BACK COVER i — Spring 2012, #5


Back Cover is a french magazine about graphic design and typography.

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Cornel Windlin : The Designer as Artist ? It is hard to catch Cornel Windlin. After several attempts, Richard Hollis managed to talk with him, mainly about his work for the Schauspielhaus, in Zurich. (by Richard Hollis)

Life Changing Book Eyes closed, we discover a book. Conny Purtill guides us and describes the sensuality and the power of this encounter. (by Conny Purtill)

A small bookshop Introduction by Robin Kinross A design project, destroyed before it could be used, became emblematic for its designer. Norman Potter relates the conception and the construct of a bookshop that never saw the light. (by Norman Potter)

Meeting Fogelson-Lubliner In their small studio in Brooklyn, every day Gary Fogelson and Phil Lubliner create illustrations, often typographic, for big clients like The New York Times and (by Laura Forde)

Happypets: Audio Tattoos Almost everything for Happypets goes through music: design for festivals, record sleeves, tattoos, etc. The Swiss trio recalls 10 years of work through an energetic playlist. (by Joël Vacheron)

Jorge Luis Borges, Ficciones (1944) Borges did not care about formats. Jérôme Saint-Loubert Bié wonders about what a book is, through the different (editorial) lives of Ficciones. (by Jérôme Saint-Loubert Bié)

Futura, the Font of our Time 1927. Paul Renner, on the occasion of the distribution by the Bauer foundry of his Futura: “We must get used to the idea that typography has nothing to do with writing”. And typography came into the storm of Modernity. (by Paul Renner)

If Men Descend from Monkeys, Futura Descends from Goethe In Italy, neglecting the old stones for a while, Geothe was filled with wonder by the formal beauty of a marine animal. Futura is to Typography what this anecdote is to literature: the marvel of a classic in front of the antique geometry of organic forms. (by Victor Guégan)

Irma Boom, Book Designer Irma Boom is known all over the world for her work in the editorial field. Peter Biľak wanted to know more about her obsession for space and volume. (by Peter Biľak)

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