When is it necessary to say NO? When is this NO a chance? Does NO help us or does it slow us down? When is a NO more right, more important or more promising than a YES? When is design deliberately used to hide content? When does design negate through the media it uses? When is NO positive, when negative? When is a NO destructive, when constructive? And how does NO become a book?

The framework for this publication was highly informed by my research into different kinds of architectural movements and ideas from architects, urban planners, theorists and writers. Discoveries and concepts of urban planning and architecture that stem from the idea of wanting to reform the way people live. Some more radical than others, but all are dreams of creating an environment that doesn’t suppress the individual. The digital drawings act as a reflection space that is contextually tied to each chapter. For this publication, I also designed a modular display typeface. The letterforms conceptually follow the same modular inclinations of many theories and, notably, visualisations of them

National Letters travels through the episodes of the past in which letters, languages, and scripts played an important role in creating nation states and national identities. Through four case studies (Turkey, Israel, Georgia, Ethiopia), the main body of the book explores four languages and nations which were each, against all odds and for various reasons, able to develop and maintain their writing system throughout their entire history, up to the founding of their nation state.

Edited and Designed by Marek Nedelka

More info about contributors at https://www.letter-books.com/

The project was made within the framework of a seminar on the topic of the ecological footprint of photography. This zine is the first impression of one of my future interests, an introduction to alternative photography. The purpose of creating it was to get a more comprehensive view and understanding of the subject by editing and designing the content. It includes some guides to alternative photography and texts about artists working in this field. Copies are printed in riso and hand-glued. In addition to FreightText Pro and Quentin, for the body text, an ink-saving font was chosen, called Ryman Eco.

Through conversations with Škart’s members, a collection of images, poems, drawings and newly commissioned texts, this book — edited by Seda Yıldız — captures traces of Škart’s practice from the 1990s to present. The book’s layered editorial structure offers the reader an overview of their multidisciplinary artistic practice as well as an in-depth understanding of the historical context in which Škart operates.

Lezioni di Anarchia (“Anarchy lessons”) is an editorial project concieved from public talks on anarchist and libertarian thinking, organized yearly by Edicola 518. These debates, provocatively referred to as lessons, give life to an atlas of anarchist knowledge; the transcriptions of the meetings, with insights of historical events, key figures and works cited by the speakers, eventually find place into printed paper. The book form, in its binding and design features, is inspired by notebooks and wants to prompt the reader to interact with the volume by taking notes and making his personal learning journey.
Curated by Emergenze
Designed by Raffaello Chiarioni
Illustrated by Beppe Giacobbe

Although technology-driven graphic design is dazzling, I hope to find a different narrative perspective. Inspired by our ancestors’ use of nature to create tools, I decided to seek answers from nature.

I conducted six natural experiments: water, fire, earth, wood, wind, and light and I used ink to visualize water and wind, burned or buried paper for fire and earth, pressed leaves onto paper for trees, and made perforations on paper to let light shine through. Essentially, I set some parameters and let nature generate the images.

In the end, the experiment’s images were full of random beauty, which surprised and delighted me.

The catalog for the exhibition “Type & Chairs – Stühle und Schriften im Vergleich” features fonts and chairs on display with informative text about each design concept, designer, and historical context. Written by design students from the University of Applied Science Mainz, the text is accompanied by historical images and typographic examples by Valeria Schriber and Niklas Wolf. The catalog concludes with a comparison page that highlights the historical and conceptual similarities between fonts and chairs. The cover, made of mirrored paper, features a screen-printed graphic title and reflects the exhibition’s comparative aspect.

“Un sucio montón de papeles”, talks about reading censorship during the Franco regime, based on burning publications and information control. Each section provides real documentation, stories, images and books that allow us to reconstruct historical memory. Due to burning and prohibition of some books, many of them disappeared; for this reason, this book remembers them through empty book images that imagine how they could have been. A book about books that ceased to be books once censored.

Between spoken and written language: »Stimme« (voice) presents »Phonograph«, an optophonetic font for german speech. To improve the effect of the special typeface, the publication shows classic typography and book design. At first sight, one could overlook, that it consists of a notation of oral signals. Transformed into an art object, its aura opens a wide space for reflections on the connection of acoustic and graphic communication. The aesthetic quality of texts is here based on physic signs, each letter characterized by its soundwaves. The book presents a full translation of »Stimme – Annäherung an ein Phänomen«, originally edited by Doris Kolesch and Sybille Krämer, Suhrkamp, 2006.