The Fall of the House of Usher is a short story by Edgar Allan Poe in which the narrator is visiting his friend, Roderick Usher at his estate surrounded with mystery. A sense of eeriness is evoked in the layout by the use of bold typography creating positive & negative space for the story to dwell inside. Some paragraphs lock & suffocate into each other, sentences topple down, letters crumble into a heap under the weight of the claustrophobic atmosphere the narrator is trapped in. A display (June Exp) and a sans serif typeface (Acumin Concept) along with the colour combination of three basic colours adds to the sudden unexpected disruptions.

A student project at IED, Florence, Italy.

The Walter Benjamin and Albert S. Project, by Maurice Bogaert, is a book about the parallel lives of Walter Benjamin and Albert Speer, and the author’s quest to bring their histories together. The book’s concept is a graphic novel and thus the perfect book to read on a train. Image sequences are placed as a cinematographic experience in that images of doors that are open indicate a new space of the architecture’s story. A sequence of mountains shows that the story is going to another place. A repetitive image of a telephone that brings a conversation alive. On the cover a door is open, to metaphorically pull the readers into the cinematographic experience. The light of the story is printed,

Exploring the ideals behind mass production, the societies of spectacle, and the apexes of European history when once obscure household products, become ubiquitous; Archetypes and Residues is a catalogue to an exhibition of the same name. It takes the format the catalogues issued by department stores during the middle of the twentieth century. Imagery highlights artworks that were in the exhibition, alongside pages with small series, which give the dimensions, materials, etc., of each. The works in the catalogue consist of sculptures made of former table frames, mounted on marble, residential front doors whose components have been reorganized to reference geometrical paintings, and a series

Raabjerg takes outset in the changing landscape of northern Jutland (DK). The landscape changed due to climatological changes and human resource extraction, and the following attempts at ‘restoring’ and ‘reestablishing’ a ‘natural’ landscape. The narrative pivot point is the violent sand drift in the 16th-19th centuries; how it manifested itself and completely transformed the once fertile landscape into a barren wasteland.

The book is an atlas of the work; a book format that complies and organizes geographical and astronomical knowledge. The design structure has an image-historical approach: archaeology images, cartography images, images from memory and photographic images. The material i

The project consisted of three separate books, entitled: Contemporary Art, Share Moments Share Life, and In Retrospect. All images in the books were photographed on a lightbox, emphasizing the look and feel of that transparency, and opaque paper was used, to highlight that phenomena. The front and the back of the book’s pages thus become visible because of light shining through the paper. In these images; periods, materials, styles and, worlds morph together by chance. Each publication has its own layout, by giving identity to each topic that they cover. A series of analogue photographs taken from the pages of fine art auction house catalogues, Life and American photo magazines, as well as a

The monograph Dynasty presents a selection from Thomas Raat’s output of the past ten years. Raat revisits the classics of modernism. His output raises questions concerning the interpretation of a work of art: what motivates artists to make a work, and how does the audience respond to it?

The concept of the book is based on the idea that you can look at Raat’s work in four different ways: pictorial, physical, objective, reflective. This results in four different paper types and four different grids to structure this narrative. Pictorial by showing the work isolated on a white background, physical as the work was shown in the context of an exhibition, reflective in three different essays by

A 28-page Mag-Print, hand-bound, with variable design cover, a 2-color Risograph print, and insert pages digitally printed on Chroma Offset White 120 gsm.

IMPULSE (I/M/P/L/S) is an ongoing mag-print based on TDD’s random typographical discourse.

These are from a series of posters that have been constructed and then disassembled in an effort to find new aesthetics and orders amid the chaos that has been produced, while also deciphering the context in the process.

This edition is an ecyclopaedia of editions that are considered unconventional. Inside, they are classified and archived according to two main axes:
– The consultation, what the reader feels when he/she comes into contact with the edition, what happens (example: the manipulation)
– The construction, how technically this consultation is put in place (example: the binding)
Then, several categories further classify the resources (materiality, typography, structure,…). This edition is still under construction, do not hesitate to suggest resources to complete it !

The Cybook (cyborg + book) is an experimental digital photobook build around a Raspberry Pi Zero and 3D printing. Based on the principles of diy and open source, the device contains it’s own documentation, making the technology inside visible and comprehensible. Self publishing has a long tradition in the analogue realm, the cybook is an update for the digital age. The project documentation and files are also available online, so everyone can build their own cybook.

Complicit Invisibility explores how cartography has been used as a political tool to represent nationalistic symbols and identity, resulting in displacement and isolation of the Rohingyas. This publication contrasts Rohingyas identity in Bangladesh and Myanmar, visualizes stateless crisis, employs alternative methods to explore narratives, challenges reader on citizenship. The book acts as a visual tool to represent dominant ideologies, record oppressed people’s crises, and challenge the reader to think critically about citizenship. The book’s binding and folding reveal cartography biases and urge exploration of Rohingyas’ migration in a performative publication.

In “With Love From” you will experience an exceptional combination of photography and literature. The editors have selected 21 unique everyday photographs from the “Lost & Found collection” and invited 21 authors to write their own love letters. The letters are profound, moving, and captivating, as they were written by people who love each other, yearn for each other, and need each other. But there is one letter that stands out from the rest – a letter written by AI. Can a machine really express the same intensity and passion in words as a human? In this book, you can discover the answers and be enchanted by the beauty of love and the art of writing.

