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Mikhael Subotzky Nicolas Tikhom Abbas Christopher Anderson Eve Arnold Olivia Arthur Micha Bar Am Bruno Barbey Jonas Bendiksen Ian Berry Werner Bischof Rene Burri Cornell Capa

Nicolas Tikhom Abbas Christopher Anderson Eve Arnold Olivia Arthur Micha Bar Am Bruno Barbey Jonas Bendiksen Ian Berry Werner Bischof Rene Burri Cornell Capa

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2012 2012 2012

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2012 2012

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P roz Mikhael Subotzky Nicolas Tikhom Abbas Christopher Anderson Eve Arnold Olivia Arthur Micha Bar Am Bruno Barbey Jonas Bendiksen Ian Berry Werner Bischof Rene Burri Cornell Capa

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Nicolas Tikhom Abbas Christopher Anderson Eve Arnold Olivia Arthur Micha Bar Am Bruno Barbey Jonas Bendiksen Ian Berry Werner Bischof Rene Burri Cornell Capa


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Proz est une maison d’édition fondée par Mathilde Machin et Florant Truc, tout deux fraichement diplomés de l’ESAG Penninghen, ils se dirigent vers des agences de graphismes de renommées et crées de multiples typographies dont la Coolvetica, la Sans Impact ou la Bidonet. Mathilde et Florant se revirent lors d’un soirée des anciens élèves de l’Esag, et discutèrent de leur passion pour les fonts, repensant aux centaines de livres sur le sujet, rébarbatifs et sans saveurs qu’ils avaient dû se taper. L’alcool aidant, ce fut le déclique, ils décidèrent de tout plaquer et de monter une maison d’édition alliant technique et savoir faire typographique, et mise en page à fort impact graphique. Chaque livre édité ne sera pas un manuel théorique mais un objet en soit mettant en avant la délicate poésie de l’art de l’écriture. En juin 2011 Proz était née. Mathilde et Florant rassemblèrent les graphistes les plus compétant a leurs goût et en quelques mois éditèrent de nombreux livres, de talentueux typographes furent alors poussés vers le succès.

CATALOGU E 2012

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TYPOGRAPHI POGRAPHIE E

Nicolas Tikhom Abbas Christopher Anderson Eve Arnold Olivia Arthur Micha Bar Am En décembre 2011 ils étendirent leur concept à la poésie, à la réédition de livres ancien ainsi qu’à la Photographie. Mais leurs envies ne s’arrêtèrent pas là. Se rappelant de leur années d’études, et de leur budget serrés d’étudiant, ils décidèrent de rendre leur livres le moins cher possible. Format plus petit, impression sur papier recyclés. Proz devint alors une maison d’édition ouverte à tous. Pour ce catalogue de mai 2012, nous avons demandé à de jeunes étudiants talentueux de 5eme année à L’ESAG penninghen de nous aider à mettre en page chaque ouvrages nous apportant leurs vision

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Proz est une maison d’édition fondée par Mathilde Machin et Florant Truc, tout deux fraichement diplomés de l’ESAG Penninghen, ils se dirigent vers des agences de graphismes de renommées et crées de multiples typographies dont la Coolvetica, la Sans Impact ou la Bidonet. Mathilde et Florant se revirent lors d’un soirée des anciens élèves de l’Esag, et discutèrent de leur passion pour les fonts, repensant aux centaines de livres sur le sujet, rébarbatifs et sans saveurs qu’ils avaient dû se taper. L’alcool aidant, ce fut le déclique, ils décidèrent de tout plaquer et de monter une maison d’édition alliant technique et savoir faire typographique, et mise en page à fort impact graphique. Chaque livre édité ne sera pas un manuel théorique mais un objet en soit mettant en avant la délicate poésie de l’art de l’écriture.

En juin 2011 Proz était née. Mathilde et Florant rassemblèrent les graphistes les plus compétant a leurs goût et en quelques mois éditèrent de nombreux livres, de talentueux typographes furent alors poussés vers le succès.

CATALOGUEE CATALOGU 2012 20 12

TYPOGRAPHI E

Nicolas Tikhom Abbas Christopher Anderson Eve Arnold Olivia Arthur Micha Bar Am

En décembre 2011 ils étendirent leur concept à la poésie, à la réédition de livres ancien ainsi qu’à la Photographie.

