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


Hosted by
Ministry of Culture, Sports and Tourism

Organized by
Korea Craft & Design Foundation
Korean Society of Typography


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

Frankenstein: Or the Modern Prometheus
Offset lithography, saddle-stitched in sections and glued, cover
21 x 28.5 x 2 cm, 216 pp; supplement, 80 pp
Original text (1818) by Mary Shelley
Leipzig: Lubok Verlag

Christopher Jung
Born in 1975, Germany


Tobias Wenig
Born in 1976, Germany


The book is slightly larger than A4. The cover shows an unsettling picture of a man, whose head is covered by a plastic bag. Is he dead? This is a relevant question, for the book is an edition of Mary Shelley’s Frankenstein.

The cover opens in a way that exposes the inner edges of the book signatures: the spine is not glued to them, and only the back cover is partly—and unnervingly—attached to the last page. The signatures are not thread-sewn, as it turns out. They are, in fact, a set of saddle-stitched booklets, simply glued together. Saddle-stitched with wire staples—one imagines that Baron Frankenstein might have used some of them when he was creating his monster. One of the booklets—or signatures—is attached to the front cover, separating itself from the others. It gives the effect of physically “breaking” the spine and tearing apart the book by opening it. But there is a plainer reason for this separation: the first booklet contains the German translation, while the rest are devoted to the original, unabridged English text, all set in a clear sans-serif type.

Then there are pictures, many of which are of medical or scientific nature. Some look contemporary, while others seem like out of certain esoteric archives. Sometimes the pictures are juxtaposed or overlapped with text, while on some pages they are left alone. The pictures have uncanny quality, underpinning the gothic elements of the story. But one can also sense a certain knowingness, especially in the pictures of the universe and the micro-universe reproduced in full-color on glossy paper: they exude—or are meant to evoke—popular-spiritual awe, in a similar way that the pictures from Carl Sagan’s Cosmos do.

In any case, the pictures do not simply support the text: they tell the story on their own terms. The effect is emphatically cinematic, but not exactly of Kenneth Branagh’s. It rather feels like a jump-cut montage of many Frankenstein films, from James Whale’s 1931 version to Frankenstein Meets the Wolf Man and other possible derivatives. In other words, the way the pictures tell the story itself resembles Dr. Frankenstein’s method of creation: images from diverse sources and of different associations are stitched together as if by wire staples, creating a new narrative yet leaving their seams visible.

Christopher Jung and Tobias Wenig are graphic designers based in Berlin. They met while studying at the Hochschule für Grafik und Buchkunst Leipzig in 1999, and have worked together on various commissioned and self-initiated projects. Christopher founded his Studio Jung in 2013, and Tobias Wenig his eponymous studio in the same year.







© Typojanchi 2013