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

This book presents the work of Mexico-based artist Jorge Méndez Blake, who is known for his interplay between art, literature, and architecture. It shows the artworks of his series ‘Dismantled Language’, in a one-to-one scale, in a way that’s as surprising as it is unexpected. In total there are 1.084 pages, and five different paintings are presented, which are referenced in the edges of the book, resulting in five coloured strips of paper. The book is meant to be a journey, using scale as an investigative lens through which to view the artist’s work; pages present details of paintings in most instances. Text in the book is handled so as to reflect on the reproduced painting details, highli

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