole town was on tenterhooks. The mayor wore his three-coloured ribbon, a Belgian Minister gave a speech. The local beau monde was dolled up (always a tricky one when you’re to come under the scrutiny of a worldfamous couturier) for the moment when Sir Paul arrived in person to open his exhibition ‘Hello, My Name is Paul Smith’. The exhibition kicked off in the Design Museum in London and has now embarked on its world tour. Hasselt, a Belgian town on the Dutch and German borders, is the first stop. This choice does seem a little odd. The London exhibition attracted more visitors than the whole of this Belgian town’s population (75,000). When I told Paul Smith in his London office a few weeks beforehand exactly how small Hasselt was, he didn’t seem at all perturbed. “Yes. It’s a provincial town and that suits me down to the ground. I come from a small town myself and I know just how important such events are for small towns. Capital cities around the world have become a bit blasé”. Nonetheless, in nearby fashion museums you will see Jeanne Lanvin and Christian Lacroix exhibiting in Paris, and Dries Van Noten in Antwerp. The reality is somewhat more nuanced. Paul Smith isn’t as “hot” as he used to be on the Continent. The reaction of the Belgian press was even downright sedate. Apart from some specialist fashion magazines, the general feeling could be summed up in two words: ‘Paul who?’ The first shop, ‘Paul Smith Vêtements Pour l’Homme’ in Byard Lane in Nottingham, was three-by-three metres. This room was meticulously replicated for the exhibition. “People who went to the exhibition in London told me afterwards how shocked they were at how small the first shop was. I opened it in 1970 with a lot of velvet jackets. Very dandy-esque. It was where the rock bands and actors would go.”
Today, 45 years and shops in 66 countries later, Paul Smith no longer counts trend-setting artists among his clientele. His faithful followers grew up with the smell of patchouli and are now obliged to don a suit. They indulge themselves with a Paul Smith suit, which slightly strays away from the classic cut. It might have an invisible yet colourful lining. The odd button in green. A button-hole stitched in red. Tongue-in-chic, recognisable among 50- and 60-year olds. But this subtle code language is not being picked up by the younger generations. Something that is starting to be felt. The fourteen different Smith labels (four for men, three for women, accessories etc.) are being whittled down this year. Meanwhile, the Paul Smith consortium is making frantic attempts to establish a link with the hipsters. For example, they have started up a collaboration with Goodhood, a trendy label that wants to conquer the world from Curtain Road in East London. The unstoppable energy that the friendly Paul Smith has at 69 comes as a surprise, even to his biggest fans. His optimism is contagious, not least among the twenty designers who work out the lines in the floors beneath his offices in Kean Street, London. “Every day is a new beginning. Sometimes I feel like an acrobat with a load of plates spinning in the air. But you can’t do it without doing it”. Hallo, my name is Paul Smith. Fashion Museum Hasselt, until 7 June. Gasthuisstraat 11, Hasselt www.modemuseumhasselt.be
Glorious With Frank De Mulder
He has hundreds of provocative photos to his name and thousands of kilometres on the clock: as a specialist in nude photography, he has travelled the world to seek out the most idyllic locations, with a long line of feminine beauty in his wake. Oh...and three books, which immortalise his best shots. “And that...” says Frank De Mulder “is the most important thing.”
Frank De Mulder was only 12 when his father first placed a camera in his hands. One of those with rolls of film. “He taught me the basics and I started experimenting. A couple of years later I got a real camera, a Canon with interchangeable lenses. On school trips, I would spend my time photographing the girls instead of squares and churches. What could you expect? I was sixteen. I found the curve of a breast more interesting than the arch of a cathedral (laughs), and the girls were happy with the photos. I got acknowledgment. Something all artists strive for.” After the Royal Academy of Fine Arts in Ghent, Frank De Mulder got called up for his military service. He worked as the director of photography in the film depart-
ment. “I would do that again at the drop of a hat. Light has always fascinated me.” After this, he got a job at a pharmaceutical company as audiovisual supervisor. “This was a well-paid job but even so, I quit. I wanted to work freelance. But I didn’t have a portfolio or even any references. Attracting clients wasn’t easy. One of my first clients, a lingerie manufacturer, asked me why I was so cheap. ‘Because you’re mad to work with me’, I said.”