Imagine what a fashion magazine would look like in 400 years. In a world with no natural resources left, transformation and recycling are the only way forward. Our Rags Magazine is a collaborative project by Aimée Zito Lema and Elisa van Joolen, that investigates transformative processes, proposing new forms of collective production aimed at the reuse of discarded clothing. The project questions consumer behaviour and its relationship to the world in which we live. Further expanding the potential of recycled material, Our Rags Magazine is a magazine where the pages not only show clothing, but actually are clothing. Published by Warehouse/ Graphic design by Elisabeth Klement.

An inherent grid structure is established by placing a monospaced letter on a page. Type sizes are only doubled or halved to ensure the stringency of the grid as a vessel for individual expression within each essay, while meshing them into one publication. Furthermore, the grid is a technical tool to enable the incorporation of additional fonts, drawings, etc. The layout adheres to a stack of paper aesthetics, embracing a flat hierarchy. Maintaining focus on the essays, the publication avoids a cover, keeps extraneous elements to a minimum. The colophon, positioned outside, acts as a bracket. Page numbers are placed to be seen from outside, serving as a navigation system throughout the book.

How I Feel When You is a data-visualization fanzine about feelings: each square represents, through an infographic of gradients, the emotions felt in a given situation shared with a significant other.

Despite the reunification of Vietnam almost 50 years ago, the people from South and North Vietnam is still fractured by the Vietnam war, leaving them with a deep divide that still exists today. Nam Bac Mot Nha is a final year project at LASALLE College of the Arts that celebrates all memories of the Vietnam War — especially those that have been suppressed, or ignored by the general public. As part of this project, a series of books were created, including the Bleed Notes. As its name suggested, the Bleed Notes were designed and cut out from the leftover parts of the main Brand Styleguide book, highlighting a side of Vietnam’s history that has often been marginalised but still bleeding.

The book OFF/ON STAGE is the product of a workshop held in 2018 at the Bauhaus Dessau. Students of the typography class at the Academy of Visual Arts in Leipzig, under the direction of Zora Asse and Ludovic Balland, were asked to develop six screenplays for the theatrical festival “Bühne Total”. The book documents the project’s complex method of staging, translating and transforming texts. 
OFF/ ON STAGE is an invitation to play. To understand it, the reader has to accept this invitation. Its ultimate aim is to demonstrate that every book, or typographic materialisation of a thought, is a performance. The book, as a stage, is no longer a metaphor, but becomes reality on these pages.

“Der Wal stirbt” (The whale dies) is a book written and illustrated by Ulla-Britt Vogt.

The illustrated book tells the story of a dying whale’s last journey. The slightly macabre subject matter is juxtaposed with brightly coloured underwater scapes, printed in fluro Pantones.

The book is A4 size, has 64 pages, and is printed in 5 Pantone colours. It is available in German and Dutch. The book is self-iniated, self-financed and self-published.

This device stores many precious bits, but since it is obsolete, i can not access these anymore. So i converted it to a book and now it stores a wonderful piece of literature that you can access with a single Phillips screwdriver.

Color in Books showcases 3 years of work in the field of Editorial Design. Exploring color as a fundamental mean of expression, all of my work values uniqueness, typography, printing and research, using color as a mean to create interest and visual appealing for a younger generation that starts viewing books as not important.

The publication brings together the texts, artistic works and visual exchanges of the first Covid-19 pandemic semester 2020 of one painting class. The exclusively digital created content is translated into a new format – an analogue exhibition space. The three parts of the objectlike book represent the new digital collective forms of work, which should not embody an imitation of physical presence, but constitute new formats. Accordingly, the design also quotes and translates the digital origin. The books are offset printed, the foils are screen printed and the different parts are joined together with magnets.

Two-volume publication documenting “Margaret van Eyck Academie,” an ongoing, collaborative art and research project at the intersection of feminist intervention, institutional critique, and the politics of (re-)naming, initiated by book designer, editor, and researcher Hagen Verleger during a 2017/2018 residency at Jan van Eyck Academie, Maastricht. 4 ¼ × 7 inches and 184 pages each. Published by Peradam, New York.

Book design and typography for “Der fremde Ferdinand: Märchen und Sagen des unbekannten Grimm-Bruders” (Heiner Boehncke & Hans Sarkowicz), volume 428 of Die Andere Bibliothek. Hardcover, bound in marbled paper with gold embossing, with a removable slipcase. 12.1 cm × 21.3 cm, 448 pages, limited and numbered edition of 4,444. Published by Aufbau Verlag, Berlin. (Photo credit: © BANK™)

Sophie Schmidt’s monograph “How Much Venice Water Do You Carry In Your Legs, Still? How Much Taipei Water Do You Feel In The Fields, Now?” documents artistic works and texts which were made in 2021 as part of two residencies (German Centre for Venetian Studies, Venice, and Taipei Residency Program). Schmidt’s artistic engagement revolves around questions of being in the world as an existential, physical and psychic exploratory process into spaces of one’s own and spaces of the strange and unfamiliar. Published by Hammann von Mier, Munich.

“Something Like A Phenomenon” is the first monography about visual artist Sharon Van Overmeiren’s work. Van Overmeiren’s artistic practice of freely referencing a broad variety of historic and contemporary sources that are being transformed and amalgamated into her works is applied to the sphere of book design: The layout of each section typographically references an already existing book that is related in one way or another to the artist’s specific process and body of work. Including three essays by Koen Bulckens, Václav Janoščík, and Paul de Lange, as well as a ‘book soundtrack’ by Elko Blijweert and an A2 poster by Kabinet Studio. Published by Damien & The Love Guru, Brussels.