How to build a worthwhile art collection with the least possible money. “…the only important thing about this art, as any art, is the art itself. Not its monetary value, not its social prestige, not its public relations leverage, not the artists themselves, and not the fact that you collected them first. The only thing that counts–the only prize in the game–is who ends up with the paintings.” –Eugene M. Schwartz
Edition Taube presents the new edition of the out-of-print facsimile from 1970, in which Schwartz explains his philosophy of collecting art and how to achieve a successful art collection in simple steps. In 2022 Edition Taube has published this classic in a Japanese translation.

“Artist Books Overview” shows an outline of the self-published artist books that were released in the last few years, partly hand-bound and in small editions. The books are based on records of the entire artistic working process from idea generation to conception and actual spatial translation.

The artist’s book “Schemes” contains collected notes related to different translation processes of text into symbols, colours and sounds. It forms a body of research.

The artist’s book “I Ching” brings together all the notes in relation to a research phase on the Chinese divination book I Ching. The system established there is analysed and applied to artistic translation processes.

The book Learning to Die was conceived and designed in collaboration with the artist Anna Gohmert. It invites authors from different disciplines to deal with the question of mortality in the form of written contributions. The contributions, both academic and poetic, oscillate between an acceptance and rejection of impending death. In this context, the perspective varies depending on whether the subject is one’s own death or the death of another person. The reflections range from thoughts related to personal experience to essays and texts that broaden the genre of the (un-)representability of dying within literature and visual art. Published by Edition Taube.

“Choreography” is another artist’s book that accompanies the spatial installation and contains a selection of all the recordings from the archive of the previous 7 years. It is a book about the development process of all previously created works.

“A Thousand and One Days” is an artist’s book that accompanies a spatial installation. It contains a selection of all the notes from the archive of the past 7 years. It is a book about the process of creation of all the previously created works.

Index book comprises one hundred scenes taken from classic movies, showing people waiting in bus stops. The book contains 180 pages – each page representing one minute. The order of the scenes set by the minute they appear in the original film,
and the size of the images correlates with it’s duration. This parametric set of rules generates an expresive collage of waiting.

UNSETTLED is a fictional book about finding yourself. The mountain, which only becomes visible by connecting the various points and numbers, symbolizes on the one hand the overcoming of ups and downs and on the other hand the different areas of life and sections that lead one to self-knowledge.
The cover is playful and yet clear and structured, through its reduced and orderly design.

“1030 Days” represents an artist’s book that accompanies a spatial installation. It consists of 1030 words that were written down daily during the pandemic and describe a day in a condensed form. The words are translated into a colour code and collaged with notes taken throughout the entire work process.

For the song “The Book of Love” from Peter Gabriel I designed a cover if it were a real book.
I designed it in the style of a word-finding game, because the search for love can also take place via detours and is often not clearly recognizable. The keywords of the song are found in a jumble of letters. The design is playful and yet clearly structured.

To open the “last post-suprematist
exhibition in Fürst Pückler style,”
Hank Schmidt in der Beek painted all
of the works from Kazimir Malevich’s
groundbreaking “last futurist exhibition
of the painting 0.10” in the manner of
Fürst Pückler. In 1915 there was only a
black square on white background —
today there is a crispy wafer framed in
creamy strawberry, vanilla and
chocolate ice cream.

The Interviews: Volume One documents The Brand Identity’s first 57 interviews with designers and studios from all around the world; including the original conversation as well as a new reflection on how their work, process and practice has evolved.

In line with its archival nature, it is wrapped in a removable transparent PVC jacket in an attempt to further the lifespan of the book as well as the interviews found within. The process was all about playing with systems and what happens when they break. Starting with a format for the most ‘straightforward’ of the interviews, the system expands and adapts to signify any changes to the studio since their original interview.

I’m really enjoying working with typography at the moment and trying out new layouts and ways to explore them.

I chose two books that I loved as a child and have influenced me a lot. “The Brothers Lionheart” and “Mio, my Son” written by the great Astrid Lindgren. Both books are about little boys who are searching for love, peace, freedom. This search I have represented by the arrows, which are directional and also indicate the reading direction/direction of view for the reader. The designs are kept simple and wrap very colorful stories full of adventure and wisdom.

Font in Use: LFT Etica Mono Book via Adobe

PP32 is a 450pp collated volume of 32 typefaces created by Pangram Pangram®. Produced in a limited run of 250, the book tells the story behind all of the Montreal-based type foundry’s typefaces (so far), balancing rigorous detailing with expressive storytelling.

