The publication “A Cookbook for Political Imagination” is designed to complement Yael Bartana’s exhibition for the Polish Pavilion at the 54th Biennale of Art in Venice. The book takes the form of a manual of political instructions and recipes. Over forty international authors contributed to this work, which encompasses a broad range of themes, including manifestos, artistic contributions, fictional stories, visual identity elements, food recipes, and social advice for movement members.
The book is presented as a thick black brick, an enigmatic object reminiscent of the Bible or the New Testament. Alchemy symbols and gold are incorporated to convey the idea of transformative thinking.

‘In the Whirlwind of War’ publication accompanies the exhibition marking 30 years since the military aggression on Croatia and beginning of the war in Croatian region of Banovina. Fragmented typography and parts of the exhibition title scattered across the pages resemble the chaos and horrors of the war that affected many people’s lives, destroyed homes and separated families.
Each copy of the catalog is pierced by a couple of 7.62mm holes, matching the caliber of an automatic rifle bullet.

This experimental book was inspired by the work of Vilmos Huszar, a graphic designer of hungarian origin. The new square-shaped monospace font with 100 variations is based on the original Huszar De Stijl logo. It is a self published art book, a history based reinnovation project. A personal commemoration of the 100th centenary. The book was printed in gold and black using a variety of papers.

Moholy-Nagy’s philosophy and essay entitled Typophoto is more up-to-date now than ever before. How does the new generation of artists reinterpret the contemporary relation of classical photography and typography? How do young artists represent Moholy-Nagy’s ideas today? How do they design typefaces in the new context of the spiritual heritage of Bauhaus? The book mo_st_ showcasing a selection from the works of the students of Moholy-Nagy University of Art and Design to answer the above questions.

Editor, professor and designer: Dora Balla

Publisher: Moholy-Nagy University of Art and Design

Printing: silver and black offset, open spine binding

The publication accompanying the exhibition ‘Sisak Ironworks’ tells a story of one of the Sisak’s former industrial giants, once highly appreciated and successful, and now defunct.
Bold and strong typographical treatment has been inspired by the theme itself. The title is fragmented and divided through the continuing opening spreads complementing the archival photos of factory motifs. Huge letter fragments of the section subtitles enrich the illustrational/photographical dividing spreads and contrast with the meticulous and delicate treatment of body text, photo captions and footnotes.

Los Angeles at the end of the last decade. With the help of photos, drawings, paintings and texts, York Blvd. tells of several stays at the former place of longing for film, pop and counter-culture. The volume roams deserted streets, takes in some social life, leisure activities, in the car, on the beach, in cafés, concert halls or galleries, and looks at a boulevard in the east of the city that is undergoing profound changes. All silently commented by the trees and houses that line the action and open the view to the vastness of the landscape. And then there is this fantastic light that gives the city its irresistible mood.

Pixels is a 2 by 2-inch mini book. By dividing the images I take into countless small pieces I tried to convey the idea of how different species, including humans, make up this planet like pixels make an image.
We, like other non-humans, are just passers-by in the billions of years of Earth’s history.

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.

Printed with silver and neon ink, this experimental quotes-book was made with continuously evolving patterns throughout the whole book (overlap one another). This was an accompanying project of the MOME Campus Development Project.

A book folded from a large 48 by 32-inch sheet of paper. The book discusses the fatality of anthropocentrism and the importance of empathy with non-humans in the context of the Anthropocene. It includes four design projects that explore the ” folded” non-human world.

“You’re paying too much for design” examines 5-star reviews on the online platform Fiverr, where design services are offered. The focus is on the formulations of customers, which provide information about expectations and working relationships. Instead of the usual evaluation of goods and objects, people and their work are judged here. Key terms are taken from 999 reviews and numbered to refer to the original reviews in the back of the book. The analytical approach is contrasted with a letter of compliments that links descriptions of people from the reviews. The result is a picture that clearly shows the clients’ view of the design profession.

A monograph in two tomes on architect, urbanist and educator Branko Kincl, one of the greatest contemporary Croatian leaders in the fields of architecture and urbanism. These extensive volumes contain the most notable work from Kincl’s five-decades long career — from theoretical and scientific research work, through urbanistic systems to residental building complexes, sport and large-scale industrial architecture and monumental airports. Images are supplemented by meticulously treated, highly-contrasting typography. Each section has its own cut-out opening divider implementing optical illusion details — a nod to Kincl’s use of modernist graphic elements in design of facades and surfaces.

Do It – China 2021 is a project jointly curated by two well-known curators, which includes the proposals of 108 Chinese artists. To emphasise its Chinese context, the book is a direct reference to Water Margin, an ancient Chinese novel about 108 rebels. Here, the 108 artists included in the book represent the 108 heroes of the Chinese art underworld. The artists’ names are printed on the outer margin in alphabetical order which forms a strong visual index. It is like a sculpture that reflects the influence of Chinese contemporary art.

Monograph design for a contemporary abstract painter uses various printing techniques such as double cover, UV varnishing, foil-blocking, cut-outs along with typographic compositions and repeating elements to interpret, complement and emphasise his work. Particularly important and personally significant text that summarizes author’s work- and life-philosophy has been used for the alternate cover: printed in black hot-foil stamping on the black background and hidden under the jacket, it is a kind of hidden gem — an unexpected reward for those interested in a deeper study of the book, those who will care enough to see what’s underneath.

