The Jean-Claude Pertuzé media library has unveiled an exhibition of early sketches from the graphic designer’s formative years working in a Toulouse advertising agency. Expert Michel Salanié notes these 1970s drawings demonstrate a fully developed technique, highlighting a growing trend in preserving graphic design heritage through tactile, physical media and the celebration of the “artisan” designer.

Why is the “artisan” identity resurging in modern design?

Michel Salanié, an expert on the works of Jean-Claude Pertuzé, observes that the designer refuses to be categorized as a traditional artist. Instead, Salanié identifies Pertuzé as an artisan and a trained graphic designer.

This distinction is becoming a significant trend in the design industry. While much of modern design focuses on digital-first, automated processes, there is a measurable shift toward “craft-centric” design. This movement prioritizes the manual mastery of typography, layout, and line work—the very skills Salanié claims Pertuzé had mastered by age 25.

By viewing design through the lens of craftsmanship rather than pure fine art, professionals can bridge the gap between commercial utility and aesthetic value. This approach treats the designer as a builder of visual communication, much like a carpenter or a mason.

How does the leporello represent a shift back to physical media?

To showcase Pertuzé’s work, the media library commissioned a leporello, an accordion-style book that unfolds into five distinct sections. This project involved a collaborative effort between photographer Damien Leroy for reproductions and Florence Barrier, a professional binder in Lectoure, for the final construction.

The use of a leporello reflects a broader cultural response to “digital fatigue.” As much of our visual consumption moves to ephemeral screens, there is an increasing demand for “slow media”—objects that require physical interaction and offer a sense of permanence.

According to the project details, the leporello allows viewers to explore Pertuzé’s advertising career through a continuous, tactile narrative. This method of exhibition provides a sensory experience that a standard digital gallery cannot replicate, suggesting that the future of high-end design archiving may lie in bespoke, handcrafted physical objects.

Comparing Digital vs. Tactile Archives

What role do local archives play in future design education?

Anne Depis, the manager of the Jean-Claude Pertuzé media library, has stated that the current exhibition is only the beginning. The library intends to launch original Pertuzé exhibitions every year.

This strategy points to a future where local institutions act as vital hubs for professional design education. By archiving the “scraps” of a career—the early sketches and advertising drafts—libraries provide students and historians with a roadmap of technical evolution.

Salanié notes that even in his 1970 sketches, the connection to Pertuzé’s later acclaimed works, such as Les Contes de Gascogne, is already visible. For modern designers, studying these archives offers a lesson in how to maintain a signature style while navigating the shifting demands of commercial advertising.

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