Mais leurs envies ne s’arrêtèrent pas là. Se rappelant de leur années d’études, et de leur budget serrés d’étudiant, ils décidèrent de rendre leur livres le moins cher possible. Format plus petit, impression sur papier recyclés. Proz devint alors une maison d’édition ouverte à tous.

x

PHOT OGRAPHI E

Pour ce catalogue de mai 2012, nous avons demandé à de jeunes étudiants talentueux de 5eme année à L’ESAG penninghen de nous aider à mettre en page chaque ouvrages nous apportant leurs vision

POESIE


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T Y P O


TYP OGR APH IES

TYPOGRAPHIES

«Finnish Design» Yearbook 2012-13

Finnish Design Yearbook is the review of contemporary Finnish design. In Helsinki's year as World Design Capital, Finnish Design Yearbook 2012–13 studies the ways in which design is involved in our lives. It is embedded deeply in many different kinds of structures, services and systems, improving and facilitating living. It is often ordinary, self-explanatory, and even nearly invisible. It is a tool, not an intrinsic value. Now being published for the fourth time, The Finnish Design Yearbook is divided into four themes. Each theme presents one way in which design is a part of Finnish life. The graphic design is by Kokoro& Moi, winners of Finland's Graphic Designer of the Year 2012 award. In the spirit of World Design Capital Helsinki 2012, the font of the cover and headings were created in a communal typographic design project. Text; English.

CHRISTOPHE VANDERDORPE AMANDA MOCCI DANIEL EVERETT BUMA HARPENGALA JONAS BENDIKSEN STEF OGLESBY WERNER BISCHOF RENE BURRI CORNELL CAPA

The brilliant Barcelona studio Forma & Co in our first ABSOLUT Network showcase We’ve been bowled over by a lot of the design work coming out of Barcelona these past months and years and now we can add another terrific studio to that list of admiration. Forma & Co, founded by Joel Lozano and Dani Navarro, are able to turn their talents to anything from graphic design, illustration and animation to branding and web design. There’s a focus on simplicity but within their team finds great scope to improvise and experiment and they boast an enviable skill with using colour, be it big, bold, bright illustrations or carefully-chosen elements in a publication.

Du papyrus à l’hypertexte Christian Vanderdorpe

Modern movable type, along with the mechanical printing press, was invented in mid-15th century Germany by the goldsmith Johannes Gutenberg.[16] His type pieces from a lead-based alloy suited printing purposes so well that the alloy is still used today.sadipscing elitr, sed diam nonumy eirmod tempor.

It’s no great surprise that their client list is so varied – from councils and museums to cinemas and brands – all eager to inject a little of the Forma magic into their visuals. There’s an effortless sense of run which runs throughout this impressive portfolio and an endearing combination of serious talent, charm and silliness.

Typography with movable type was separately invented in 11th-century China. Metal type was first invented in Korea during the Goryeo Dynasty around 1230. Both hand printing systems, however, were only sporadically.

For the next few weeks we’re showcasing some of the dazzling creatives which form part of the ABSOLUT

Modern movable type, along with the mechanical printing press, was invented in mid-15th century Germany by the goldsmith Johannes Gutenberg.[16] His type pieces from a lead-based alloy suited printing purposes so well that the alloy is still used today.sadipscing .

MIKHAEL SUBOTZKY NICOLAS TIKHOM ABBAS CHRISTOPHER ANDERSON EVE ARNOLD OLIVIA ARTHUR MICHA BAR AM BRUNO BARBEY JONAS BENDIKSEN IAN BERRY WERNER BISCHOF RENE BURRI

«The Universe» by Amanda Mocci

«Background noise» by Daniel Everett


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«A long stor y» by Christopher Lane.

Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. poem open to multiple interpretations. Similarly,

MIKHAEL SUBOTZKY NICOLAS TIKHOM ABBAS CHRISTOPHER ANDERSON EVE ARNOLD OLIVIA ARTHUR MICHA BAR AM BRUNO BARBEY JONAS BENDIKSEN IAN BERRY WERNER BISCHOF RENE BURRI

