FIDÈLE - Support independent publishing
Fidèle Editions For 10 years, Fidèle has been publishing visual arts books: comics, contemporary drawing, painting & illustration. Attached to a specific editorial line, between alternative and independent comic book publishing, our catalog has maintained a certain coherence over all these years. Thus, through the gentle burden of the word Fidèle (Faithful), we have always wanted to find a way to remain fair in our choices, our bets, and our efforts. Guided by a desire to create books that we would want to see in a bookstore, our hybrid publications are located between several identified areas of art publishing. Through these picture books, we seek to generate a feeling of closeness and inspiration, with often handmade objects, always containing a certain preciousness, while remaining accessible and non-exclusive. We mainly publish emerging artists, but also more established and identified artists, with the same intention of valuing their work through production techniques, and integration into a demanding, coherent catalog. Studio Fidèle Formalized in 2017, when we set up at the Grands Voisins in Paris, our print workshop was born out of sharing and collaboration in this place where mutual aid and bartering have been vectors of evolution for dozens of occupants. We then naturally started offering our services as Riso printers in parallel to our editions. The success was greater than anticipated, and 2 years later, in 2019, we were selected in a city tender to develop a sustainable workshop in the beautiful Villa du Lavoir, in the 10th arrondissement of Paris. Our team currently consists of 4 to 6 people on site, depending on the time of year: a director, Vincent Longhi, two permanent employees, Mathilde Vizet & Marine Montagne. We also welcome one or two interns throughout the year, and we call on our former interns or other experienced collaborators for occasional print edition assignments, reinforcements for services, or other atypical projects. We collaborate with graphic designers for our editions, mainly Sometimes Always who designed our visual identity, and Jean-Philippe Bretin for the Confidens collection, as well as our riso poster collection L'inédite, and book covers. The Confidens Collection Today, on the occasion of our tenth anniversary, we are proud to announce our new "Confidens" collection. These works, intended as true objects of inspiration, highlight the singular work of an artist, and reveal, through a text they write, a part of their intimacy, a confession related to their practice. The mass-tinted covers are printed in monochrome riso for the title, then a sticker printed in four-color riso is applied. The whole is then hot stamped, metallic. Each book is made with special attention to detail, printed in risography up to 6 colors for some images, for a unique, time-consuming rendering, but which makes the pride of our house. When producing a book, we strive to find this specific sense of satisfaction that one can feel when creating an image. The search for a certain balance, the feeling of being right. In Camille Meyer's book, Free Time, fold-out pages have been inserted by hand, inviting the discovery of triptychs. This system reprises the operation of the text page written in the tone of confidence, itself folded, secret, to reveal. Magali Cazo's book unfolds on the right pages, successively, for 100 frontal images of diffused ink, shadows and lights, colors and masses of black. The books of Geoffroy Pithon and Corentin Garrido are already drawn, and will be revealed following the campaign, in the meantime, we invite you to discover an excerpt from the digital versions: More images of printed books: Passages, by Magali Cazo: https://fidele-editions.com/product/passages Temps libre, by Camille Meyer: https://fidele-editions.com/product/free-time The new catalog In order to continue publishing our books, and to ensure the production of the 8 projects in progress for the coming year, we do not have enough cash flow and cannot rely solely on Riso printing activity. Indeed, the development of our publishing house with the diversification of our offset works, requires us to get support. For all contributors, we will send an exclusive list of ongoing projects, with images of books, their story and their production and release dates until January 2024. By supporting us, you encourage our determination and innovation in the face of established models in the publishing and printing sectors. You allow Faithful to continue to be this place of creation and exchange, where the desire to do is at the center. A free donation, a donation of €5, every gesture counts. Each support is a step closer to the sustainability of our workshop, to the possibility of continuing to do what we love: create, publish, create connection and inspiration! We thank you from the bottom of our hearts for your generosity and support! ♡ 🖼️ The Campaign Poster The campaign poster was created by Raphaelle Macaron, who has collaborated with Fidèle since its inception and followed all its developments. This Lebanese author and illustrator had managed an incredible feat by raising more than 90,000 euros in donations following the explosion at the port of Beirut in 2020. We proudly produced with her the riso posters that were sent to hundreds of contributors. We still distribute this series today. The image of the campaign in Risography, sent to all contributors: It will then be printed in 4-color screen printing by the PPP workshop, in Paris, in a large 50 x 70 cm format!