The first time It wasn’t long before Frank was travelling the world taking photos for fashion magazines. So once upon a time, his models were fully clothed. “Yes. But there was always
this urge to photograph them naked. The first time I worked up the courage to ask was in Mauritius. The model was posing next to a ficus with giant roots above the ground. I asked her to take her clothes off and crawl between them naked. And she did! I was able to get some beautiful shots that day. These are images that will stay around forever, which can’t be said for fashion shots, which are generally binned after six months. OK. There are some exceptions. American fashion and portrait photographer Richard Avedon’s photos, for example, continue to be iconic.” Frank De Mulder had found his signature. He switched from women’s magazines to men’s magazines and was commissioned by Play-
boy and FHM. “Of course I was thankful for this break but after a few years, I was done. The photos I liked best were never published. Playboy laid the focus on the model, while for me, the model is only part of the picture.”
The book In 2006, the German publisher teNeues asked him to put together a photography book. This later turned into three. ‘Senses’ in 2007, ‘Pure’ in 2010, and ‘Glorious’, which came out last year. Each of them weighs a couple of kilos. “A photography book is the Rolls Royce of print media”, says Frank De Mulder. “There’s no comparison in terms of quality with a brochure or a magazine. So much more work goes into them and they are printed on the best paper... The bar is set high and that’s exactly how I like it to be. You can’t imagine how proud I am when a book comes out, to see my work immortalised.” More and more people want to buy a Frank De Mulder piece. His images are featured in art galleries, with the ensuing higher price tag. “That’s got a lot to do with the books. A book puts you on the map”, says Frank. “Everyone can buy a book but there are always people who fall in love with a particular photo and want to see it on their wall.” The books reflect his evolution as a photographer. In the first, ‘Senses’, you can see a lot of work out of Frank’s Playboy period,
whereas in the last, ‘Glorious’, Frank was able to do his own thing again. “The next book is even more personal. I want to show for example how my work looks in an interior. For the doubters out there (laughs), I understand that some people might hesitate to hang one of my photos on their wall but after two minutes you’re used to it and you can see past the nudity.”
The female form Women are the common thread throughout Frank De Mulder’s life. That much is clear. He has “a lot of female genes”, he says. Because of this, he easily forms a bond with the opposite sex and women feel they can fully let go in front of his camera. But he does have a bit of a love-hate relationship with them, as many men possibly do. “Women are my greatest passion. They are important in my private life and play the leading role in my work. But at the same time they are my biggest foe, because they have the power when it comes to deciding whether my photographs are bought and hung on the wall at home”, he laughs. “Frank’s women” are all young and beautiful. Why do we never see an older woman or a flaw here and there? “There are in fact women in their forties in my books. I can make a beautiful portrait, even a naked one, of any woman. The only condition for me is that the model must feel happy with her body. But I am not a portrait photographer.”
My way De Mulder has a reputation for being stubborn, radically striving for his own style. “It isn’t easy”, admits Frank. “At first you have to attract clients and once you’ve done that, you have to give them what they want. I’m lucky to be able to do my own thing more now. I’ve just got back from Ibiza where I was able to take some of the best shots of my life. We went to Punta Galera, a rather inhospitable spot on the west coast of Ibiza, but incredible as a location. It was difficult to get to but once we were there, it was perfect. The model posed in the wild waves with a sublime light coming from the setting sun. In the future, I would like to mainly do my own productions. The less I am answerable to someone, the better my work is.” Although from his stories you could be led into thinking he’s a real Indiana Jones-slashJames Bond character, Frank claims not to be much of an adventurer. “I’m a real homebody. I like chilling out and relaxing. Being cosy at home with my girlfriend... Or swimming in my pool in the garden. Naked? Yes. Of course.” (he laughs)
Glorious, Frank De Mulder. published by teNeues, 168 pages
Graphius prints Glorious and has ten free copies for ten lucky readers. Find out how to enter on page 1.
news ON TOUR Paris - London - Boston
CONNECTED WITH SAP Graphius has once again won the contract for the administrative printing work for UGent, for a period of three years. To ensure that the partnership runs as smoothly as possible, Graphius has created a link between the in-house online platform iQuest and Ghent University’s SAP.
