Do you feel like every time you open the newspaper: information and images explode and punch your face – expressions of frustration, energy, aggression, movement and noise?

Artist book, “The Crooked Times” seeks a spin on the information overload of today, channelling newspaper visuals from ‘The Straits Times’ into a wicked wit and sense of humour – poking fun and your mind to see what it might not otherwise see.

Originally to be bound, an observation in the binding process included how shuffling the pages produced more accidental compositions with the photographs-giving the final book an interactive and unbound form for the reader to explore this humour simply with the element of chance.

Questions of privacy, borders, and nationhood are increasingly shaping the way we think about all things digital. Data Centers brings together essays and photographic documentation that analyze recent and ongoing developments. Taking Switzerland as an example, the book takes a look at the country’s data centers, law firms, corporations, and government institutions that are involved in the creation, maintenance, and regulation of digital infrastructures. Beneath the official storyline—Switzerland’s moderate climate, political stability, and relatively clean energy mix—the book uncovers a much more varied and sometimes contradictory set of narratives.

The book “Archaeology of the Future” by Collegium Helveticum examines different perspectives on science, technology, and their interactions with culture and society across time. The book delves into how we construct plausible futures based on images, facts, and logic, which represent our sensitivities in the present. The book also explores how past utopias and scenarios shape our present and future. The book features a meta-code level that appears on the cover at 27°C through thermochromic ink.

Every brand needs a brand book, but not every brand has such a strong vibe that it’s already in its name. Vibe is music, and music is life. That is why, we created A1 Vajb Playbook, a hybrid between a vinyl record and a book. The content is contained in the book inside the cover, except for the brand manifesto, which may be played on a record player.
The brand has a youthful personality, which is heavily reflected in the design – with its maximalist collages and other gen Z motives, combined with grainy gradients and bold typography. Even though it’s not designed for communication with the outside world, it’s still essential that everyone who works with the brand has the same vibe.

Risograph printed artist edition.
This artist edition explores sign constructs’ dissolution and reformation, using spaces between words to create flexible associations. The poem “te gri ro ro” is visually represented through an alphabet grid and four works. Nonverbal expressions like emojis and emoticons are overlaid with unambiguousness. The personalized cover features the sentence “Everything is there, even nothing,” created through a mechanical installation using stamp ink. Overall, this edition challenges and provokes the reader’s interpretation of meaning.
“Alles da, sogar nichts.” 34 pages, 38×18 cm, Edition of 70, risograph printing, Munich, October 2022.

Bookdesign on occasion of the 10th anniversary of the german Museum MARTa Herford.
In collaboration with Ingo Of­fermanns. Contributors: Friedrich von Borries,
Elke Buhr, Tamara Grcic, Johann König,
and many more…, 170 × 240 mm, German, Hardcover.

Bookdesign on occasion of the 10th anniversary of the german Museum MARTa Herford.
In collaboration with Ingo Of­fermanns. Contributors: Friedrich von Borries,
Elke Buhr, Johann König, Tamara Grcic,
and many more…, 170 × 240 mm, German, Hardcover.

The book could be defined, both formally and conceptually, as a bound mosaic since it consists of various textual and visual elements, both archival and created specifically for this occasion by various authors. However, even though such a label brings it closer to the category of an artist’s book, it is actually on the border, in other words, still in ‘no man’s land.’ In a space where journalism, theory, design investigation, art history, and authorial interpretation meet.

Vicente Gajardo is a renowned Chilean sculptor who works with stone. This book presents his oeuvre from a graphic approach. The project began over a decade ago, demanding a roadtrip through Chile to photograph his public works on site. The outer black box that protects it is symbolic of the black granite ever-present in his work. Text and images occupy their limits all the way to the edge, much like Vicente carves his stones. Each leaf has to be manually cut to reveal the content, in a slow and careful procedure in order not to shred the paper. The book is then sculpted open, producing texture in the printed fore and top edges, each book baring singular, accidental differences.

This first monograph by the artist Arno Beck documents the fascinating interplay between the omnipresent screen world and traditional artistic techniques. Published by Stephan Berg (Kunstmuseum Bonn) at Hatje Cantz Verlag. With portraits by Albrecht Fuchs. Size: 22,80 × 30,50 cm, 160 pages, 80 illustrations. German, English. Hardcover.

Convolute of various text excerpts that formed the basis for my research of various linguistic and media theoretical issues which explores the potential of language as constructive medium and world accessing instrument.
The adopted texts were set in the original font size, line spacing and type area, the texts relevant to the practical work of my diploma were set in a separate layout and interwoven into the original texts.
For the publication, a typeface was drawn that transforms its shape in 336 stages (1 per page) was drawn. The idea for the typeface arose from the fact, that words and texts have a temporal and a spatial dimension.

The book reflects the work of the AdBK-Kolbermoor which has been fostering artists and providing them with a space for artistic growth for 10 years.
It showcases a variety of works by instructors and students, as well as highlights from seminars and programs. A comprehensive collection that depicts the broad creative ambition of the academy and invites exploration.

The creative and artistic approach has been further continued in the editorial design. Typography plays with visual structure and rhythm to give the book an engaging design.

