The book shows the development of Moritz’s fabric collection from 1992-2007 with photographs by Rudolf Schmutz. To reflect the high quality, we used different types of paper for full-color printing. For example, to enhance the impact of the designs, we used Hello Silk with an additional transparent pearlescent coating. To highlight a particular section of the book, we used Lessebo Smooth. Various other pages scattered throughout the book were printed on Translucent paper. The 184-page book is bound in an uncoated black hardcover with a text image embossed with a reflective iridescent foil. A transparent, full-color printed cover comes into play with the embossed foil on the hardcover.

The Building Views series aims to provide a technical and cultural overview of the architecture of apertures and the history of glass door windows.This series’ initial number is dedicated to Alvar Aalto. It’s graphic approach pursues those dichotomies as well, not only through layout, but also through format, textures, and visual and tactile experience. The window as a means to look at a subject from different angles is the cover’s motto, implying that each view has its own nuances.

To commemorate Moritz’s 15th collection for Marburg Wallcoverings, we were asked to design a book in collaboration with Ulf Moritz himself. Besides a regular edition we also created a limited jubilee edition. Both editions contain multiple types of paper. All full-page imagery is printed with a transparent lac. The images are printed on matt varnished paper and finished with a partial gloss spot varnish. The 124-page square core in both editions has a Singer-sewn binding. The softcover around that core comes with a jacket with high-profile, embossed flowers. The typography on the jacket and the cover is a glossy-black foil gravure.

Most things that are commonly described with good, beautiful and touching are not formally perfect. The book studies the topics of photography, painting, architecture, sound and – a personal one – stutter, to develop a book-layout-concept based on imperfection. In the book, those imperfections are referred to as “Rauschen” (grain). The layout shall not only inform the viewer/reader but rather move them, too.

The authors own imperfection – a stutter – motivated him to explore this topic. After many years of therapy the question comes up if “perfect speech” should be the goal or if there is more potential in not striving for perfection but for authenticity.

To mark its 125th anniversary, Vorwerk asked Ulf Moritz to design a commemorative book. Moritz approached us to collaborate with him in doing so.
In designing the commemorative jubilee book ‘Zeit/Time Raum/Space’ we were given the freedom to play with the theme. We chose to use different paper for each of the 9 chapters. In combination with special printing techniques like high-gloss spot UV and braille embossing.
For the front of the cover we had a special lenticular foil made on which we printed the design that Tord Boontje made especially for Vorwerk’s 125th anniversary. The book is printed by robstolk® (Amsterdam)

The book presents a collection of 100 drawings by Bas Kosters about Michael Jackson, gathered as a stack and featuring a Helvetica-bound hardcover.

By using the letters as punched-out shapes that reveal an associative and atmospheric illustration, we play with the meaning of the title.

Ana Resende is a Porto-based designer focused on book design, combining this practise with her other interests such as architecture, cinema, and curatorial projects. Having been working independently for more than ten years, she values collaborative approaches as a way to constantly learn and enhance the possibilities of each project.

The use of the scanner to disrupt the title’s typography matches the atmospheric content and places it in the 1980’s.

To commemorate the very last edition of Rauw – the popular underground club night that DJ Joost van Bellen organised in Amsterdam and Utrecht from 2003 to 2016 – we designed a book compiling 13 years of publicity material, images of specific club-night events and visual contributions by fans. In doing so, we worked closely together with Britta Möller and Alex Maslow of Mary Go Wild. The 320-page commemorative book is printed in black and white on Munken Pure Rough (novel-print) paper and bound in a softcover of Invercote G, 300 GSM paper. All the images are presented in high-contrast black and white.

LĪMEN is a 30-minute performance in which the threshold as a creative starting point is examined digitally, spatially and across disciplines, and in which the tools of the graphic work environment enter into an action-determining dialogue with each other.

The performance was preserved as a stage script in which the threshold breaks the book space into two parts and makes visible and reflects the countless (in-between) spaces and roles in which designers move.

This monograph of painter Tomáš Predka is the first synoptic review of his work. It uses foam boards instead of card boards on the cover with transparent PVC foil jacket. Open binding spines are fragments of Predka’s paintings. Predka views the painting not as a two-dimensional surface limited by the boundaries of the stretcher frame, but rather as a stand-alone object that can be developed on several levels.

A journey through time with satellite images from Google Earth back to December 2010. The book takes you through the construction of the eight stadiums built for the 2022 FIFA World Cup in Qatar and presents an unusual perspective. Humans Behind Stadiums is dedicated to all those who had to work under inhumane conditions for the World Cup 22 and died by hundreds or even thousands as a result.
Facts about the construction and quotes from the construction workers are written on transparent layers wrapped around each chapter. They hold the book as one with a thread binding and pick up the earthy colours of Qatar’s dusty soil.

Daniel Roeckl is a traveller. “Beneath the surface” is collecting architecture and portrait shots he took in the last 15 years visiting Armenia, China, Ethiopia, Myanmar, Russia and more. In every city he visits, he is turning his gaze rather to the “final stations” than the “high streets”. For this book, he composed his images into a personal sequence. In several sessions, Schwarz and Roeckl refined this rythm and set the images into a pure layout.

