1091 LC Amsterdam
3/3 (Chiara Capodici and Fiorenza Pinna) about paper
What is your favorite paper and why?
We can’t say we have one, this may seem obvious, but our favorite paper is the paper that fits perfectly with the concept and the content of the work we’re designing at that moment. While designing the latest books, we became great fans of Munken Lynx which gave us great satisfaction with both B/W and colour, but we’re also great fans of some Italian Fedrigoni papers and passionate for hand-made, special paper. Old papers such as the ones used in the ’70 for office stationery were often a point of deep inspiration as well: soft pastel colors faded out in time, reminding of Eastern European design of those times.
Could you give an example of a design you created where paper played a special or particularly functional role?
In Saluti da Pinetamare, Munken Lynx paper helped to create that suspended, yet literally condensed atmosphere: colors melt into paper suggesting a world where even when the sun shines things do not look so brilliant… The result was so appropriate that once we found ourselves choosing a paper for an exhibition, we felt confused that we couldn’t reach the same powerful visual result we had with the book. We’re probably going to experiment with Munken Lynx also on walls soon.
Another interesting work was the one for artist Daniele Cinciripini’s book Vorrei tra le mie mani il tuo viso che è terra (come la terra). The photos were printed by Daniele on Platinum paper BuxtonPlatinotype 200 g/m2, handmade from 100% cotton by Ruscombe Paper Mill. Il Bulino (an artist’s books publishing house based in Roma) realized the box and engravings of texts. The whole book was conceived as a reflection on the construction and deconstruction of the book format when you have to relate to the peculiarities of a hand printed paper with an incredible texture.
How important is the choice of paper in your designs? Do you spend a lot of time choosing the paper?
We mainly work with photobooks, and try to find an answer to the difficult equation that arises from the process of making a photo book. We can say we’re always looking for the best balance between photographic content and object, working on sequence, colors, format, and of course, materials, and paper indeed. The paper choice is almost half of the work, the material support of the pictures, giving the feeling of the work through its colors, weight, tactile and printing characteristics.
Could you mention a designer whose paper choice appeals to you?
Kummer and Herman are making great books. The paper is chosen with a perfect balance of experimental attitude and clear and consistent relation with the concept of the project.
Is there something missing in the current range of available paper?
We found ourselves often working at the difficult border between coated and uncoated paper worlds, trying to find the least coated paper with the most uncoated feeling, and the more detailed uncoated with satisfying resolution… the perfect color of white…
What is your biggest frustration in the field of paper?
The impossibility of seeing the quality of print of all the different papers with the same picture, in order to confront them and fully understand all their distinctive features; or finding the perfectly right paper and discovering that it is not avaible in the grammage you need.
Is it difficult or easy for designers in your country to find information on paper, paper samples and/or paper collections?
It’s not so difficult, it is a matter of personal interest even if there are no special sources for that. We work a lot on compiling our personal collection trough research and interaction with professionals — printers, publishers, and specialized retailers — while we go around seeing, touching and smelling books.
How do you see the future of paper?
In this digital world, where we spend all day seeing and touching screens we feel more and more the need to play with matter, and we continue to look for full satisfaction in paper matter!
This interview with 3/3 was conducted by Cristina Poiata (De Monsterkamer)