BIODEGRADABLE FOIL Foil protects magazines during their adventurous journey through the Bpost sorting centres. However, foil also has some impact on the environment. This is why the packaging machines at Graphius now also use biodegradable foil. Unlike plastic, these foils break down spontaneously over time, without damaging the environment.
Every year, Graphius treks from book fair to book fair. The biggest book fair in the world was in October. Graphius also had a stand at the ‘Frankfurter Buchmesse’, not to sell books but to introduce itself as a printer to book publishers. These are already on our tour list for the near future: • Paris for the Salon du Livre (20-23 March 2015) • London for the London Book Fair (14-16 April 2015) • Boston for the National Museum Publishing Seminar (12-14 June 2016)
Are you in the neighbourhood? Let’s meet up!
RUN TO RIO NEW BINDERY At the end of August, Graphius took on a new bindery. The new high-tech machines are one-of-a-kind and, aside from many technical aspects, they also offer the highest quality in terms of finishing. You can read more about these machines on page 33.
Training has already started. On 21 June 2015, a team from Graphius is taking part in the Run to Rio. This event is organised by the BOIC in conjunction with the VBO. The proceeds are all going to support our Belgian athletes. www.runtorio.be
FEAR AND BEAUTY
An exceptional book by Jean-Marie Ghislain Primal fear could never have been far away. Jean-Marie Ghislain took each of these images in the open sea, outside the protective cage. And yet, e ven as these predator y creatures swam towards him, he remained calm and focused. He captures the beauty of the lines of individual adult sharks, or the ballet of the herd. Often eye-to-eye with the man-eater. These make for fas cinating images that strangely enoug h, far f rom inspiring fear, exude only beauty. Of course, not all sharks are dangerous, and the experts say that the risk of a shark attack is statistically small. But is that reassuring enough to shake off the fear when the beast swims so near that its battle-scarred skin is close enough to touch? This book has to also raise the question of what kind of man this photographer is. B efore embarking on this three-year project, JeanMarie Ghislain was wrestling with a troubled past. His t r au mat i c ch i l d ho o d w as marke d by v i ol e nc e, which culminated in his mother committing suicide by throwing herself down a well. To fight his demons, t he adu lt Je an-Mar ie Ghisl ain t hre w hims elf, b ot h figuratively and literally, into the water. Since then, armed with only his camera, he has been searching for the archetype of his primal fear. This search led to a direct confrontation with the predator, which initiated him into the secrets of beauty.
The 120 photographs in this book—a selection from thousands of shots—show as many exceptional encounters between man and shark. Over three years in the company of the sharks, Jean-Marie Ghislain has captured some of the most stunning photos ever seen of these animals. He lovingly—even reverently at times— shows the merciless undersea world in which these animals have to survive. At the same time, it became clear to Ghislain quite how vulnerable the sharks are and how much they need the help of humans to avoid extinction. But above all, he was overcome by a wave of happiness that he had never felt before, which he shares with the awestruck viewer. This is the moment that photography becomes art. Jean-Marie Ghislain uses natural light and a lens that mimics the focus of the human eye. This naturally limits the possibilities in terms of imaging, which is why he opted for black-and-white. The advantage is that the scenes are represented true-to-nature with no special ef fec ts or reconstr uc tion. Althoug h the images are striking in their simplicity, no fewer than eight print runs were necessary, each time in a different grey-white variation, in order to get close to the subtle nuances of the shots in print.