The chapters of the book follow 12 emotions: Calmness, Serenity, Joy, Easiness, Cockiness, Scepticism, Confusion, Depression, Anger, Courage, Force and Confidence.

Mudrābox(e) is poetry book by artist and curator Daniela Allocca published by independent art publisher Il Laboratorio Nola, under the aegis of master printmaker Vittorio Avella who runs the publishing house since 1978. It comes as the output of a collaborative work with Daniela Allocca in which I have been proposing, discussing, modifying design ideas, from the layout to the layering of illustration and photographs. I also have worked on the digital lab of Angela Sodano’s photographs, developing raws and retouching images. The box containing the unbound sheets is hand made and the title is screen printed, making this poetry book a precious and hand crafted object.

“Right here, another entrance opens up, a grotto that leads to Oktopia,” writes Matthias Wittmann. Inspired by this, i created the arched illustrations that serve as a kind of window, allowing readers to enter Oktopia – the world of the octopus. This parallel world, so different from our own, is represented by a contrast of light and dark pages and the mirrored page numbers. There are also 8 different layout variations, depending on the function of each page and based on the 8 individual tentacles of the octopus. Combinations of these pages create a varied layout, resembling the high flexibility of the octopus. The varying text indents are an allusion to the sea, which is always in motion.

Florian Lechner plays with space in all its aspects: wideness and narrowness, gravity and volatility, analog and digital, just to name a few. In his installations and wall objects he changes how the spectator perceives a space and creates new spaces, even impossible ones.

One of Lecher‘s series is entitled „dimensional sketches” as they appear like an unfolded drawing placed in a room. They convey the impression, that they are not physical but virtual objects. The Layout of Lechners „Eins“ echoes this impression by weaving together the catalog texts to a tapestry. -showcasing Lechner’s notorious use of lowercase Helvetica – that transmits Lechners sculptures once more into spatiality.

IF AI, THEN FEMINIST follows a design concept, that connects weaving and coding and raises questions about the representation of women in the domain of AI. Weaving machines were the basis for creating the first computers using the machine’s binary pattern system. Although weaving is an inherently female connoted craft we find ourselves in a male dominated field when it comes to coding today. For the main typeface we chose Arthemys Bitmap by type designer Morgane Van Torre, which is a variation of her typeface Arthemys, aimed to embroider typefaces into woven fabrics by her mother.

Conceived as a monographic reader, VIKA KIRCHENBAUER: WORKS, SCRIPTS, ESSAYS 2012–2022 compiles for the first time an extensive, decade-spanning collection of Kirchenbauer’s seminal and profoundly perceptive essays, the scripts of her widely celebrated moving image works in conjunction with selected video stills, as well as exhibition views. This volume offers substantial insights into the Berlin-based artist, filmmaker, writer and music producer’s research inquiries and aesthetic vocabulary.

For Markus Lutter, life is a stage and his art gives him the chance to slip into different roles: Driven by his own curiosity, he’s connecting a drill to an office chair in his performance “Couple Dance”. In “Bronze Theater” he’s setting in scene the ancient artisan tradition of bronze casting. For “Backdrop” he’s has built a crooked and quickly painted facade of a house in the garden of the Academy of Fine Arts in Munich. The Catalogue is picking up the design of a theater guide. Moreover it contains reviews by cultural critic Christiane Lutz of the reknowned german newspaper “Süddeutsche Zeitung”, who was given the assignment to comment on Lutter‘s art as if they were theater plays.

WICKED LITTLE TOWN gathers more than fifty artists and critical thinkers traversing trans-temporal imaginations of resistance, unruliness, and non-compliance across genders, abilities and national borders. Highlighting companionship, alliances, and bonds, this publication tunes to critiques of normativity and dialogues around the interdependency between intersectional oppressions and collective paths of liberation. Wicked Little Town is comprised of multiple formats, such as essays, poems, letters, historical documents, transcripts of time-based artistic works, and a theater play, as well as visual contributions.

The Art of sculptor Ecker is the result of an exploratory curiousness, in which he examines natural phenomena with scrupulous precision and the experimental set-ups of a scientist.

His artworks do not represent this explorative movement but its result, once Ecker feels it as being finished. Thereby the traces of its experimental undergoings are of varying recognizability. However, they belong to the artwork no less than the visual impression we get.

The Book structures Florian Ecker‘s work in the form of a scientific journal into research, experimentation and results and is thereby reflecting the creative process of the artist.

“Wzór” (“The Pattern”) novel by Polish writer Marcin Bałczewski with a cruel story from World War II: here a ship full of prisoners moored near Police, becomes an arena of dramatic and macabre events in the original struggle for survival. There are also postmodern, grotesque, and absurd elements characteristic of the author, but the whole thing is deadly serious! Terror, death and absurdity.

Cover, layout, illustrations (photocollages, digital 3d illustrations), typesetting — Victor Soma
Publisher: Stowarzyszenie Pisarzy
Polskich in Łódź, PL
Publication date: March 2022
Number of pages: 234
Number of illustrations: 28
Types: Playfair Display, Termina