Once printed

digital archive of printed publications designed by Raoul Audouin + collaborations

Language Documents

infos

2016
8,5 x 11 in
24 pages
laser printing
white uncoated paper, 28 lb

Language Documents, Texts from the Archives is a printed retrospective issue of the online quarterly published by ArteEast, a New York-based non-profit organization supporting artists and art initiatives from the Middle East and North Africa.

Language Documents

Makhzin, Feminisms

infos

2015
24 x 15 cm
80 pages + cover
laser printing — risograph printing
cream and red uncoated paper, 90 g/m² — cream uncoated paper, 200 g/m²

Makhzin is a literary journal dedicated to experiments in prose, fiction, and poetry. Taking the Middle East and North Africa as its point of departure, it spans different continents and languages. Makhzin is published in Beirut by 98weeks and edited by Mirene Arsanios. See also Makhzin’s Inaugural Issue.

Makhzin, Feminisms

Å

infos

2015
40 x 28,7 cm
28 pages
laser printing
double sided paper, white coated front, cream uncoated back, 120 g/m²

Publication presenting Clara Patricelli’s Å fashion collection. Expressing a reinterpretation of modernist scandinavian design and architecture, her collection was shot in Louis Carré’s house, entirely designed by Alvar Aalto in 1957 and located in the outskirts of Paris. The publication brings together Andrés Baron’s photographs of the collection in the house today and photographs of the house shot at the time it was built.

Å

Makhzin, Inaugural Issue

infos

2015
24 x 15 cm
48 pages + cover
offset printing
cream uncoated paper, 90 g/m²

Makhzin is a literary journal dedicated to experiments in prose, fiction, and poetry. Taking the Middle East and North Africa as its point of departure, it spans different continents and languages. Makhzin is published in Beirut by 98weeks and edited by Mirene Arsanios. See also Makhzin Issue 2: Feminisms.

Makhzin, Inaugural Issue

Magazine

infos

2014
27 x 19,5 cm
70 pages + cover
laser printing
cream coated paper, 110 g/m² — cream coated paper, 170 g/m²

This publication starts with an attempt to construct an objective critical view on images found in contemporary magazines. Restraining my subjectivity, with an anti-author attitude, I selected images solely on their appearance, seeking in magazines images constructed around a geometrical center, and happened to find only fashion ads. I edited this selection to emphasize their center, hoping this collection would enlighten the attitudes behind their conception.

Magazine

The Power of the Centre

infos

2014
18 x 10,5 cm
158 pages
laser printing
cream uncoated paper, 90 g/m²

This publication is a reinterpretation of the eponym book by Rudolf Arnheim, published in 1982. While the original The Power of the Center inquires the role of the center — in all its different meanings — across the history of western art, my reinterpretation isolates the artworks reproductions from the original book and place their quoted center in the geometrical center of the layout. This center is holed through the book, leaving only the outskirts of the artworks and revealing the systematical figures placed in these centers.

The Power of the Centre

VOICE ~ CREATURE OF TRANSITION, program

infos

2014
21 x 29,7 cm
12 pages
offset printing
white uncoated paper, 100 g/m²

Collaboration with Nam Hee Ji and Paul Bernhard. Program of the conference-festival of VOICE ~ CREATURE OF TRANSITION, the 2015 edition of Studium Generale Rietveld Academie and Rietveld Uncut. Exploring the subject “voice” through weekly lectures, a conference-festival, a student exhibition and an extensive framework of events, V~COT’s design used subtitles as a bond throughout its communication material. See also V~COT’s map, flyer and stampcard.

VOICE ~ CREATURE OF TRANSITION, program

VOICE ~ CREATURE OF TRANSITION, map

infos

2014
21 x 29,7 cm
4 pages
laser printing
yellow uncoated paper, 90 g/m²

Collaboration with Nam Hee Ji and Paul Bernhard. Map of the student exhibition of VOICE ~ CREATURE OF TRANSITION, the 2015 edition of Studium Generale Rietveld Academie and Rietveld Uncut. Exploring the subject “voice” through weekly lectures, a conference-festival, a student exhibition and an extensive framework of events, V~COT’s design used subtitles as a bond throughout its communication material. See also V~COT’s program, flyer and stampcard.

