In “12/2020 – A poster diary”, 26 posters are collected that were created on 26 days in December 2020. The book contains three different page sizes and plays with the resulting different levels. The viewer thus experiences the highs and lows of the winter of 2020. Due to the thread binding, it is possible to integrate a folding technique into the book in order to be able to unfold some of the posters upwards.

“Artificial Intelligence” is an increasingly important buzzword in today’s world. In her book “AI ART – Machine Visions and Warped Dreams” Joanna Zylinska asks herself the question „Can computers be creative?“ and examines the role of humans in the current technical landscape. This redesign aims to create a new visualization of the book by using technology to influence the design process. TouchDesigner was used to dictate the layout and flow of the text. Furthermore, the AI tool DALL-E helped to create images based on prompts taken from short sections of the text itself. This is an open access book, read more about the license at creativecommons.org/licenses/by-sa/4.0/

NO MAGIC IN RISO is the result of 2 years of image separation studies and experiments, and is the second book published by O.OO. we hope that readers can feel the wonders of Risograph printing through the details of the design in the book. Whether you are a designer, an artist, or an illustrator, anyone interested in color can use this book to enter the field with ease.

The methods discussed in this book are not the one and only, and are not absolute. Everyone’s way of experimenting is different, and this book just offers our experience as a tool. Without the participation of people, the technology is plain and void of charm. Thus, the title NO MAGIC IN RISO.

NMTK is a zine band where typography, literature, languages, illustration, lettering and graphic have their own place, and the most beautiful thing is that they can mix with each other and enjoy the trip.
Manifest: handmade, it should be possible to deliver it by post.

Currently, this publication contains 2 titles: #A and #B
#A: This title mixes a story about the last winter snow/first pandemie snow day with the white space concept in book design craft.
#B: The second title is about a complot. A plot organized by German consonants against the vowels. Or it is about monster letters which need an argument to be published, and create this tale. I really don’t know, they have their own life.

„Command Shift Z“, is a book that celebrates the beauty of filters and discarded digital material. I created graphics out of material found in the trash folder of people‘s computers. The name is a nod to the keyboard shortcut Command Shift Z, used to restore material from the trash folder. Beside visuals the book shows the starting materials on the opposite page. Each double page is accompanied by a small transparent paper which provides information about the filters and programs used. The binding system uses industrial butterfly screws to bind the pages in the center together. The paper, also used for drivers licenses, feels more like thin leather and is extremely resistant.

The cover of the TY documentation is captured on an analog camera using Agfa black and white film. The shot was taken at Residenz at Odeonsplatz, but the cover is barely recognizable due to the use of flashlight in the night shot.

Page “Identity Visitenkarten” in the chapter “Balance Raster Weissraum” features a photo scan of my self-designed business card.

Page 12 of TY showcases the editorial chapter with the title “Editorial Plakat” (Editorial Poster). The page features a 3D sketch of a poster design for the chair ANT by Arne Jacobsen. Below the sketch, the designer’s name is written with his creation “ANT”.

The first page of the TY project features the title “Inspiration Schlüssel” (Inspiration Key) in bold letters. The subtitle “ETAGE 09” (Floor 09) refers to the photograph of a scanned key that is displayed on the page.

TY is a documentation of my graphic design projects that correspond to typography design principles. The chapters, including Inspiration, Identity and Balance, Balance Raster Weissraum, and Editorial, showcase a range of designs such as photo scans of keys, posters for the chair ant, business cards and the plexi-printed project 1.018.

TY is a documentation of my graphic design projects that correspond to typography design principles. The chapters, including Inspiration, Identity and Balance, Balance Raster Weissraum, and Editorial, showcase a range of designs such as photo scans of keys, posters for the chair ant, business cards and the plexi-printed project 1.018.

From a splatter leftover from the sizzle of a frypan—to stains so large it makes you wonder what happened to a reader’s cooking endeavours—Accidental Cooking hilariously documents the stains found in the cookbooks of four public libraries in Sydney, Australia. It takes an even closer peak behind the covers of these cookbooks, swabbing their stains for bacteria and watching in wonder at the invisible worlds that grow. But don’t be grossed out! Paying homage to libraries through a form reminiscent of catalogue cards, this collection of accidental stains and growths celebrates the ephemeral and shared nature of public library books, their users and the mood of discovery found in libraries.

Photography is a unique medium; it doesn’t have a fixed way of revealing itself. The source is always invisible, you have to find a way to reproduce it to make work, that can be a photo on a wall, a website, or a photo printed in a books. Because of this unique relation between the medium and the form, i see the choice to make a book as a choice to make a new work.

“The Alien” is a book by a Thai academic and a political exile, Pavin Chachavalpongpun, who has resided and worked in Kyoto, Japan. He was charged with Thailand’s draconian lèse-majesté law for his critical views of the monarchy. This book is intended to make itself accessible to readers in Thailand’s local bookstores, despite the author’s status as a controversial figure and his non-conformist political opinion. By devising techniques such as collage and digital painting, as well as an anti-design approach, the “surreal” elements created illustrations and layouts that representing Pavin’s criticism against the establishment and refusal to succumb to widely held notions and discourses.