Recently, postmodernism has come to convey more completely prose and poetry as distinct entities, and also among genres of poetry, as having meaning only as cultural artifacts. Postmodernism goes beyond modernism's emphasis on the creative role of the poet, to emphasize the role of the reader of a text (Hermeneutics), and to highlight the complex cultural web within which a poem is read. Today, throughout the world, poetry often incorporates poetic form and diction from other cultures and from the past, further confounding attempts at definition and classification that were once sensible within a tradition such as the Western canon. The rejection of traditional forms and structures for poetry that began in the first half of the 20th century coincided with a questioning of the purpose and meaning of traditional definitions of poetry and of distinctions between poetry and prose, particularly given examples of poetic prose and prosaic poetry. Numerous modernist poets have written in non-traditional forms or in what traditionally would have been considered prose, although their writing was generally infused with poetic diction and often with rhythm and tone established by non-metrical means. While there was a substantial formalist

Recently, postmodernism has come to convey more completely prose and poetry as distinct entities, and also among genres of poetry, as having meaning only as cultural artifacts. Postmodernism goes beyond modernism's emphasis on the creative role of the poet, to emphasize the role of the «It was like a fever» by Daniel Everett reader of a text (Hermeneutics), and to highlight the complex cultural web within which a poem is read. Today, throughout the world, poetry often incorporates Poetry has a long history, dating back to poetic form and diction other Camille, quandEarly la Nuit t'endort sous sesfrom grands voiles the Sumerian Epic of Gilgamesh. cultures and from the past, further unsuch rêve from folk songs as céleste emplit tes yeux d'étoiles ; poems evolved Quand confounding attempts at definition and the Chinese Shijing, or from a tes needregards, to Quand lassés des fatigues du jour, classification that were once sensible retell oral epics, as with Sanskrit Sethereposent partout sur des routes within a tradition such as the euries Western Vedas, Zoroastrian Gathas, and the Dans le pays charmant des molles rêveries, canon. Homeric epics, the Iliad and the que vois-tu The dans tes ofsonges ? rejection traditional d'amour forms and Odyssey. AncientCamille, attempts to define structures for poetry that began in the first poetry, such as Aristotle's Poetics, half of the 20thles century coincided with a focused on the usesNous of speech in vois-tu, revenant par noires allées, questioning of the purpose and meaning rhetoric, drama,Tous song and comedy. deux, donner desofpleurs aux choses envolées traditional definitions of poetry and of Later attempts concentrated on features

Camille, quand la Nuit t'endort.. théodore de banville

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Que l'oubli dédaigneux couvre de ots dormants, NICOLAS TIKHOM

such as repetition, verse form and Ou dans le vieux manoir, au fond des parcs superbes, OLIVIA ARTHUR rhyme, and emphasized the aesthetics Pousser de l'éperon parmi les hautes herbes which distinguish poetry from more MICHA BAR AM

Les pas précipités de nos chevaux fumants ?

BRUNO BARBEY JONAS BENDIKSEN Dans les moires de l'eau dont l'azur étincelle, Nous vois-tu laissant fuir une frêle nacelleIAN BERRY Sur le grand lac paisible et frémissant d'accords, WERNER BISCHOF Où devant les grands bois et les coteaux de vignes, RENE BURRI Glisse amoureusement la blancheur des beaux cygnes, CORNELL CAPA

Aux accents mariés des harpes et des cors ?

Moi, je vois rayonner tes yeux dans la nuit sombre, Et je songe à ce jour où je sentis dans l'ombre, première fois, de ton col renversé «Palabras» Pour by Jonasla Ricard o Tombant à larges ots avec leur splendeur è re, Tes cheveux d'or emplir mes deux mains de lumière, Et ta lèvre de feu baiser mon front glacé.

«The little Prince» by Bruno Simon

«A secret Sto ry » by Ian berth


POESIE

«A long story» by Christopher Lane.

