GRAPHICOM

Fabric becomes stone.
A bridge becomes a cave.
And an ephemeral artwork becomes a book.

"JR – La Caverne du Pont Neuf", published by TASCHEN, documents the monumental installation through which artist JR transformed one of Paris’s most recognizable landmarks in 2026.

Through large-scale printed surfaces and a temporary structure, the Pont Neuf takes on the appearance of a rock formation, altering the perception of the surrounding urban landscape.

The volume follows the process from concept to realization through sketches, collages, installation images and photographs of the finished work.

Bringing a project of this scale onto the page means preserving its depth, texture and visual impact.

Printing and photographic reproduction thus become part of the narrative: from a temporary artwork to a book designed to preserve its memory.



La tela diventa pietra.
Un ponte diventa una caverna.
E un’opera effimera diventa un libro.

"JR – La Caverne du Pont Neuf", edito da TASCHEN, racconta l’installazione monumentale con cui l’artista JR ha trasformato nel 2026 uno dei luoghi più riconoscibili di Parigi.

Attraverso grandi superfici stampate e una struttura temporanea, il Pont Neuf assume l’aspetto di una formazione rocciosa, trasformando la percezione del paesaggio urbano.

Il volume ne racconta il processo, dall’idea alla realizzazione, attraverso schizzi, collage, immagini del montaggio e fotografie dell’opera.

Portare un progetto di questa scala sulla pagina significa restituirne profondità, texture e impatto visivo.

Stampa e riproduzione fotografica diventano così parte del racconto: da un’opera temporanea a un libro destinato a conservarne la memoria.

Some projects call for efficiency and production at scale, while others gain value from a more hands-on approach.

Japanese binding is a perfect example: the stitching remains visible, becomes part of the design and is done by hand, turning the binding itself into part of the book’s identity.

For us, this means being able to work across both dimensions: industrial processes when needed, and more artisanal techniques when the project calls for them.

Vienna 1900 – The Peter Marino Collection




Ci sono progetti che richiedono efficienza e produzione su scala, e altri in cui il valore passa anche dalla componente manuale.

La legatura giapponese è un esempio perfetto: la cucitura resta visibile, entra nel progetto e viene realizzata a mano, diventando parte dell’identità del libro.

Per noi significa poter lavorare su entrambe le dimensioni: processi industriali quando servono, lavorazioni più artigianali quando il progetto le richiede.

Vienna 1900 – The Peter Marino Collection

Printing a diamond is more difficult than it looks. 💎

Light, reflections, metallic surfaces and deep blacks can easily lose intensity on the printed page.

For Avi & Co.: A Legacy of Iconic Timepieces and Jewelry, published by Rizzoli New York , the challenge was to preserve brilliance, depth and detail throughout the volume, with particular attention to the reproduction of every image.

The project then continues through the finishes, the slipcase and the construction of the book, where the visual dimension meets the more physical qualities of the object itself.

Managing printing and bookbinding within the same production process allows us to maintain continuity across these different stages and to keep control of the final result as a whole.

Here, luxury is not only represented: it also comes through in the way the book itself is made.



Stampare un diamante è più difficile di quanto sembri.

Luce, riflessi, superfici metalliche e neri profondi possono perdere intensità molto facilmente sulla pagina.

In Avi & Co.: A Legacy of Iconic Timepieces and Jewelry, pubblicato da Rizzoli New York, la sfida è stata mantenere brillantezza, profondità e dettaglio lungo tutto il volume, lavorando con grande attenzione sulla resa delle immagini.

Il progetto continua poi nelle finiture, nel cofanetto e nella costruzione del libro, dove la componente visiva incontra quella più fisica dell’oggetto.

Seguire stampa e legatoria all’interno dello stesso processo ci permette di mantenere continuità tra queste diverse fasi e di controllare il risultato nel suo insieme.

Il lusso, qui, non è solo rappresentato: passa anche attraverso il modo in cui il volume è costruito.

Our work does not stop once printing is complete.

In our in-house bookbinding department, each project continues to take shape through the different stages of production: gathering, sewing, binding and final checks.

Having printing and bookbinding within the same production process allows us to follow every step directly, ensuring continuity between the different stages and greater control over the final result.

This is where the project truly takes shape, becoming the book we had imagined.



Il nostro lavoro non si ferma una volta conclusa la stampa.

Nel reparto di legatoria interno, ogni progetto continua a prendere forma attraverso le diverse fasi di lavorazione: raccolta, cucitura, legatura e controlli.

Avere stampa e legatoria all’interno dello stesso processo produttivo ci permette di seguire direttamente ogni passaggio, mantenendo continuità tra le diverse lavorazioni e maggiore controllo sul risultato finale.

È qui che il progetto prende davvero forma, fino a diventare il libro che avevamo immaginato.

Yves Saint Laurent
Published by Abrams Book
By Farid Chenoune and Florence Müller
Published on the occasion of the retrospective at the Petit Palais, Paris.

Some projects continue to tell our story even years later. That is why, from time to time, we return to the books in our archive to rediscover those that marked particularly significant moments in our journey.

Among them is FuturPiaggio, published by Rizzoli in 2017 to celebrate the 130th anniversary of the Piaggio Group.

Through photographs, archival images, technical drawings and advertising materials, the volume traces the evolution of the company and its brands, intertwining the history of mobility with that of Italian design and industry.

But it is above all through its construction that the project fully expresses its identity. Inspired by Fortunato Depero’s famous bolted book, FuturPiaggio is made up of 84 Japanese-bound sections and held together by two large metal bolts.

The binding thus becomes part of the book’s language: it evokes the world of mechanics, speed and industrial production, transforming the volume into a unique object.

FuturPiaggio
Rizzoli, 2017
Text by Jeffrey T. Schnapp
Design by Daniele Ledda, XY Comm

From colour to page.

Matter, movement and precision: colour moves through the press, takes shape on paper and becomes part of the project.

A few details from the printing process, before the final result.

An exhibition catalogue is one of the ways a show can continue beyond the exhibition space, bringing together its content, images and research.

This is why we work alongside international museums and cultural institutions in the production of their publications, approaching every project with care and consistency.

Published by Tate, "Julio Le Parc: Light. Colour. Action." explores more than seventy years of the artist’s research into light, colour, movement and audience participation.

Printed and bound by Graphicom.



Il catalogo è uno degli strumenti attraverso cui una mostra continua a vivere oltre lo spazio espositivo, raccogliendone contenuti, immagini e ricerca.

Per questo affianchiamo musei e istituzioni culturali internazionali nella produzione delle loro pubblicazioni, seguendo ogni progetto con attenzione e continuità.

"Julio Le Parc: Light. Colour. Action", pubblicato da Tate, ripercorre oltre settant’anni di ricerca dell’artista attraverso luce, colore, movimento e partecipazione dello spettatore.

Stampato e rilegato da Graphicom.

"Views on Things", published by Scheidegger & Spiess, explores the creative dialogue between Swiss product designer Jörg B***r and photographer Milo Keller.

Developed through a collaboration spanning over twenty years, the volume brings together design and photography in a visual reflection on objects, materials and the different ways in which they can be observed and represented.

The structure of the book, entrusted to the book design of Norm, mirrors this dialogue: the volume has two beginnings and can be read in two directions, following the perspectives of both authors.

Its physical construction also reinforces this idea of openness and flexibility. Produced with Otabind binding, the book can open widely while keeping the spine flexible and visible, allowing for a fluid reading of the images. The cover is defined by a sequence of repeated creases, completed by a paper band positioned halfway up the volume.

A publication in which design, photography and production choices come together to shape the identity of the editorial object.