We have sold the last copies of Jost Hochuli’s Detail in typography (2008, reprinted in 2009). Demand for this book continues, but we have decided not to make a reprint. Production costs for this book are high, and they are not helped by currency fluctuations over the last few years. (Since 2009, the Swiss Franc has risen by 25 per cent against the UK pound.) At the same time, the book trade – ever more distorted by the deep discounts demanded by the internet sellers – makes publication of such books, which four years ago was already difficult, now look impossible without subventions from somewhere. Copies of the original German-language edition, Das Detail in der Typografie, published in Switzerland by Niggli Verlag, are still available. We can also recommend the French edition.

This review of the book Wim Crouwel: mode en module, by Frederike Huygen and Hugues Boekrad, was written for and published in an issue Typography papers, now out of print.[1] The Crouwel book, as it was often referred to, was issued only in a Dutch edition, which sold out quickly. Since then, Wim Crouwel’s renown has only increased. Most recently his work has been celebrated in a major exhibition (at the Design Museum, London, 2011, and on show from this month at The Lighthouse, Glasgow); in The Hague he has been awarded the Gerrit Noordzij Prize (2009, with an exhibition following in 2012). Wim Crouwel: mode en module is now something of a fabled work, with large prices asked for second-hand copies. Given the continuing absence of an English-language edition of the book – which would surely be a tough translation, editorial, and production job, as well as an expensive one – this review may be worth resurrecting, as a marker of a moment in the discussion of graphic design. This version of my text is essentially as published in Typography papers, with a few updating remarks added in the notes.

Last week we sent off 1550 Bach Players CDs, all assembled in the office, to the warehouse of our new distributor Codaex, in Belgium. We recycled boxes used for books.

From next month our CDs will be distributed by Codaex. Through the various Codaex partners we will for the first time be able to reach shops in Belgium, France, Germany, Italy, the Netherlands, Norway, as well as the UK.

We are delighted that Autonomy, edited by Daniel Poyner, is among the books shortlisted for this year’s Bread and Roses Award. The book finally chosen for the award, by a panel of three, will be announced on 11 May at the London Radical Bookfair in the good old Conway Hall.

We were part of a successful and good-spirited event at Housmans bookshop in London last night. The occasion was the publication of our book Autonomy, and the posthumous collection of Colin Ward’s writings on ecological themes: Talking green. Someone from the shop had warned that Colin Ward – who died in 2010, after a very full life as architect, writer, editor, disseminator, doer – always brings the crowds in. The shop was packed out, with all seats taken, and people standing and sitting on the floor. As our introducer for the event remarked, this crowd, more than any crowd, ought to be able to self-organize the seating problem, and they did.

On Saturday 9 February (6.30 pm), our book Autonomy is the subject of an event at Housmans Bookshop in London. Daniel Poyner will introduce the book and Richard Hollis will talk about the cover designs of Anarchy. Ken Worpole will talk about this book and also about the recent collection of Colin Ward’s writings Talking green, from Five Leaves. Anything to do with Colin Ward seems to pull in a crowd these days, so if you want to come, be sure to reserve a seat by writing to Nik @ housmans.com.

On Hyphen Press Extra we have today posted – free to download – a document that gathers materials from the Typeform dialogues project, carried out by Eric Kindel, Catherine Dixon, and others at Central Saint Martins, London, in 1994–8 and afterwards.

Robin Fior died on 29 September, in hospital at Mafra, outside Lisbon. This is not an obituary (his friend Richard Hollis has written a good one), but merely a set of memories of someone I knew, off and on, over twenty or so years. He was part of a certain network of designers in Britain, whose work has provided a main impetus for Hyphen Press.

Ross Bradshaw’s recommendation of Autonomy.