The graphic design of the Brazilian edition of Les chasses à l’homme draws on historical documents—runaway notices, reward ads —to materialize the book’s central argument: the political construction of manhunts. The cover and interior treat the archive as evidence rather than illustration, combining restrained typography with a radical use of color and documentary imagery. The design does not mitigate the violence it presents; instead, it functions as a critical extension of Grégoire Chamayou’s work, foregrounding the historical continuity of techniques of pursuit, capture, and elimination.