TECHNICAL DETAILS 192 pages, printed in 9 colours (cmyk + 4 Pantone + varnish) Photography by Jean-Marie Ghislain. Lithography by Mathildestudios Design by T’ink Studio In 2 formats landscape 440 x 330 mm and 300 x 225 mm Paper Fedrigoni Symbol Tatami white 150 g (300/225) and 200 g (440/330) Printing and binding by Graphius Ghent Published by Marot N.V. for Lannoo (Dutch), Les Arènes (French). Thames & Hudson (English) and Elisabeth Sandmann Verlag (German) Large format price: 250 € Reduced format price: 39,95 € Bibliophile edition in luxury box with portfolio of original photos numbered and signed (on request to the publisher) email@example.com
in laser blue a chat with Luc Sonck
The sea of blue in the Graphius printing halls is hard to miss. Laser blue is the signature colour of Muller Martini. Despite the difficult times, Graphius has invested heavily over the last few years in this world-leading Swiss manufacturerâ€™s finishing equipment. A chat with Luc Sonck from Muller Martini. 33
© Klaas Verdru
“Before, our machines were available in green, blue or burgundy”, says Luc Sonck. “Sometimes clients would spend longer pondering over the colour than the type”, he laughs. “Since 2008, all Muller Martini machines are in laser blue. There was a whole study involved in this. Laser blue stands for innovation and reliability and fits in with any culture. The colour looks good in different lighting conditions and dust and dirt is less noticeable. To be honest, we were initially looking on in surprise when the design studio was giving its presentation.”
Luc Sonck wears two hats at Muller Martini. He is not only Benelux Sales Manager for new machines but he is also responsible for second-hand machines in northern Europe. “This latter market is becoming increasingly important. Because of the difficult economic climate, companies are looking for affordable and reliable alternatives to new machines. Muller Martini is adopting the same position as Nearly New Car does for second-hand company cars from that well-known German brand”
So far, so good in terms of the packaging. But what really counts is what’s on the inside. Muller Martini is the world leader in machines for brochure saddle stitching, book gluing or sewing, or tying separate elements, says Luc Sonck. We are a Swiss family business. Rudolf Muller heads it up and we have 2,000 employees worldwide. Our secret weapon continues to be innovation. We are always on the lookout for faster and more reliable technology.” A good example is the binding line, which brings together all printed material in one whole. The conventional binding line has one central engine which drives the whole machine through cogs, shafts and chains. That seems logical but each element requires a different speed. Very quickly, the different parts are no longer synchronised and that’s when the tinkering starts. A lot of time and paper is wasted with this because you have to adjust the machine again for each new book. Luc Sonck: “We built a binding line with several servos. You can adjust it with precision immediately and very quickly bring it up to full production speed. That is vital because paper isn’t cheap and book print runs are getting smaller. In addition, it is a modular system. Before, when you needed a new option, you had to replace the whole machine. Now, you can just click a new module in.” Competitors are chomping at the bit to imitate these machines. Without success. However, they are not quite flying off the shelves yet. Luc Sonck attributes this to the economic crisis. “The whole sector landed in a perfect storm after 2008. Everything came at the same time: the banking crisis, the economic crisis, the move to digital communication... Banks have also become very reticent to lend to the print industry. In five years, 55% of our client base was wiped out. Those who can take over businesses and invest in
new technologies under those circumstances are those that are here for the long run. Graphius is one of those companies.” Graphius chose Muller Martini for its new stitching machines, binding lines and overall software. Luc Sonck: “We harmonised and optimised the whole set of machines in close consultation. Graphius replaced its three existing saddle stitchers with two new Primeras from Muller Martini. They are simply unrivalled in terms of setting time, net output and margin of error.” The biggest investment was in two new binding lines for soft covers. A gargantuan operation, as Luc Sonck himself describes it. “We had to install and integrate everything while production carried on. But we were prepared for that.” Luc Sonck sees a rosy future for Muller Martini. “We are strong, both in Europe and the States, and in emerging markets. As a family business, we continue to invest in innovation and our machines and service stand head and shoulders above the competition. Just what is needed in a sector that revolves around just-in-time delivery. A printer has to be able to deliver by the agreed deadline. Our machines come at the end of the production process, shortly before delivery to the client. You just can’t afford any errors at that stage.” Luc Sonck isn’t even pessimistic about the future of paper. “The market has become smaller because of digital competition. That means that we have to work smarter and more efficiently. But paper books still live on. And in the advertising sector the word on the street is that clients are increasingly shifting part of their budget back to print media and away from the new media. Apparently print media is still a better fit after all.”
journey A chat with Joris Van Cauter
Joris Van Cauter ( founder of Druk in de Weer) is wise. His radical move to environmentally friendly printing appears, with hindsight, to have been a good one. Nobody dares to argue against the environmental aspect. In the meantime, Druk in de Weer has come into the Graphius group fold, but the printer continues to service its own niche. Joris Van Cauter: “In principle, Druk in de Weer only prints on recycled paper. Using new wood from managed sources doesn’t seem like a good idea to me. Because even if the paper industry processes green and unendangered trees, it also requires a considerable amount of energy and water, the wood is treated with a lot of chemicals, and millions of hectares of nature have to be used as production forests. All of these disadvantages are easy enough to eradicate: simply choose 100% recycled paper.”
