Typojanchi 2013
Seoul International Typography Biennale

August 30–October 11
10:00 am– 7:00 pm
Closed every Monday
Free admission

Culture Station Seoul 284
1 Tongil-ro, Jung-gu
Seoul 100-162, Korea
T. 82-2-3407-3500
F. 82-2-3407-3510

twitter@typojanchi
facebook.com/typojanchi2013

Hosted by
Ministry of Culture, Sports and Tourism

Organized by
Korea Craft & Design Foundation
Korean Society of Typography

Credits

Typojanchi 2013
Administration Office
Korea Craft & Design Foundation
5F, 53 Yulgok-no, Jongno-gu
Seoul 110-240, Korea
T. 82-2-398-7945
F. 82-2-398-7999
E. typojanchi@kcdf.kr

Typojanchi 2011

Cover
 
2011–ongoing
 
No.1, “Collective Intelligence”
2011
Three volumes
Offset lithography, saddle-stitched with covers
18 x 26.5 x 0.3 cm, 44 pp
19 x 26.5 x 0.4 cm, 60 pp
20 x 26.5 x 0.4 cm, 72 pp
 
No.2, “The Last Newspaper”
2012
Four volumes and a supplement
Offset lithography, collated, inserts, outsert
29 x 42 x 0.2 cm, 24 pp
29 x 42 x 0.2 cm, 32 pp
29 x 42 x 0.2 cm, 20 pp
29 x 42 x 0.2 cm, 24 pp
supplement, 14.5 x 21 x 0.1 cm, 24 pp
 
No.3, “Visual x Poetry”
2012
Various multiples
Offset lithography, silkscreen, cardboard box
24 x 35 x 2 cm overall
 
Special edition, “Cover Report”
2013
Offset lithography, loosely bound with rubber ring, insert, outsert
16 x 24 x 0.5 cm, 88 pp

Design United
Founded in 2008, Hangzhou:
Lu Tao, principal, b. 1974, China

Cover is edited and designed by Design United (DU), a studio founded by Lu Tao in Hangzhou. DU is involved in various areas from branding and visual marketing to independent publishing, information and editorial design. DU launched Cover in 2011.

Each issue of Cover adopts a radically different format reflecting the theme. Three “readers” make up the first issue on “the decentralized landscape of online reading.” Four volumes of “newspaper” cover the topics of the second issue, design-related social and political movements. Variously sized printed matters are packed in a box as the third issue, which investigates the relation between poetry and imagery. The “Cover Report” special issue reports on, literally, cover designs of various magazines.

As Lu Tao proclaims, there is certainly a post-web 2.0 sensibility to this printed magazine, to its densely layered visual elements, dizzyingly diverse codes and formats “sampled” from different cultures and times, interwoven as a mesh of allusions and references. But the apparent maximalism also speaks of its ambition, which is “reconfiguration and reconstruction of contemporary texts and images, decoding and recreation of graphic codes.”

If the approaches of Cover sound like a method of contemporary DJs, one might as well consult the art critic Nicolas Bourriaud, who in Postproduction (2001) argued: “Notions of originality (being at the origin of) and even of creation (making something from nothing) are slowly blurred in this new cultural landscape marked by the twin figures of the DJ and the programmer, both of whom have the task of selecting cultural objects and inserting them into new contexts.” Cover is an example of contemporary graphic authorship as postproduction DJing.


루타오-1

No. 1, “Collective Intelligence.” 2011


루타오-3

No. 1, “Collective Intelligence.” 2011


루타오-4

No. 1, “Collective Intelligence.” 2011


루타오-5

No. 1, “Collective Intelligence.” 2011


루타오-6

No. 2, “The Last Newspaper.” 2012


루타오-9

No. 2, “The Last Newspaper.” 2012


루타오-10

No. 2, “The Last Newspaper.” 2012


루타오-11

No. 3, “Visual x Poetry.” 2012


루타오-13

No. 3, “Visual x Poetry.” 2012


루타오-14

No. 3, “Visual x Poetry.” 2012


루타오-15

Special edition, “Cover Report.” 2013


루타오-17

Special edition, “Cover Report.” 2013


루타오-19

Special edition, “Cover Report.” 2013


© Typojanchi 2013