Underpinning the pure visuals of the first 440 pages, is a text section to the back where each image is meticulously referenced with details about the provenance, key staff, publishing period, dimensions and circulation of each title. Further, there is an essay section with contributions by the main players from the underground press of the period.
All this content is delivered in a format worthy of note. The design of the book, by graphic design studio Dallas, is a tour de force of purposeful, intelligent understatement.
To get under the skin of this exciting and significant publishing project we questioned Kevin Pedron and Francesco Valtolina of Dallas and editor Emanuele de Donno about the background, methodology and spirit of Yes Yes Yes…
Kevin and Francesco, the design of the book is pared back – what informed your graphic approach to presenting such visually diverse material?
This is definitely a case where the content speaks for itself, and therefore as graphic designers we wanted to showcase that and not get in the way. We are convinced that great content makes for great books and it's our prerogative to provide a frame for that. Materials, format, typographical decisions were all taken with this in mind, perhaps with a bit of a punk touch…
The content must have been a treat to work with — do you have any favourite sections or featured publications?
What we believe is interesting is to have different angles and approaches to the same source: all the sections display some really avant-garde ideas, both philosophically and graphically. What we tried to do was highlight those peculiarities and give a pleasurable overview of the collection, without really pushing one part over the others (that's also why we designed four different covers).