The topic of my university project was “development”. I used the rules of my school department as an expected form of development. I highlighted the rules to remember them so that I can become a “good” graphic designer. The strict rules are leaking on the back of the paper, because the designer cannot be limited.

Between Danube kilometre 1902 (Orth / Donau, Austria) and 0 (Sulina, Romania), all kind of flotsam is being fished out of the Danube with a landing net, measured and documented. The artist tries different approaches on how to “read” all the collected materials and she invites the viewers to discover. Besides the tangible aspects, she also touches on questions of the creation of value, of permanence and durability, and the paradox of holding on to something ephemeral.
2023, self-published, multi-part publication, riso & digital print, flexible edition of 100.
Supported by MS-FUSION A.I.R., Federal Ministry Republic of Austria, Culture Moves Europe Mobility Fund and a lot of individuals.

This is a book about a powerful phenomenon in Ukrainian art – Ukrainian modernism and the avant-garde of the early 20th century. At the same time as Jan Tschichold, Piet Zwart, and Guillaume Apollinaire, in Ukraine worked Mykhail Semenko, Vasyl Yermilov, Borys Kosarev, Anatol Petrytsky, and the other artists. For a long time, they were remained in the shadow of world art history due to the colonial policy of the Soviet Union towards Ukrainian culture.
Meanwhile, history returns in cycles, and the works of the Ukrainian early 20th century avant-garde are once again becoming pretty similar to current trends in graphic design. The design of the book itself was a modern take on our predecessors.

Futur 3—»a future that will not have taken place«—is an art festival from Northern Germany, proactively initiated by artists, for artists; it stands for diversity and autonomy. The catalogue provides a platform for all those involved. More than a documentation, it shows the process and its outcome – a presentation of the festival’s reflection. It offers a perspective for the future of the festival and an understanding of one’s own action in the current art context. The design responds to this interlocking structure by using three complementary fonts and a variable type area – revealing the diversity of art and giving ephemeral artworks their own permanent and equal place.

The first “heftl” (~booklet) is a declaration of love for the Danube, an abstract travel diary between Belgrade and Sulina.
2020, self-published, 48 pages, riso-printed, handbound, edition of 80. Awarded as “One of the most beautiful books in Austria 2020”.

Various up- or recycling projects emerge from this publication, working with its’ paper-leftovers as a resource: Danube Carpets (weaving paper-carpets with the bleed paper strips), Danube Paper (scooping paper with paper left-overs and Danube water), Part of the Flow (upcycling leftover prints in secondhand or found frames).

Continuing the visual planning of the exhibition, the album “The Wind Catcher – Fang Qingmian’s Images and Returns” is designed to resemble a vintage family album with its antique bronze ring binding and hardcover fabric texture. The unique blue color used in the main visual is incorporated into the front and back pages, implying that this album is not just a collection of photographs but also a dialogue on contemporary art and its significance, before delving into the content co-created by the curator and contemporary artists and image makers.

Das OETZ Archiv: A book about the former OETZ-magazine from Düsseldorf, Germany.
A special feature of this book are the chapter separators consisting of pages folded into each other. The additional free space created by the folded pages implemented a haptic orientation system which allows readers to navigate easily through the chapters or the registers.

OETZ is a magazine made by design students from Düsseldorf, Germany. It was published from 1979 to 1987 under the direction of Helmut Schmidt-Rhen.
The most prominent aspect of this magazine is the asynchronous binding which is placed 8 cm of the left paper edge. This created short pages on the first half and wide pages in the second half.

My final project, Interphase, is a book whose entire content was generated by multiple artificial intelligences. The book consists of seven stories based on the seven deadly sins. Thereby, my goal was to check what the AI thinks about these topics, because a collaboration with an artificial intelligence also requires to be aware of its moral values. Three text AIs wrote the individual stories in collaboration. I provided the initial input in the form of a sentence. The rest was generated by the AIs themselves in a cascading manner. A fourth AI generated additional images based on the texts. All seven stories provide deep insight into the diverse mindsets of AI. (Whole book see Website above)

The exhibition proposition of “Black Box” immediately brings to mind an imagining of a “dark and mysterious space”. This space could be an endlessly contracting container, guiding the audience into the artist’s investigation of mysterious phenomena and media history, or it could be a reflection on the limits of science and a sensory preview of video and installation spaces in Tony Oursler’s work. At the same time, it led us to create a laser surface of dazzling, colorful media light, placing the main title and visual elements on top, using silver foil card with laser film, and distributing it on exhibition VIP tickets, invitations, exhibition brochures, and album covers.

The Ditch, by photographic artist Emanuel Cederqvist, recounts the story of a forgotten defence line built on Öland, a small island on the east coast of Sweden, during the Second World War. The line was intended to act as an obstacle for tanks, splitting the island into two parts near the village of Föra. In the book, Cederqvist’s images are combined with documentary material from the Swedish War Archive, records which remained classified until the 1980’s.

The cover is screen printed with white pigment on a blue paper and debossed with a glossy transparent foil.

The publication “Archive of Aspects” summarises all the archives created during the course, including their individual elements. Mass, repetition, development, system, parameter, algorithm were keywords we dealt with. The publication deals with the creation of a personal graphic archive which is composed of e.g. generated shapes, colours or words.

An atlas of disputed island territories that shows
all the conflicts in relation to the exclusive
economic zones. Each of the island
disputes is accompanied by a photographic
component based on Google satellite images, map and informational page.