Early struggles It is clear nowadays that the public are behind recycled paper, but in the early years it was a struggle to convince people. “People didn’t even want to use recycled paper as toilet paper!
Only the environmental organisations were buying in to the idea. To be honest though, the recycled paper of the early years was also pretty ugly. Luckily nowadays it’s a different story. Many governments now only use 100% recycled paper. Many businesses find that this label contributes positively to their image. But there’s still a long way to go yet. I still see lots of new paper coming onto the market.”
Green printers Environmentally friendly printing requires specific technical knowledge. Engaged printers such as Druk in de Weer and De Duurzame Drukker have forged the way, but the road is long. Having sufficient scope to continue to expand green printing appeared to be a struggle. That economy of scale issue
is now resolved: the two printers have now been brought into the Graphius group and are continuing on their green journey. “We were profitable until the very last minute. But in a shrinking market in which investment has dried up, it seemed a good decision to become part of a bigger whole. At the same time we can also launch our ideas within the whole group which means less energy use, green certificates, solar panels, transport plans, and so on. Environmental issues are taken into account with every management decision. And this is good business because an environmentally friendly printer is about much more than just the choice of paper.”
what we call
In the equestrian world, Mark Wentein is everywhere: in societies, at competitions and on juries. “It’s with you from the minute you wake up, to the minute you go to sleep. Surely that’s what we call passion?” Text Rein Verhoeven
Mark Wentein: “Yes. I was your typical city boy. Until I was 17 I had nothing to do with horses. At college one day there was horse-riding on the programme on a sports day and I went because a friend wanted to go. This opened my eyes to a whole new world. I wanted to start taking riding lessons straight away. To pay for lessons I started working on a farm, mucking out stables, and when I was still a student I started driving horse-drawn carriages. A company you then took over? “Yes. In the meantime I have taken over the horse-drawn-carriage business and become the spokesperson for the coachmen in Bruges. One thing led to another. There was no
plan behind this. It’s just something I kind of fell into.” You also have your own magazine? “When I was young I used to read the sports magazine Ruitermagazine. I wrote a letter to the editor-in-chief about the fact that very little was written about combined driving, which prompted the reply: why don’t you write something yourself? And so it all began. That was 28 years ago. When Ruitermagazine stopped, I started with Hippo Revue.” So your passion became your profession? “I learned the profession through experience. There is relatively minimal risk if you’re specialised and you work in specific markets with experts in the field. I have been able to put my commercial skills and talent for organisation to good use.” You work with your family... “My son is on the staff of Hippo Revue and
in the horse-and-carriage business. My daughter works with the Flemish Equestrian League, which manages 525 clubs and stables and which I chair. Everything is interlinked.” Is a specialist magazine financially feasible? “No problem. I work with my son, a bookkeeper, a secretary and 20 freelancers. The magazine covers its own costs.” Is there still time for other things beside equestrian sports? “Horses are a passion. You’re with horses from the minute you wake up to the minute you go to sleep and at the weekend, there are the events. I take part in single-horse carriage driving competitions and in the international jury of combined driving competitions. I am a speaker at many international competitions such as the Olympic Games in Atlanta 1996. In French, English and German. This means
© Alfredo Margarido
As a student, he drove tourists around Bruges in a horse-drawn-carriage. Now he owns the company. Back then, he was a city boy afraid of horses. Now he competes at an international level in equestrian competitions.
to the top both in show-jumping and commercially. Or Karin Donckers, who is still at the top internationally for eventing (a combined discipline of dressage, show-jumping and cross country - Ed.). You can still train a horse yourself and go far in competition circles. You can also ride the horses of another owner, as most riders do, and attract attention in that way.” What about amateur horse-riding? “That is on the rise. The Flemish Equestrian League is going strong again this year. We now have more than 36,000 members. More and more people are riding horses. The camps at Bloso and the Flemish League are full. We hardly feel the economic crisis here”.