Broken/vaguely/jumbled, but still important.

An attempt to subordinate memories to systematization is shattered by the impossibility of accurately recreating each step / look / movement. This is how our memory works – there is no accuracy, but there is a feeling – elusive, abstract.
This is how our memory works – there is no accuracy, but there is a feeling – elusive, abstract

All roads intersect and close in a ring, and at the end only vague images remain.

16×21,5 cm / 72 pages
Risography/Open cord Binding
Edition: 7

“the FUN issue“ of the PORT magazine deals with the question of where the fun in creating has remained between study stress, deadlines,
remote teaching and the pandemic. It contains student work from thenBauhaus-University Weimar. The aim was to highlight the special value of experimentation, unconventional approaches and playful interaction for the creation of extraordinary results.

Book series by “2001 publishing house” featuring novels by Jan Graf Potocki, Charles Bukowski, Ashley Kahn, Thomas Kapielski, Romeo Dallaire, Boris Vian, Sol Stein, Diane di Prima, Gay Talese and Goerges Perec.
The edition won DDC Bronze for the design of the “2001 paperback series”.

The book “In the middle of life, where might that be?” takes readers on an educational and entertaining journey of discovery through the brain, heart and body. The typographic cover illustrates the title by contrasting a very strong, heavy typeface with an extremely slanted one that seems almost fragile next to its counterpart. The title design features hot foil stamping in bright blue, making it aesthetically outstanding. By the end of the book, readers will have a new perspective on their own lives.

WHAT WHAT WHAT is about the manipulation
of images, information, typography
and language by different tools.
As human beings tend to categorise
everything and anything, definitions like
what, who, where are hard to concretise
in some way. They give you information
about something, but they can
still be any other category. The indexing
gives you some kind of access, similar
to symbols, characters or letters gives
you approach to a different language or
culture. By using exact categories and
detract their original function by distortion
and mixing it with deformed diacritic
marks, the results become an expansion
of alphabet, image and form.

Social media has a significant impact on the lives of many young people. Despite reporting on problems and dangers, there is often a lack of intensive, targeted engagement with these issues. Generation Media is an initiative centered around the dangers of social media.
The tools of this initiative include a graphic novel titled „Digital Dopamine“ and an online portal where the book, along with additional information materials, can be accessed in digital format. The book‘s thematic focuses are „beauty ideals“ and „relationships“ in the digital age. The online access is intended to be available to participants of various school workshops.

Lebendige Skulpturen was an exhibition that took place in 2018, focusing on sculptural works by Gilbert & George, Konrad Lueg, Sigmar Polke and Gerhard Richter. The corresponding catalogue was awarded a prize for Best German Book Design by Stiftung Buchkunst in 2019. In the history of art, the title Living Sculpture is associated with the UK-based duo Gilbert & George, who decided to make themselves the object of their art the end of the 1960s: “The day we said that we are the living sculpture, that was it. Art and life became one, and we were the messengers of a new vision.” This publication contains two parts: a 160-page image section and an index of works as well as two essays.

Artist publication by Nida Mehboob, initiated during her residency at Akademie der Künste Berlin. It’s made to be distributed among allies of the Ahmadiyya, an oppressed religious group in Pakistan. Distribution there would be adverse so the book is wrapped in a poster to protect its contents from the wrong set of eyes. The cover embossing refers to the tombstone of the “First Muslim Nobel Laureate”–‘Muslim’ was later obscured because his faith was declared Non-Muslim. Twelve rules illustrate the consequences of persecution, next to photographs and a collaged section of archival footage, documenting violence against the community. Text, endpapers and foil stamp embossing are solid blood red.

The book for the exhibition “Eine Landschaft ohne Blau, wie ungefähr” of Ulla von Brandenburg stands out due to the 3 colored linen on the hardcover and the uncovered places with a view of the gray board.
Various pre- and post-paper complement the image and summarize the documentary content to the exhibition

Oaza Books is an independent publishing initiative focused on contemporary art and design. Established in 2017, the aim of Oaza Books is to produce, promote, and distribute publications that critically and transdisciplinary engage with the creative process and content, fostering meaningful dialogue between cultural disciplines and socio-political issues. Books are designed, edited and published by Oaza Collective from Zagreb.

Collecting and archiving form Barbara Proschak’s fundamental method, exploring the edges of photography with her photographic arrangements.
The book is the essence of Proschak’s genre-spanning photographic sketchbooks of the last 10 years.
The 512-page book is bound in a black cardboard flex cover laminated with yellow paper.
The cover is partly printed and partly embossed in matt black.

“65 75 140”: an unusual festschrift, on the occasion of the 65th and 75th birthdays of the publisher duo of the Bärenreiter-Verlag. 76 contributions, from a varied group of composers, authors and creative artists. There is no set content, with the result that the contributions are all very individual and require their own form – depending on the content. Form follows content.
Hold together by a bookmark that was extended to 3.5 meters so that it can run all the way round. It is a red thread that can hold the different contributions together. A red thread, running through the lives of this couple. Threads, symbolising people and relationships, that interlock to form a network.