VOICE ~ CREATURE OF TRANSITION, map

VOICE ~ CREATURE OF TRANSITION, flyer

infos

2014
21 x 14,8 cm
double-sided
offset printing
white uncoated paper, 220 g/m²

Collaboration with Nam Hee Ji and Paul Bernhard. Flyer announcing VOICE ~ CREATURE OF TRANSITION, the 2015 edition of Studium Generale Rietveld Academie and Rietveld Uncut. Exploring the subject “voice” through weekly lectures, a conference-festival, a student exhibition and an extensive framework of events, V~COT’s design used subtitles as a bond throughout its communication material. See also V~COT’s program, map and stampcard.

VOICE ~ CREATURE OF TRANSITION, flyer

VOICE ~ CREATURE OF TRANSITION, stampcard

infos

2014
8,5 x 5,4 cm
double-sided
laser printing
yellow uncoated paper, 250 g/m²

Collaboration with Nam Hee Ji and Paul Bernhard. Stampcard to access the weekly lectures of VOICE ~ CREATURE OF TRANSITION, the 2015 edition of Studium Generale Rietveld Academie and Rietveld Uncut. Exploring the subject “voice” through weekly lectures, a conference-festival, a student exhibition and an extensive framework of events, V~COT’s design used subtitles as a bond throughout its communication material. See also V~COT’s program, map and flyer.

VOICE ~ CREATURE OF TRANSITION, stampcard

Macro structures in the shadow of written language

infos

2013
18,5 x 27,5 cm
16 pages
laser printing
cream coated paper, 110 g/m²

Macro structures in the shadow of written language is edited around two parallel narration. The verso pages present commented excerpts from a debate between Noam Chomsky and Michel Foucault in Eindhoven, 1969. On top of the fact they converse respectively in English and French, the shift the of the debate from a scientific argument on the human nature to a plain ideological debate is striking.
The recto pages present a collection of population census forms, from which all textual information has been removed. Are left only the signs and marks that restrict and organize the writing, as a microscopic witness of the organization of these states.

Macro structures in the shadow of written language

Countrified Suburban Youth Afternoon

infos

2013
59,4 x 84 cm
laser printing
white uncoated paper, 80 g/m²

Countrified Suburban Youth Afternoon presents a collection of pictures photographed between 2004 and 2007 by upper middle class teenagers — I was one of them — from the suburbs of Paris. The pictures were initially published on Skyblog, one of the first and main blog platform used by teenagers back then. The publication aims to shine a light on a culture and territory that is either too recent, and perhaps too mainstream or dull to ever raise any interest, and be conceptualized by sociology. The publication comes with an essay, (S)cream in the soup, that describes how a conception of the Punk movement distorted by MTV became the main cultural influence of these suburban teenagers.

Countrified Suburban Youth Afternoon

I can see small things from my window

infos

2013
20,3 x 28 cm
44 pages + cover
laser printing
cream coated paper, 110 g/m² — cream uncoated paper, 120 g/m² — red uncoated paper, 170 g/m²

In a first chapter, I can see small things from my window presents a collection of pictures of buildings in Paris. In each picture, one can see people passing by, whose size expresses the scales of the buildings, but also recalls that there is a gap between the time and scale of the builded city and of those who live in its streets. The second chapter frames each of the pictures on these anonymous, at a human scale. In an attempt to give a personality to these anonymous rulers, I imagined a story for each of them, that can be listened at raoulaudouin.fr/smallthings.

I can see small things from my window

Resistance

infos

2013
21 x 29,7 cm
18 pages
laser printing
cream uncoated paper, 120 g/m²

Design of Lotte Boon’s thesis Resistance in which she approaches the concept of resistance through different models: social and political resistance, electric resistance and resistance in the arts. The thesis is designed as a user guide, a solid handy manual bound with nuts and bots screwed through the head of the book.

Resistance

Interview of Michelangelo Antonioni in Rome, July 29, 1969

infos

2012
10 x 18 cm
44 pages + cover
laser printing
cream uncoated paper, 90 g/m² — white coated paper, 170 g/m²

This publication presents a selection of stills from Antonioni’s films, from Le Amiche (1955) to Zabriskie Point (1969). The stills overlap an interview of Antonioni made after Zabriskie Point, making the text unreadable, and let suppose that the images can say more than their author’s words. All these scenes picture frustrations resulting of unclear seduction games between the characters, which I consider to be a specific point of Antonioni’s films. Set chronologically, the stills express how the directors’s view on his characters, but also the technics and manners evolve in time.