Does it all become too much, combining all that? “I can’t sit still, even at 58. My work is my hobby and vice versa. Combined driving is and will always be my favourite sport, but when I can ride a horse myself, such as during hunting season in the winter, that’s even better. I have been very lucky to have had fantastic horses with great character. I didn’t buy them at a high price. I trained them myself.”
for eleven years now. I am convinced that there’s a lot you can do with a horse. I am a horse-whisperer. I’ve often said so.”
Professionele accommodatie op ca. 12,5 ha te KLUISBERGEN (Henegouwen)
Prachtig gelegen domein met woning, 2 gastenverblijven, 23 ruime boxen (min.12 m2), stapmolen voor 6 paarden, 2 drafbanen van 1000m en van
You take one of your horses with you...to the pub? “Now and then, we just go to the bar of the horsemen club De Blauwe Zaal in Sint-Kruis. Sometimes the patrons are taken aback but most of them are already used to us. As long as Carlo feels and hears my presence, he is comfortable. We have had that bond
600m en grote weides in hout omheind. Vergunning voor een extra loods van 30m x 30m.
Mooie villa met paardenstallen op ruim 1,1 ha te STEKENE (Oost-Vlaanderen) Deze zeer ruime villa beschikt ondermeer over 3 slaapkamers, 2 garages, een
Are competitions becoming increasingly elitist, with the same “sons and daughters of”...? “That is indeed the case for some of them. But then you have people like Ludo Philippaerts who had humble beginnings but rose werkplaats en een polyvalente ruimte, een stalgebouw dat ruimte biedt voor 2 paarden, een buitenpiste en weides.
Meer dan 30 maneges en stoeterijen in discrete portefeuille! Voor meer informatie gelieve contact op te nemen met ons kantoor.
Te verbouwen hoeve op 2,56 ha te MALDEGEM
Renovatieproject op ca. 1,77 ha te GERAARDSBERGEN (Oost-Vlaanderen)
Deze hofstede is zeer vlot bereikbaar via de E34 en vooral rustig gelegen op
Net buiten het centrum van Geraardsbergen bevindt zich deze eigendom,
meer dan 100 meter van de straatkant. De hoeve bestaat uit een volledig te
bestaande uit een te renoveren woonhuis met schuur en aparte stalling.
verbouwen woning met stalgebouw en weide. Extra grond mogelijk.
De weides liggen naast en achter de woning.
What about your own wife? Mark Wentein: “No. She’s afraid of horses.” (laughs)
If you want to see Mark Wentein at work in ‘Iedereen beroemd’, go to YouTube and type in: Iedereen beroemd-Mark Wentein.
Voorbesch Jrg. 27 - n°6 - december 2014
Before, Belgium was the mecca for breeding. Is that more difficult nowadays? “The days of the small amateur breeder have passed. It is getting more and more professional. If you breed a horse yourself, that’s already 1,000 euros for mating and 1,000 euros in vet bills. And then it takes years for the foal to be grown up and even then, you still have to wait and see how it turns out. It all takes time and money. At the moment, many horses are brought in, for example from Romania or Hungary, especially for recreational purposes. There is no comparison with those prices.”
• P 309758
a lot of travelling. Your family has to accept that. Otherwise you don’t last. On the other hand, equestrian sports have given us lots of special moments.”
What is this growth attributed to? “We have had the TV series Amika, which made lots of young girls dream of horses. Horses are also a full package. They are part of an attractive lifestyle in rural surroundings. They fit into the trend of going back to nature. But above all, it’s one of the few sports in which women can prove their superiority.”
Jrg 27 • N°6 • tweemaandelijks eemaandelijks • dec december ember 2014 • A Abonnemen bonnement: t: € 45 Losse ver verkoop: koop: € 7,95 • Afgiftekantoor Gent X
With Hippo Revue Carlo in the pub in Fort van Beieren in Koolkerke.
adres Grote Markt 67/3 • 2300 Turnhout t +32 14 41 61 00 gsm +32 474 400 100 f +32 14 42 08 82 Bijkantoor Verrebroek (Beveren-Waas) gsm +32 495 91 50 20 e-mail firstname.lastname@example.org website www.immofluisteraar.be BIV 502.406
Graphius prints Hippo Revue.
