On 25 March 1994, a celebration was held at the Musée national des Monuments Français, for the publication of the title . The collection experienced two successive redesigns, one in September 1998 ( – ) for exterior model (colour of the back cover, more explicit signage), and the other in March 2000 ( – ) for interior page layout. Those reeditions underwent a decrease in page length, due to the reformulation introduced in the "Documents" section. The collection, which was too soon associated with a zapping visual culture, reaffirmed its first purpose: the image does not take precedence over the text, but combined with text to animate and enrich the reading. These books benefit from the latest technologies, with their mockups are all made using desktop publishing now. Since the QuarkXPress software was only released in 1987, the first 30 titles were made in a traditional way, with phototypesetting. The current price of a "Découvertes" book is between 8.40 and 15.90 euros (£7.95 in UK, $12.95–$14.95 in US and $19.95 in Canada) according to its category and number of pages, this is considered an extremely low price for a book of this quality. The collection, totalling 588 volumes, is never entirely translated into another language, partial translations have been made available in 19 languages (currently more than 20 languages, see "International editions"). "This inexpensive pocket encyclopaedia embodies its humanistic dream: to make the most advanced state of knowledge available to everyone. Diderot and D'Alembert would not have denied it...", commented by Hedwige Pasquet, current directress of Gallimard Jeunesse. According to , these "French-style nonfictions" () have sold over twenty million copies worldwide as of 1999, with recently emerging markets in Asia and Eastern Europe, especially in Russia, about 100 titles have been published within four years. In 2002, during a presentation of "Découvertes Gallimard" in Moscow, the French ambassador to Russia told a Kommersant correspondent that he just finished reading (), one of the latest titles from the collection at the time, which he found particularly interesting. In order to remedy the problems of international proprietaries and reproduction rights of works of art, co-publishers firstly define a number of titles, then they choose according to their own editorial line, and share the high cost of worldwide photographic rights. Therefore, Harry N. Abrams in the United States chose more titles on traditional cultural subjects, such as À la recherche de la