Art Direction by Alice Sherwin and Harry Bennett of Studio Ground Floor, London. Design by Alice Sherwin, Harry Bennett and Emma Judd. Cloth Bound, Swiss Binding, Pantone 021 C, Printed on Maxioffset (140gsm) by die Keure Bruges, Belgium. All great stuff!

Littoral explores the French coastline as a place and as a concept, through multidisciplinary contributions ranging from science and architecture to scholar research. A glossary runs throughout the book at the bottom of each page. It gathers thoughts, ideas, references, and worked as a logbook in the making process. Artist Daniel Pontoreau contributed a print as interruptive artistic intervention.
This diverse content structure is brought together by a simple layout rule: text blocks and gutters always have the same width; It is the variable width of the images that intervene and push all following text columns towards the right edge of the page — like waves washing up the shore.

“BIEN COMMUN” is french for common good and refers in philosophy, economics and political science to what is shared or achieved by all or most members of a given community. Julien Viala collaborated with John Beeson and Edition Taube and used this term as a starting point.

In an almost unlimited photographical essay he explores how art, cultural artifacts and aesthetics occur in public or semipublic spaces. Together with Jonas Beuchert of Edition Taube he developped a concept to print them on paper, mix them and randomly glue them to long, stack-like objects.

This book aims to educate, wake you up and draw attention.
Educate about the importance of biodiversity and how we can protect it. Wake us up from the habits that make us forget about important things like the extinction of species. And draw attention to the species who are unpopular for various reasons and are sometimes threaten to perish in the splendor of nature.
Inspired by Carl von Linné and Ernst Haeckel and with the use of an AI, illustrations became developed. They unite the old, the new and the future. What could happen if we act and protect those precious lives?
The naturalists also inspired the layout and typography in the book, developed into something modern and interesting.

“24 Houses” contains a selection of ink drawings from Jonas von Ostrowski’s series, “Houses” (2015-2020): detailed layouts of imaginary houses, each provided with its respective title.

The “houses” act less like plans for actual houses to be built, and more like expressions of emotional states, spatial equivalents of various sensitivies or as stages for humankind’s predicaments. Ostrowski uses the blueprint as a legible form, similar to a text, through which he explores the narrative potential of the relationships unfolding between walls, doors and windows. Thus, 24 Houses is a collection of spatial short stories, a novel of 24 chapters in blueprint-format.

I MADE THEM RUN AWAY is a multi-layered story weaving together family images, photographs, and texts written by the artist’s mother. It brings together past memories and present feelings to investigate the dynamics of relationships – the need for attention, the expectations that cause disillusionment, insecurity, and judgment. Shifting between the different points of view, Zanin depicts the recurring complicated triangle relationship between she, her mother, and the “man” – not constant, mostly represented as an absence in the work. The book cover creates a connection between object and content – the artist repeated the tear on each book simulating her mother’s gesture on the family photos.

The Theater Regensburg is a Bavarian theatre that offers a diverse range of productions. With a new artistic director and an increased focus on performances to public spaces, the theatre’s corporate design has been refreshed to reflect this new approach. The new design incorporates shapes inspired by the city’s streets and landmarks. These were transformed into circular forms that represent both the people of the city and the ensemble of the theater. The initials “T.R.” are a prominent design element that surrounds the name “Theater Regensburg” and reminds the audience that the theatre is just a frame for the performances that take place inside.

In her photo book “Tierra Sin Agua”, Ana Rodríguez Heinlein examines the multi-layered contexts of the water crisis in Spain. Through images and text, including an essay and observations from a travel diary, she establishes a narrative that juxtaposes various facets of the issue. In the way she pairs images and combines image and text, the author creates a subjective documentary work.

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21 x 28 cm
96 pages, 46 illustrations, texts in Spanish and German
Cover: UV print on grey board
exposed spine

The work of the artist Franziska Reinbothe can be divided into three categories: Works in chiffon, transformations and dough pictures. The artist’s book “zu Bildern kommen” (“to come to pictures”) takes up this categorization and is accordingly divided into three picture sequences as well as a block with exhibition views and an index. Each sequence of images is introduced with a close-up of the works. These are printed on different papers, which refer to the materiality of the respective works.

This book explores the possibilities of layout and typographic emphasis /Schriftauszeichnung/ to convey and intensify emotional information within a belletristic text. It asks whether the appearance of a text can have a similar impact on the written word as facial expressions, gestures, volume etc. have on the spoken. An original dime novel serves as a dummy text on which typographic experiments are conducted. 20 layout parameters, such as type size or line spacing, are selected for the experiments. One by one, each parameter is applied to express one or more emotions. At first they are not very noticeable, but the further the book progresses, the more extreme the layout outbursts become.