This course examines publishing alongside art and design practices, investigating their intersections as spaces of cultural production and creative inquiry. Through a combination of critical study and studio-based experimentation, students will explore how publishing operates as both a conceptual framework and a practical methodology. Coursework emphasizes the dynamic relationships between concept, content, and material form, with particular attention to the interplay between analogue and digital media. Students will develop skills in visual organization, typography, and publication design while situating their creative work within broader historical and theoretical contexts.

Over recent decades, advances in digital technology have transformed modes of production and distribution, fueling predictions of the so-called “end of print.” Yet print continues to thrive, with independent publishers, artists, and designers redefining its cultural role and experimenting with the book, magazine, and printed object as forms of expression and critique.

The course is structured around a series of thematic sections. Initial projects will be highly guided, introducing students to the fundamentals of editorial design practices, including typography, grids, rhythm, paper typologies, and techniques of printing and binding. Through a sequence of lectures and hands-on workshops, students will produce publications of increasing length and complexity in response to a range of propositions.

The second half of the course will focus on more independent publishing projects. Students will be supported in developing project proposals from initial concept to realized work, with an emphasis on research, experimentation, and critical reflection. Skills in design software, material exploration, and production methods will be developed as part of an integrated creative process rather than as isolated technical exercises.

By the end of the course, students will:

• Analyse and discuss editorial publications—including books, pamphlets, and magazines—considering their design, structure, and cultural significance.
• Curate and edit content with attention to sequencing, narrative strategies, and visual communication.
• Apply skills in design software, typography, and layout to develop publication concepts.
• Experiment with and evaluate techniques of printing, binding, and material production.
• Conduct research and articulate design decisions in relation to historical, theoretical, and cultural contexts.
• Synthesize conceptual and technical skills to produce a cohesive body of small-scale publications, demonstrating reflective and intentional design practice.

This course examines publishing alongside art and design practices, investigating their intersections as spaces of cultural production and creative inquiry. Through a combination of critical study and studio-based experimentation, students will explore how publishing operates as both a conceptual framework and a practical methodology. Coursework emphasizes the dynamic relationships between concept, content, and material form, with particular attention to the interplay between analogue and digital media. Students will develop skills in visual organization, typography, and publication design while situating their creative work within broader historical and theoretical contexts.

Studio Rhythm: From Week 2 onward, projects and exercises introduced in class will be developed throughout the week as independent work and presented the following session for critique or review. Each week builds on the previous one, fostering iterative design practice and consistent feedback.

Week 1 – Introduction: The Publication as Object
Focus: Setting up tools; understanding the scope of editorial design practices.
This first week introduces the course, its scope, and expectations. We will review the syllabus, discuss the history and definitions of “publication,” and consider printed matter as a cultural artifact.
In class: Software orientation; typography basics; creation of a simple document to familiarize students with core tools and workflows.

Reading: Carrión, Ulises. 1975. “The New Art of Making Books.” Kontexts 6–7

Week 2 – Histories of Publishing
Focus: Broad historical and cultural contexts for publications.
This week provides a broad overview of publishing traditions, from early print history to contemporary models of book and magazine production.
In class: Create a simple pamphlet using found content to engage with historical precedents and material practices.

Reading / Viewing:

AA.VV. 2024. Costruzione dell’universo. Foligno, Italy: Viaindustriae.

Brook, Tony, and Adrian Shaughnessy. 2023. Impact 1.0: Design Magazines, Journals and Periodicals [1922–73]. London: Unit Editions.

Brook, Tony, and Adrian Shaughnessy. 2023. Impact 2.0: Design Magazines, Journals and Periodicals [1974–2016]. London: Unit Editions.

Week 3 – Typography and Layout Fundamentals
Focus: Building visual literacy and typographic confidence.
We will study typography and layout principles, including letterforms, grids, rhythm, and typographic hierarchy.
In class: Typographic experiments; design a two-page spread.

Reading: Hochuli, Jost. 2015. Detail in Typography. London: Hyphen Press.

Week 4 – Material Explorations: Printing & Binding
Focus: Understanding material possibilities and their conceptual potential.
This week examines paper, printing methods, binding techniques, and their conceptual implications.
In class: Produce blank booklets; experiment with hand-binding.

Week 5 – Editing & Sequencing Content
Focus: Deepening understanding of structure, pacing, and flow.
The emphasis shifts to content curation, editing strategies, and sequencing for narrative or visual rhythm.
In class: Low-stakes sequencing experiments.

Reading: Müller-Brockmann, Josef. 2009. Grid Systems in Graphic Design. Zurich: Niggli.