Interview of Michelangelo Antonioni in Rome, July 29, 1969

Inputs, Outputs & Disputes

infos

2012
40 x 60 cm
double-sided
offset printing
cream coated paper, 110 g/m²

This poster-publication worked as an visual identity for Inputs, Outputs & Disputes, an installation made in collaboration with Jérémie Rentien, Stig Steijner and Mehdi Vilquin. The installation brought together a set of instruments developed to incline novice musicians to instinctively, primitively play together. The publication presents interviews of people who never played music and insist on their relations towards instruments.

Inputs, Outputs & Disputes

Extra Time

infos

2012
21 x 29,7 cm
12 pages
laser printing — screen printing
blue, white and red uncoated paper, 80 g/m²

Extra Time delves into one of the only, and surely most intense collective national feeling I innocently experienced: the 1998 FIFA World Cup Final, contested by Brazil and France. The publication narrates the three minutes of extra time — ended by a goal by Emmanuel Petit — through different points of view: as seen from the ball, from the supposed thoughts of the players, and from the commentators.

Extra Time

Suggestion de présentation

infos

2012
59,4 x 84 cm
laser printing
white uncoated paper, 120 g/m²

Poster commissioned by Agathe Frasson-Cochet with the notice “please make the perfect poster”, for her exhibition Suggestion de Présentation (serving suggestion). A serving suggestion being an ideal visual (and only) presentation, the poster gathers images reaching, as distant memories, forms of perfection. A building by Émile Aillaud, a painting by Fernand Léger, a still from Once Upon a Time in the West and a frame from The Adventures of Tintin are altered as fragments of perfect memories.

Suggestion de présentation

Statements

infos

2012
21 x 29,7 cm
30 pages
laser printing
white uncoated paper, 90 g/m²

A collection of thirty absurd, satirical, straight forward, sometimes funny or stupid détournements of famous statements, made in collaboration with Boyon Kang.

Statements

Victory over the Sun

infos

2012
10 x 18 cm
52 pages + cover
laser printing
cream uncoated paper, 90 g/m² — red uncoated paper 120 g/m²

An expressive book formatting of the 1913 Russian Futurist opera Victory over the Sun, displaying Zaum, Supra and Zvuk, three typefaces drawn for the circumstance.

Victory over the Sun

Accidental Systems

infos

2011
18 x 25 cm
92 pages + cover
laser printing
cream, grey and light green uncoated paper, 90 g/m² — green uncoated paper 120 g/m²

Accidental Systems presents a collection of systems with set of rules intended to be completed by the reader/player with color pens and a ruler. The publication aims to comment on the gap which characterize the ideal result of an unapplied system, and the random, accidental outcome resulting of its application. Empty, this book is a perfect, industrially printed collection of rules; completed, each book becomes a unique accumulation of accidentally completed patterns.

Accidental Systems

Thirty posters

infos

2011
29,7 x 42 cm
52 pages
laser printing
double sided paper, white coated front, cream uncoated back, 120 g/m²

This publication gathers together a collection of thirty posters designed during six weeks upon my arrival in Amsterdam. They both work as a diary of these restless weeks and display much of the visual desires brought by the new influences I then encountered.

Thirty posters

Le Simplet

infos

2011
21 x 29,7 cm
20 pages + cover
laser printing
recycled off-white uncoated paper, 90 g/m² — red uncoated paper, 90 g/m²

A simple typeface for which the design aims to reveal the intention of being a simple typeface.

Le Simplet

Deux mois sous le cagnard

infos

2010
14,8 x 21 cm
40 pages
laser printing
recycled off-white uncoated paper, 90 g/m²

This publication, written and designed after a two months internship at Artkas, narrates the time spent there. Deux mois sous le cagnard is arguably the first publication I entirely designed.

Deux mois sous le cagnard

(c) 2010 – 2016 Raoul Audouin + collaborations (see projects)