We have developed our Riso printing workshop with the goal of self-financing our publications. This has worked, and still works, but today we face some difficulties: The manufacturing costs between book editions and posters or fanzines are incomparable in terms of design time, creative commitment, and production time or materials. From an economic point of view, the increase in raw materials in the paper sector due to wood shortages has more than tripled their cost in two years. This increase has shaken the world of independent publishing, often precarious, and artisanal printing. The studio bridging these two activities, we are doubly impacted. However, the normalization of their low cost in parallel with the rise in paper prices and global inflation makes it almost impossible for the handmade production of the book object to be sustainable at medium print runs, between 500 and 1000 copies. A poster is generally sold 20 to 30 times its manufacturing cost 🤷. For the book, we try to keep a maximum of a quarter of the public selling price, so as not to be at a loss. When a publisher distributes his books in bookstores as we do, about 60% of the public selling price is devoted to its distribution and sale by our bookseller partners. The challenge for us, who do not print very large runs, is to find the balance point with direct sales, which compensate for the breakeven operations that the distributed books mainly represent. However, thanks to fairs, our physical sales location, and numerous online orders, we are currently meeting our profitability targets! The challenge is now to maintain it, with two to three times more titles per year, and slightly larger print runs. This does not come from a furious desire to grow, but above all from a large number of great projects that come to us, and that we dream of being able to publish! The author's rights, which fluctuate between 10% and 15% depending on book projects, and between 40% and 60% for posters, have always been a minimum. Regarding the remuneration of the team, keen to create hybrid jobs with an alternative and niche technique, we strive to follow the inflation curve and guarantee our employees a salary valuing their know-how and ensuring their stability. However, our vocation is not exclusively the service and sale of utilitarian or decorative objects. In order to develop our capacity to use our working time towards publishing comics or artist books, we need to rethink our economic model, and invest in the books in which we believe, by optimizing their manufacturing costs. Offset then appears in our catalog, joining a more traditional economy, allowing us to have consistent prices and a schedule. Risography becomes a choice and not a tool of constraint. Our catalog for the coming year will develop in this direction, looking in all technical directions to adapt the tool to the content, and not the other way around. When it makes sense, we will of course continue to self-produce our books internally, with our magic machines. ⛳ Our commitments Independent publishing house: support for young creation and the alternative scene Declared and protected printers with fair contracts Artisanal printing in risography in our Parisian workshop French and environmentally responsible manufacturing throughout the chain (FSC certified papers, vegetable inks, cold printing, outside the industrial circuit) Ethics and commitment: access to a creative space open to all, a great attention paid to issues of equality and inclusion. Personal note We started this student project in Angoulême, with Charles Nogier, Martin Stajman and Paul Rey. The project has evolved a lot and the members of the faithful have changed over the years, stages of the project, experiments... Overall, ten years later, what a pleasure to see everything that has been produced, and everything that appears before us as upcoming projects. This fundraising campaign is also a way to celebrate this journey, and to honor it by trying to make the next publications the beautiful books that we imagined, at 20 years old, and which seemed so far out of our reach. Thank you to Charles Nogier, Martin Sztajman, Paul Rey, Léna Besse, Mari Campistron, Mathilde Vizet, Mathilde Jean, Marine Montagne, Margaux Boniart, Henri Crabière aka le Henri, Jiyung Lee, Corentin Garrido and all the interns & friends who came to help us so many times! Thank you all for your trust over the years, it's completely kind. Vincent