GRAPHICOM

GRAPHICOM Printing & Bookbinding partner for publishers worldwide. From the very beginning, we have specialized in high-quality projects.

Graphicom began in 1986 as a print broker, aimed primarily at the European market for illustrated books. In 1996 we acquired a bindery, now called Legatoria Camisana, and in 1998 we bought the printer ArteGrafica, a company already known for its high-quality illustrated books and catalogues. Our commitment to grow in a direction that is compatible with the environment led us to obtain both ISO 14001 certification (February 2008) and FSC certification (May 2007).

Printing a diamond is more difficult than it looks. 💎Light, reflections, metallic surfaces and deep blacks can easily lo...
17/08/2026

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 ...
11/08/2026

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 LaurentPublished by Abrams Book By Farid Chenoune and Florence MüllerPublished on the occasion of the retrosp...
30/07/2026

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.

30/07/2026

Books dedicated to fashion require a careful balance between colour reproduction, image quality, materials and editorial construction.

Published by to coincide with the Yves Saint Laurent retrospective at the Petit Palais in Paris, this volume brings together almost four hundred pages of photographs, creations and artistic references.

The publication alternates pages printed on coated paper with solid-colour sections, given an especially glossy finish through the application of UV varnish. The contrast between the more subdued surfaces and the high-gloss inserts creates rhythm throughout the book and strengthens the project’s visual impact.

An example of how carefully considered production choices can enhance the content and make the book more engaging, page after page.

Some projects continue to tell our story even years later. That is why, from time to time, we return to the books in our...
28/07/2026

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 par...
22/07/2026

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 conten...
13/07/2026

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...
19/05/2026

"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.





"Bisa Butler: Portraits", published by Yale University Press in association with the Art Institute of Chicago, presents ...
08/05/2026

"Bisa Butler: Portraits", published by Yale University Press in association with the Art Institute of Chicago, presents a selection of works by American artist Bisa Butler, known for her textile portraits characterized by patterns, layers and vibrant colours.

For an art book, colour reproduction is an integral part of the project: it helps preserve the visual strength of the works and translate the richness of the original materials, contrasts and compositions onto the printed page.

A book with an essential structure, where the quality of reproduction supports the visual narrative and contributes to a clear reading of the artist’s work.



"Bisa Butler: Portraits", pubblicato da Yale University Press in associazione con l’Art Institute of Chicago, presenta una selezione di opere dell’artista americana Bisa Butler, conosciuta per i suoi ritratti tessili caratterizzati da pattern, stratificazioni e colori intensi.

Per un volume d’arte, la resa cromatica è parte integrante del progetto: permette di preservare la forza visiva delle opere e di tradurre sulla pagina stampata la ricchezza dei materiali, dei contrasti e delle composizioni originali.

Un libro dalla struttura essenziale, in cui la qualità della riproduzione sostiene il racconto visivo e contribuisce alla piena leggibilità del lavoro dell’artista.

When binding defines the rhythm of a book.In this volume, closed folded inserts, or “Japanese-style” folded sections, al...
05/05/2026

When binding defines the rhythm of a book.

In this volume, closed folded inserts, or “Japanese-style” folded sections, alternate with smaller trimmed inserts, interrupting the regular flow of the sequence and creating a more layered reading experience, where rhythm and structure become part of the book itself.

The printed translucent dust jacket interacts with the blind debossing on the cover, completing the project through a subtle interplay of layers, transparency, and materiality.

An example of how the physical form of a book can actively contribute to its language.

📖 Sur le fil: Dom Pérignon, pré-assemblage 2024



Quando la legatoria definisce il ritmo del libro.

In questo volume, quartini piegati a pagina chiusa, o “alla giapponese”, si alternano a inserti di formato ridotto, interrompendo la regolarità della sequenza e dando forma a uno sfoglio più stratificato, in cui ritmo e struttura diventano parte dell’esperienza.

La stampa della sovraccoperta traslucida dialoga con la trancia a secco impressa sulla copertina, completando il progetto con un gioco sottile di livelli, trasparenze e materia.

Un esempio di come la forma fisica del libro possa partecipare in modo concreto al suo linguaggio.

📖 Sur le fil: Dom Pérignon, pré-assemblage 2024

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Viale Dell'Industria 67
Vicenza
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