Iwan Baan for Fondation Louis Vuitton Â©Iwan Baan 2014
Landing in the Bois de Boulogne
Frank oh-la-la Gehry In this corner of the boxing ring: Bernard Arnault, French billionaire. In the other corner: Francois Pinault, also a French billionaire. These two rivals come up against each other in many different domains, such as the world of ski resorts, auction houses and wine chateaux with lofty appellations. And it’s not exactly because they’re holidaying there. They own these places… along with brands such as Gucci, Louis Vuitton, Yves Saint Laurent and Kenzo. The two billionaires also encounter one another in a different world: that of art. Both are notorious collectors, each with their own impressive contemporary collection. It is not that unusual for rivals to clash over art. A century ago already, two extremely wealthy clans in Paris famously went into competition with each other, although they were Russian families at the time. Matisse, Monet and other artists – who could sell their work to the highest bidder – were not displeased.
Graphius printed the very first catalogue for the opening of the Fondation Louis Vuitton. We have 5 free copies for 5 lucky readers of Graphius Magazine.
The two contemporary billionaires don’t just want to buy though, they want to show. But that’s not as simple as it sounds. The Fondation Pinault currently has around two thousand works in its collection: from Degas to Antwerp’s Luc Tuymans and Ghent’s Michael Borremans. Rumour has it that Bernard Arnault’s private collection is not to
be outdone. The two patrons of the arts are also tussling for the best possible location. Francois Pinault bought a handful of prestigious Venetian palazzos in which to exhibit his collection. But Bernard Arnault trumped his opponent in October, in his own city no less: Paris. In the presence of le-Tout Paris, Arnault presented his brand-new museum, with the green backdrop of the Bois de Boulogne in the west of the city. President Francois Hollande cut the ribbon. Top architect Frank Gehry designed the revolutionary building, which houses a collection set to make museum directors the world over weep. But for visitors, it’s a pure delight. This month you can see the work of Maurizio Cattelan, Henry Matisse, František Kupka, Edvard Munch and many more. www.fondationlouisvuitton.fr
Iwan Baan for Fondation Louis Vuitton Â©Iwan Baan 2014
MUSEUM EXHIBITION CATALOGUE AWARD - GREAT BRITAIN Best Exhibition Catalogue at British Book Design & Production Awards 2013. According to the jury “a beautiful catalogue that serves as an addition to the exhibition and also a reference book in its own right. Interesting content supported by considered design from start to finish. Attention to detail alongside high production values.”
FERDINAND BAUDIN PRIZE BELGIUM For the Ferdinand Baudin Prize 2013, 11 books of 145 that were sent in were awarded a prize. No fewer than three of these rolled off the Graphius presses. Dyslexia is a typographical handbook, written and designed by Salome Schmuki. In Encounters, artists share their reactions to the work of filmmaker Manon De Boer.
PRIX CATALPA - FRANCE The first prize for exhibition catalogues went to an impressive book published by the Shoah Memorial and the city of Grenoble. The striking design of ‘La Spoliation des Juifs: une politique d’Etat’ enhances the impact of the exhibition.
THINK IN COLOUR Graphic designer Hugo Puttaert won with his book ‘Think in colour’ the prestigious award Henry Van de Velde Label 2014. The book presents his long career and some surprises. If heated the cover starts to show all the colours of the rainbow.
Als grafische machines en materialen, is Plantin op As aleverancier supplier ofvan printing equipment and materials, Plantin is proudertotrots be able om Graphius tot zijn relaties te mogenBesides rekenen. de printed liefde voor het to count Graphius to his relationships. theNaast love for product, gedrukte geprinte product,role speelt creativiteit in onzeThis samenwerking creativity en plays an important in our collaboration. in order to een give belangrijke rol.products Om zo an úwadditional graﬁsche emotional productenattraction extra emotionele aantrekyour graphics force. kingskracht te kunnen geven.
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Published on May 24, 2017