Recently, postmodernism has come to convey more completely prose and poetry as distinct entities, and also among genres of poetry, as having Poetry has a long history, dating back to meaning only as cultural artifacts. the Sumerian Epic of Gilgamesh. Early Postmodernism goes beyond moderpoems evolved from folk songs such as nism's emphasis on the creative role of the Chinese Shijing, or from a need to the poet, to emphasize the role of the retell oral epics, as with the Sanskrit reader of a text (Hermeneutics), and to Vedas, Zoroastrian Gathas, and the highlight the complex cultural web within Homeric epics, the Iliad and the which a poem is read. Today, throughout Odyssey. Ancient attempts to define the world, poetry often incorporates poetry, ; selisuch ov quand sasdnAristotle's arglasePoetics, s suot'endort s trodne'sous t tiuform N lgrands ddiction nauqfrom ,elother lima; C poetic Camille, Nuit sesaand voiles focused on the uses ofxspeech in ; s e l i o t é ' d u e y s e t t i l p m e e t s e l é c e v ê r n u d n a u cultures and from the past, further mpl p tes yeux d'étoiles ; Q Quand rêve céleste emplit rhetoric, drama,un song and comedy. at , r u o j u d s e u g i t a f s e d s é s ,sfatigues dragerattempts sdu et djour, ndefinition auQ and és sdes dalconfounding tes regards, lassés LaterQuand attempts concentrated on features classification that were once sereposent irueverseseform tpartout uoand r sed sur rur us d tuotroutes rap tnesoper eS sensible des such asSe repetition, within a tradition euries ,seemphasized irle evpays êr sthe elcharmant laesthetics om sed ttnd amcanon. rmolles ahc syarêveries, psuch el sas natheDWestern rhyme,Dans and des ? ruompoetry a'd sfrom egnmore os sdans et ns snates d The usonges t-rejection siov ed'amour q ,ellim which distinguish te Camille, que vois-tu ?aCand ofutraditional forms structures for poetry that began in the first , s e é l l a s e r i o n s e l r a p t n a n eles vofernoires ,u20th t-scentury ioallées, v su oN with a the coincided pa p Nous vois-tu, revenant parhalf Poetry uses forms and conventions to questioning of the,purpose s e é l o v n e s e s o h c x u a s r u e l p s e d r e n n o d x u e d sand uomeaning T suggest ur ofaux Tousdifferential deux,interpretation donner todes pleurs choses envolées traditional definitions of poetry and of , s t n a m r o d s t o e d e r v u o c x u e n g i a d é d i l b u o ' l e u Q words, or to evoke emotive responses. ouv distinctions Que l'oubli dédaigneux couvre de ots dormants, between poetry and prose, Devices as assonance, ,sedans brsuch epu s vieux scrap manoir, sealliteration, d dnofau ,riparticularly ondes am parcs xgiven ueivexamples el snaofdpoetic uO uuafo Ou le fond superbes, onomatopoeia and rhythm are somesebrehde setl'éperon uah sel im rrm ap nles orehautes pand é'lprosaic edherbes repoetry. ssuoNumerous P prose Pousser parmi times used to achieve musical or ? s t n a m u f x u a v e h c s o n e d s é t i p i c é r p s a p s e modernist poets have written os cchevaux fumants ? Lin non-tradiLeseffects. pas précipités incantatory poem open to de nos tional forms or in what traditionally would multiple interpretations. Similarly, , e l l e c n i t é r u z a ' l t n o d u a e ' l ed been sericonsidered om sel sprose, naDalthough d have Dans les moires de l'eau dont étincelle, theirl'azur writing was generally infused with ellecvois-tu an elêrflaissant enu riufuir f tnaune ssialdiction ut-sand inacelle ovoften suwith oNrhythm and Nous poetic frêle , s d r o c c a ' d t n a s s i m é r f t e e l b i s i a p c a l d n a r g el ruSmeans. g p f tone establishedd'accords, Sur leeMIKHAEL grand lacSUBOTZKY paisible et frémissant by non-metrical , s e n g i v e d x u a e t o c s e l t e s i o b s d n a r g s e l t n a v edformalist ùO While there was ade substantial vant antt les es grands g a ds bois bo s et e les Où devant coteaux vignes,

t i u N a l dquand nuan a u q , elal l iNuit maC Camille, ..trod t'endort.. on e ' t ellivnab de eed banville erodoéht théodore

«It was like a fever» by Daniel Everett

Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more

,sengamoureusement yc xureusement uNICOLAS aeb sed rTIKHOM uela hcblan nalb al tnedes mesbeaux ueruom ya essilG Glisse blancheur cygnes, ? sraccents oc sed tmariés e seriés prades h seharpes d séiram tneccors ca x?uA ABBAS Aux et sdes

Recently, postmodernism has come to convey more completely prose and poetry as distinct entities, and also among genres of poetry, as having meaning only as cultural artifacts. Postmodernism goes beyond modernism's emphasis on the creative role of the poet, to emphasize the role of the reader of a text (Hermeneutics), and to highlight the complex cultural web within which a poem is read. Today, throughout the world, poetry often incorporates poetic form and diction from other cultures and from the past, further confounding attempts at definition and classification that were once sensible within a tradition such as the Western canon. The rejection of traditional forms and structures for poetry that began in the first half of the 20th century coincided with a questioning of the purpose and meaning of traditional definitions of poetry and of