Ecotopia is the project of a contemporary, environmentally conscious and
self-sustainable tourist resort located in a rural area of central Croatia.
The accompanying book is a 292-pages volume that aims beyond the
scope of a big-scale urban and architectural design project study — it is
also a document of an extensive research on sociological, environmental,
historical, linguistic and cultural topics. It is also one of our most exclusive projects: strictly limited edition of only three copies have been hand-produced.

A book system as a method of understanding color behavior. Book#1: A book that allows the greatest combination of colors possible within the format. A book that presents color as a continuous flow, that has no beginning or end. The shape of the book makes evident that the perception of color changes according to the neighboring colors. The spiral bound on both sides of the page allows them to be interchanged randomly. Book#2: a book that allows you to see the transitions from one color to another. What is interesting about the idea of ​​the gradient is the “between”, that is, seeing the colors that live between two isolated colors that may or may not have an obvious relation.

The publication accompanying the exhibition marking the 60th anniversary of The State Archives in Sisak is made in form of a cut-out slip cover containing twelve loose sheets, printed on a bulky, uncoated paper-grade. The sheets are perforated for insertion into a standard archival folder.
Each separate sheet carries an image and/or short text covering the most significant moments of the institution’s history. Fragments of the exhibition title are scattered throughout the catalog, playfully connecting different segments of the story.

Reliquary is an exhibition catalogue containing works, views, texts, drawings and references. Mockrin’s paintings transform iconography of old masters, queering their subjects and connecting historical narratives to the present. We begin with an immersive series of closeups, fragmenting the body to emphasize ambiguity while creating intimacy with the surface of painting depicted and quality of printing all at once. Type layouts riff on classical proportions. Dark eggplant grounds title pages and drawings while section dividers are a faded puce. The design is elegant and highly considered, with several intentional glitches reflecting the subversive and inquisitive nature of the artist’s work.

“Witch Hunt” is an exhibition catalog featuring work by 16 non-male artists presented at the Hammer Museum and ICA LA in 2021-22. Balance between diverse, even brash, artists and a strong exhibition theme drove many design decisions towards strong, simple moves that both amplify and get out of the way. Following a cover with a witchy puff of smoke and “feminist” violet endpapers, the book begins and ends with an iconic image from each artist framed by a bright, urgent yellow full-bleed background. Referencing a female body, the book has an obvious center, with narrower, uncoated white essay and info pages nestled between bold, saturated sections on coated paper holding artists’ work.

“The new art of making books” by Ulises Carrion, published in 1975, is the manifesto in which the author proposes his theory on making books and his analysis of the constituent elements of the book and its limits.
I decided to rethink how to design this essay being mainly inspired by the publication of Ulises Carrion’s “The Poet’s Tongue”. I reflected on the form and space of the book and the typographic elements that characterise it in a context that does not directly belong to a publishing product.

Teeming collages proliferate fruitfully in free forms across double pages. An idealistic élan is expressed in them. The programmatic and urban sociological essays are excitingly typographed. The fluorescent orange comes into its own on the chapter dividers as actionistically sprayed self-empowerment. In the footnotes, in turn, the bright orange signals the theoretical underpinning of the argument. But where are the footnotes? At the foot of the pages? No. Nor in the marginal columns. They slide sideways into the sentence column, form bubble-like shapes, and are embedded in the matrix of the sentence body like the organelles of a cell body.

This book covering the work of photographer Masahisa Fukase is about ‘love and death’. The editorial framework is simple: it begins with the slaughter of a pig and ends with the birth of a newborn. In the middle of the book is a red section, which emphasizes the relationship between love and death. Images are placed in the top left corner in the book’s first section, while in the second part, images are bottom right aligned. The two sections complement one another – like the front and back cover, which are black and white. Crafted by hand, the book’s binding allows the spine to be separated by the front and back cover. Halfway through the journey of life and death, in the middle of the book

‘Design as process’ is a visual and linguistic examination of design processes, delving into their problems, and exploring possible solutions through images and text. The cover features multiple layers of bookbinding cloth, which make processuality tangible. Inside, the book is structured around chapters that focus on aspects of the design process. They are presented as magazine-style booklets, each the size of a single signature, that are revealed on the book’s spine.Throughout the book, design elements, such as bright neon colors, scans, monospace fonts, and sketches, work together to represent the different types of knowledge. The result is a comprehensive snapshot of the design process.

Thomas Raat is a conceptual artist. His book An Inquiry Into Meaning and Truth… and More investigates modernist book covers, specifically those originating from from 1940 to 1960. He stripped all texts and logos from his research subject’s covers, creating large wooden oil painted panels from their remaining forms. The accompanying essay by John C. Welchman unravels how Raat’s work straddles the boundaries between abstract painting and visual construction. Titles of Raat’s original literary and visual research return as picture titles within, expanding upon Bertrand Russel’s 1940 publication covering philosophical meaning and truth. Employing typefaces native to 1940-1960, a time period def