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

The Life and Opinions of Tristram Shandy, Gentleman
 
2010
Offset lithography, sewn in sections, cover
13.5 x 22 x 3.3 cm, 688 pp
Original text (1759–1767) by Laurence Sterne
London: Visual Editions

A Practice for Everyday Life
Founded in 2003, London:
Kirsty Carter, b.1979, UK
Emma Thomas, b.1979, UK

apracticeforeverydaylife.com

A Practice for Everyday Life was founded by Kirsty Carter and Emma Thomas in 2003. Across a diverse range of work for companies and cultural institutions, they pursue “stories which can translate and transform the ordinary into the extraordinary.” Their clients include *Architects’ Journal*, British Council, Phillips de Pury, Tate, Victoria and Albert Museum, and Wellcome Trust.

The Life and Opinions of Tristram Shandy, Gentleman is a novel by Laurence Sterne, originally published in installments starting from 1759. Apart from being considered as a pioneer of self-reflexive writing with numerous quotations, references and allusions—influencing many modernist and postmodernist writers in the twentieth century—it is infamous for its use of non-verbal devices, such as illustrations and diagrammatic drawings, typographic marks replacing words, pages where the entire text area is printed in black, left as blank, or mysteriously marbled. Visual Edition’s 2010 edition, designed by the London-based studio designed by A Practice for Everyday Life, was an attempt to restore its “magic and lustre,” much of which had been lost in carelessly produced modern editions, by breathing “new life into the book’s design, adding new visual elements, while staying faithful to the original spirit.”

A Practice for Everyday Life approached this challenge with a rich and playful treatment. A neon color is used to highlight the unusual lengths of dashes in the original edition, which represent pauses or expletives. Ten pages of orange lines expand a paragraph full of dashes in the original edition; fainting cries are printed in pale ink; a physically folded page marks a closed door; spot varnish is used to represent sweat or cover the original blank page to reflect the reader. Overprinted pages of text, instead of the original black plate pages, illustrate a death with the accumulation of all the words up to that point, and the pattern of a moiréd print of an enlarged image replaces the original marble pattern, reflecting the same aspect of chance but in contemporary printing techniques. In many respects, the new edition can be seen as an exercise of “becoming Shandy”: it freshly imagines what Tristram Shandy—or Sterne—would do if he were writing the book today.


Tristram Shandy

Tristram Shandy

Tristram Shandy

Tristram Shandy

Tristram Shandy

© Typojanchi 2013