CATEGORY

Mix

RANK

Radical Production Award


PRODUCTION DETAILS

Quantity

2,000

Page Count

804 + cover + 3p flap

Number of Colors

Book CMYK + 2

Binding

Glued

Dimensions

6.69 × 9.45 × 2.4

Paper Stock

Dacosta, 100gr/m2
Sirio Perla, 140gr/m2
Munken, Polar, 150gr/m2
Munken, Lynx, 80gr/m2
LuxoMagic, 130gr/m2

Special Techniques

Slipcase Foil stamp


DESIGN CREDITS

Authors and Editors

Elodie Boyer, Jean Segui

Concept and Photographer

Elodie Boyer

Designer and Illustrator

Patrick Doan

Assistants

Morgann Lechat, Jeremy Glatre


PRODUCTION CREDITS

Risographie

Nijmegsee Universele

Binding

Patist


TAGS

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LINKS

editions-non-standard.com
lenoirschuring.com

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CLIENT

Édi­tions Non Stan­dard is a pub­lish­ing com­pany look­ing for a spe­cial res­o­nance between the tex­tual and the visual. They wish to exhibit what graphic design, papers, and print­ing can add to projects. They look for plea­sure in doing and shar­ing discoveries.


BRIEF

We wanted to read a fic­tional let­ter within a spread of pho­tos of type­faces. This was the start­ing point for the whole book con­cept and out­come. This gave us free­dom when con­ceiv­ing the book. We wanted to exhibit pho­tographs on a reportage mode and to make an echo to Le Havre archi­tec­ture (con­crete > rough cardboard).


APPROACH

Let­tres du Havre plays on the dual mean­ing of the word “let­ters.” As type­faces, signs, logo­types on the one hand, and fic­tional let­ters (love let­ters, let­ters to rel­a­tives, pro­fes­sional let­ters, admin­is­tra­tive let­ters…) on the other hand, in order to inves­ti­gate the role of iden­ti­ties in a city, the evo­lu­tion of brand design and sig­nage, the inter­ac­tions between social state and graphic signs. It is an enter­tain­ing book aimed at mak­ing every­body inter­ested in the strong influ­ence of graphic signs in a city. The book is an alter­na­tive city guide, a col­lec­tion of endan­gered signs, a piece of life, and a trib­ute to Le Havre.

PRODUCTION LESSONS

The bind­ing of the book was the most dif­fi­cult thing to achieve because of the 402 loose sheets, 2-page for­mats and the five dif­fer­ent papers (from 80gr to 150gr), mak­ing actu­ally two inter­twined books. The plea­sure of doing and shar­ing was our best motto, with mutual respect between all the play­ers in the project (authors, edi­tors, designer, printer, binder). 500 books were num­bered via laser burn.

Judge’s Com­ments
This is tour de force of hard hand­work and bind­ing skills. A mas­ter­piece. — Art Chantry

The LETTRES DU HAVRE was the obvi­ous choice for Rad­i­cal Pro­duc­tion due mainly to the insane amount of hand work needed to put together such an impres­sive piece of work. The use of two paper sizes, although not wholly orig­i­nal, was impres­sive to see at the 800 plus page scale. Pro­duc­tion details also include a screen printed book jacket and hand sorted pages which are equally impres­sive. Édi­tions Non Stan­dard may have cre­ated a new design lan­guage. — David Dodde

This was like 500 pages of crazy pro­duc­tion, as well as, well designed/paced that kept you want­ing to flip the pages. The short sheet pages that cre­ated a tex­tured tab-like effect was very chic. — Pum Lefebure

When I first thumbed through this book, I thought it was very inter­est­ing in the design and lay­out, with dif­fer­ent sized sheets and dif­fer­ent paper stock. It’s beau­ti­ful to look at. Then, when you think about tech­ni­cal pro­duc­tion and find out that there were over 400 pages with no sig­na­tures, you start to grasp the mag­ni­tude of the labor involved. — brad murph

This was a beau­ti­ful, thought­fully designed book but the dif­fi­cult pro­duc­tion exer­cise of inter­leav­ing short per­sonal let­ters through­out the glossy pages of the book seems remark­ably fool­ish to attempt–and super smart for its suc­cess­ful exe­cu­tion. — DJ Stout

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