Paper Journey

"Ce bleu vous rentre dans l’âme". This blue seeps into your soul. Henri Matisse at the Grand Palais. In his later years, when disability led him to “paint with scissors,” he discovered a new freedom through his cut-outs. A leading figure of Fauvism, he gave color an autonomous power. The publication accompanying the exhibition 03/26–07/26 by Grand Palais RmnEditions is printed on Munken Lynx 120gsm, selected after extensive testing for its color fidelity. The matte surface avoids reflections, the texture holds the ink and gives body to the blue, while the balance of sharpness and materiality brings the image closer to the original.

When designers create for designers, every choice matters. In The Interviews: Volume Two by The Brand Identity - a 636-page publication featuring conversations with some of the most important studios and designers in today’s creative scene - the printed object itself becomes part of the experience. It is printed on Munken Lynx 300gsm for the cover and Munken Lynx Rough 90gsm for the interior. Α paper long associated with design publications for its tactile quality and excellent readability. Because when the audience understands the medium, paper is not just a substrate. It’s intention.

An archive becomes a book. What was once a fleeting note regains its material presence. This notebook was kept during Le Corbusier’s first journey to India, his gaze fixed on Punjab, just before the city of Chandigarh came into being.

The Terrae Aquae publication presents the Italian participation in the 19th Venice Architecture Biennale: a large-scale, multifaceted project that brings land and water into an ongoing dialogue of ideas, memory, and perspective.