Heorhii Narbut was one of the main Ukrainian artists and graphic designers of early 20th century. After his death, a collection of memories by his colleagues was published to honor his memory. But the Soviet authorities destroyed this publication for censorship reasons. Only two incomplete book fragments preserved, and nowadays it has finally been published.
It is not known what the original cover was like. So we created an algorithm that generated a unique collage of the works shown in the book on the cover of each copy. So, each of the 1000 copies of the first edition has its own unique, unrepeatable cover. The last copy of the edition has a white cover and is the property of the designer.

by Satoshi Tsuchiyama.

Satoshi, a visual artist from Japan who currently lives and works in Brooklyn, NY, won the Landskrona Foto & Breadfield Dummy Award in 2020. He visited Israel and Palestine between 2017-19 to witness the normal everyday life in the religiously and culturally rich region. During his visits, he explored the scorching sand and graffiti-filled streets, and captured the singular beauty in the raw, tough and vulnerable ordeal of perseverance and adaptation of the inhabitants. Part of his work was documenting the contemporary dance scene.

Published in 2022 by Breadfield Press

Chen Fei-Hao’s creative mediums and dimensions span “text,” “photography,” “moving images and spatial installations.” For this project, the artist hopes to create a comprehensive presentation of his personal life experiences and creative/exhibition materials since 2013. In terms of conceptualization, we quickly focused on the idea of a “file box” format, hoping that this would be a data box with a hierarchical relationship and contextual references. The content includes a “historical epic” with a conventional narrative and a “requiem” that outlines obscure anecdotes and stories. The two complement each other, weaving together the artist’s research context over the years.

L_B_T explores the border as a divisive line from the dual perspectives of humans and machines. Archiving both satellite images of land characterized by border conflicts and artificially generated images of those same landscapes using RunwayML, the publication’s contents become animated, evolving fluidly, when the reader flips through the pages. As images of different locations become distilled into a singular gestural stroke, losing specificity and familiarity, the book is a speculative archive as well as a challenge to the arbitrariness in which we lay claim to our borders.

The book pair is a combination of the radio play “Hous purchase” by W. Hildesheimer and the novel “Nightwood” by D. Barnes, which Hildesheimer has translated into German. A conversation between a buyer and a seller takes place in “Hous purchase”. A block of text rotated by 90° picks up their strange dialogue. The two speakers interlock in the middle. “Nightwood” tells the story of the night culture of various characters from the 1920s. Areas of life condemned by society become more visible as the story progresses. The colouring of the pages ranges from white to dark grey, emphasising the dark mood of the story. The brightly coloured soft cover and Japanese binding unite the two books.

Persimmons is an interactive book, translating poetry into art through linguistic analysis and code. Its inspiration is derived from the beauty of words and the structure of language systems. Words taken from a poem by Li-Young Lee, “Persimmons”, are analyzed linguistically through Rita.JS and run through Processing, to generate patterns corresponding to the text’s phonetic structure. The reader can interact with the poetry in book form, using pull tabs that morph the text into its coded patterns and manifest Lee’s words into a visual form.

The project was to create an artbook about a given famous Bauhaus artist, dedicated to the existence of the 100-year-old school.

Andor Weininger was one of the most talented hungarian bauhauslers. He had an extrovert personality but was also introverted about his work. The thermochromic cover of the book represents this shyness. (University project)

Between Danube kilometre 1902 (Orth / Donau, Austria) and 0 (Sulina, Romania), all kind of flotsam is being fished out of the Danube with a landing net, measured and documented. The artist tries different approaches on how to “read” all the collected materials and she invites the viewers to discover. Besides the tangible aspects, she also touches on questions of the creation of value, of permanence and durability, and the paradox of holding on to something ephemeral.
2023, self-published, multi-part publication, riso & digital print, flexible edition of 100.
Supported by MS-FUSION A.I.R., Federal Ministry Republic of Austria, Culture Moves Europe Mobility Fund and a lot of individuals.

The exhibition catalogue of “Chronicle of the Other Object” is a monograph of the Taiwanese artist Wu Chi-Yu’s works, which originated from his solo exhibition at TKG+ in 2022 and focuses on his recent creative methods. Responding to the exhibition’s theme of “Material and Time” and the openness of interpreting “other objects,” the visual design leans towards a template of technological objects from the last century (such as disks and electronic materials), and a column-shaped object that symbolizes the collision of analog signals with material time. Through this sense of unknown void, the book expresses a mixed state of assembly of time and unknown technological objects.

The things in this book—mostly cardboard, found things, written things—are not made for galleries and museums. They were produced for small-scale events held on streets, squares or at social centres, and typically they have a very short life expectancy.
Ben Cain’s book focuses on art as an activity that might be unannounced, might be clandestine, might be private, and nevertheless takes place in shared spaces—and it wants to generate and participate in public debate.

Yulia Bas’ powerful portraits reflect transformation, development and the beauty of imperfection.

Layout principles were largely inspired by the work: Like most of her artwork, it also employs very narrow margins (from image subject to canvas edge) and edge-dropping images to create an image effect without frames.
The book as a view behind the artwork: the endpaper and the structure of the cover are linen-like, the inside of the book is gray-beige, as is the case with your canvases. The text blocks work with a system of different indents, on the one hand to structure the text, but also to pick up the fragment effect.

“The artist’s experience of being inside art institutions, starting from the effort made to be accepted in order to develop one’s art practice, then the experience of going through them, and while in them, the many ways of having to learn how to be inside. This will in several ways inform the development of an artist’s practice, for the good or for the bad. Making this publication has been an attempt at recognizing and dealing with, rather than avoiding, the tensions that exist in the relationship between artists and art institutions at a time when most art institutions themselves are under the pressure of austerity-politics.”