NICOLAS TIKHOM OLIVIA ARTHUR MICHA BAR AM BRUNO BARBEY JONAS BENDIKSEN IAN BERRY WERNER BISCHOF RENE BURRI CORNELL CAPA

POESIE

CHRISTOPHER ANDER ANDER-

,er,bjjemvois os tiurayonner nyal snadte uyeux ey setdans rennla oynuit ar siosombre, v ej ,ioM Moi, exSON tes , e r b m o ' l s n a d s i t n e s e j ù o r u o j e c à e g n o s ej tE Et je j songe g àEVE ce jour jARNOLD ooù je sentis dans l'ombre, ésrela vanpremière notfo ed ,sde iofton erèicol merrenversé p al ruoP Pour per locièARTHUR ffois, OLIVIA , e r è r u e d n e l p s r u e l c e v a s t o s e g r a l à tnabè m Tombant à larges l g ots t avec leur splendeur re,oT MICHA BAR AM , e r è i m u l e d s n i a m x u e d s e m r i l p m e r o ' d x u e v e hc seT Tes cheveux d'or emplir p mes deux mains de lumière, . é c a l g t n o r f n o m r e s i a b u e f e d e r v è l a t t E BRUNO Et ta lèvre de BARBEY feu b baiser mon front glacé. JONAS BENDIKSEN BENDIKS IAN BERRY BER WERNER BISCH BISCHOF RENE BURRI BU

«The little Prince» by Bruno Simon

«Palabras» by Jonas Ricardo

«A secret Story» by Ian berth


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Photography is the art, science and practice of creating durable images by recording light or other electromagnetic radiation, either chemically by means of a light-sensitive material such as photographic film, or electronically by means of an image sensor. Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. The result in an electronic image


PHOT OGRAPHIE

PHOT OGRAPHIE

The discovery of the camera obscura that provides an image of a scene dates back to ancient China. Leonardo da Vinci mentions natural cameras obscura that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. So the birth of photography was primarily concerned with developing a means to fix and retain the image produced by the camera obscura. The first success of reproducing images without a camera occurred when The result in a photographic emulsion is an invisible latent image, which is later chemically developed into a visible image, either negative or positive depending on the purpose of the photographic material and the method of processing. A negative image on film is traditionally used to photographically create a positive image on a paper.

All photography was originally monochrome, or black-and-white. Even after color film was readily available, blackand-white photography continued to dominate for decades, due to its lower cost and its "classic" photographic look. It is important to note that some monochromatic pictures are not always pure blacks and whites, but also contain other hues depending on the process. The cyanotype process produces an image composed of blue tones. The albumen process, first used more than 150 years ago, produces brown tones. Many photographers continue to produce some monochrome images, often because of the established archival permanence of well processed silver halide based materials. Some full color digital images are processed using a variety of techniques to create black and whites, and some manufacturers produce digital cameras that exclusively shoot monochrome.

«Fragments» by Ian berth

Meanwhile, Hercules Florence had already created a very similar process in 1832 in Brazil, naming it Photographie, and English inventor William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention, Talbot refined his process so that portraits were made readily available to the masses. By 1840, Talbot had invented the calotype process, which creates negative images. Talbot's famous 1835 print of the Oriel window in Lacock Abbey is the oldest known negative in existence. John Herschel made many contributions to the new methods. He invented

MIKHAEL SUBOTZKY NICOLAS TIKHOM ABBAS CHRISTOPHER ANDERSON EVE ARNOLD OLIVIA ARTHUR MICHA BAR AM BRUNO BARBEY JONAS BENDIKSEN

«Trace» Lilian Delill

In 1908 Gabriel Lippmann won the Nobel Laureate in Physics for his method of reproducing colors photographically based on the phenomenon of interference, also known as the Lippmann plate.Many advances in photographic glass plates and printing were made in

«A secret Sto ry » by W erner Prous t

NICOLAS TIKHOM OLIVIA ARTHUR MICHA BAR AM BRUNO BARBEY JONAS BENDIKSEN IAN BERRY WERNER BISCHOF RENE BURRI CORNELL CAPA

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«trip» by Theo Berr

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«Love and more» by Stephan Machi

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Proz  

catalogue pour la maison d'édition Proz

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