Weeks 6 & 7 – Publication Explorations (Midterm)
Focus: Collaboration, experimentation, and developing production skills.
Students will work collaboratively to design and produce a small-format publication, such as a zine, pamphlet, or booklet. Discussions will situate publishing within a wide spectrum, from traditional models to experimental practices. Week 7 concludes with midterm presentations and critiques of these exploratory publications.
In class: Group production, iteration, and peer feedback.

Reading: Muggeridge, Fraser. 2009. The Form of the Book Book. London: Occasional Papers.

Week 8 – Field Visit: Bookshop or Library
Focus: Learning from real-world examples and connecting theory to practice.
We will visit a specialized bookshop or library to analyze editorial strategies and material practices. Students will document their observations and connect them to their ongoing projects.
In class: Field study and documentation.

Reading: Blauvelt, Andrew. 2011. Graphic Design: Now in Production. Minneapolis: Walker Art Center.

Week 9 – Concept Development for Individual Project
Focus: Developing strong project concepts and research-driven approaches.
Students begin developing concepts for their individual publication projects. They will frame ideas, conduct research, and receive peer and instructor feedback to refine their approach.
In class: Idea generation, research gathering, and concept framing.

Reading: Celant, Germano. 1972. Book as Artwork 1960/1970. London: Nigel Greenwood Gallery.

Week 10 – Iteration I: Initial Designs
Focus: Translating concepts into prototypes and learning through feedback.
Students will create first prototypes for their individual projects.
In class: Critique sessions to guide iterative development.

Week 11 – Iteration II: Layout Systems
Focus: Integrating design systems and improving visual consistency.
Focus shifts to refining grid structures, typographic systems, and narrative logic.
In class: Layout refinement, critique, and system-building exercises.

Week 12 – Dummy & Print Testing
Focus: Understanding prototyping as a critical design stage.
Students will produce a complete dummy of their publication, conducting print tests and exploring sequencing refinements.
In class: Dummy production, material exploration, and testing.

Week 13 – Production I
Focus: Managing workflow, troubleshooting, and executing production plans.
With the dummy resolved, students will begin final production of their projects.
In class: Supervised production and one-on-one check-ins.

Week 14 – Production II
Focus: Attention to detail, finishing, and presentation quality.
Final production continues with attention to printing, binding, finishing, and preparing work for critique and presentation.
In class: Continued production and refinement.

Week 15 – Final Presentations
Focus: Reflection, communication, and peer learning.
The semester concludes with presentations of final publications. Students will reflect on their process, design decisions, and personal development over the course.
In class: Final critique and group discussion.

OVERVIEW OF KEY BIBLIOGRAPHIC WORKS FOR THE COURSE

• Allen, Gwen. 2011. Artists’ Magazines: An Alternative Space for Art. Cambridge, MA: MIT Press.
• AA.VV. 2024. Costruzione dell’universo. Foligno, Italy: Viaindustriae.
• AA.VV. 2020. Yes Yes Yes: Revolutionary Press in Italy 1966–1977, from Mondo Beat to Zut. Foligno, Italy: Viaindustriae.
• Blauvelt, Andrew. 2011. Graphic Design: Now in Production. Minneapolis: Walker Art Center.
• Bringhurst, Robert. 2013. The Elements of Typographic Style. Point Roberts, WA: Hartley & Marks.
• Brook, Tony, and Adrian Shaughnessy. 2023. Impact 1.0: Design Magazines, Journals and Periodicals [1922–73]. London: Unit Editions.
• Brook, Tony, and Adrian Shaughnessy. 2023. Impact 2.0: Design Magazines, Journals and Periodicals [1974–2016]. London: Unit Editions.
• Carrión, Ulises. 1975. “The New Art of Making Books.” Kontexts 6–7.
• Celant, Germano. 1972. Book as Artwork 1960/1970. London: Nigel Greenwood Gallery.
• De Bondt, Sara, and Catherine de Smet. 2012. Graphic Design History in the Writing (1983–2011). London: Occasional Papers.
• Hochuli, Jost. 2015. Detail in Typography. London: Hyphen Press.
• Kollberg, Andreas, and Sara Lee Lindskrog. 2023. Notes on Book Design. Eindhoven: Onomatopee.
• Lupton, Ellen. 2010. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. New York: Princeton Architectural Press.
• Mager, Simon. 2022. Words Form Language: On Concrete Poetry, Typography, and the Work of Eugen Gomringer. Zurich: Triest Verlag.
• Muggeridge, Fraser. 2009. The Form of the Book Book. London: Occasional Papers.
• Müller-Brockmann, Josef. 2009. Grid Systems in Graphic Design. Zurich: Niggli.
• Samara, Timothy. 2002. Making and Breaking the Grid. Gloucester, MA: Rockport.
• Tschichold, Jan. 1991. The Form of the Book: Essays on the Morality of Good Design. Translated by Hajo Hadeler. Introduction by Robert Bringhurst. Point Roberts, WA: Hartley & Marks.