„Wunder erwarten“ / „Expecting miracles“ originated from a feeling of helplessness and dissatisfaction with global developments, in particular the COVID-19 pandemic, the ongoing climate crisis and the anti-democratic developments all over the world. The project elaborates the complexity and possibilities of political action, outside of the institutional understanding of politics. “Expecting Miracles” demonstrates existing structures and conditions and encourages a rethink: „The future is uncertain, the only thing that can be anticipated at this point in time is the fact that if we do what is necessary, we can expect nothing less than a miracle.“

“Marianne & Henriette” documents a students art project which reinvents the history of the Niederwürzbach pond, whose outline resembles that of Lake Constance. Mixing fact with fiction, the story digresses, making use of science fiction elements of the 1980s and Russian Constructivism. The Swiss brochure’s upward page direction gives the impression of opening a treasure chest. Narrative and research report intertwine and can be read in parallel sections. Graphic quotations of the styles addressed in the text act as third storyline to give the reader a feeling of uncovering secrets of an archive collection.

Built out of 471 individual fragments, comprised of deconstructed work, collected and documented environmental and contextual elements such as waste bins, tree skin, “no smoking” signs, or newspaper clippings deriving from his daily life, as well as various other experimental projects, this book has become a physical manifestation of the “axis” Takada has created, where an order is generated not through a systematic application of logic, but rather in the acceptance and love for, and in the utilization of chaos which seems to have resulted in a completely new form of existence.

Ongoing book series for Suhrkamp Theater Verlag, including color scheme, cover design, typesetting and overall concept (set in ABC Arizona)

A unique fashion book in a very limited series designed with different papers and a slide cover where the print text changes thanks to the effect created by the 45° texture on the polyvinyl acetate cover.

I created this book to showcase my typeface »Wurmcode Serif«, which is part of the exhibition »Punktpunktkommastrich« at DLA Marbach. The typeface is based on woodworm holes, especially on a branch with painted worm holes by Eduard Mörike (which is also part of an exhibition at the literature archive).
I created this type specimen by laser cutting every single glyph out of the pages and gluing the laser cut pages back on thicker paper. The chosen paper is embossed with a wooden texture.

The 3D printed book does not need a pulp body to materialise, nor does it require edge cropping/trimming — it prints as it is — no distinction between the flesh and skin. When does the print become a page, when does it birth a book?

It does not crumple, cannot carry dog ears, and ages slower. With the ability to quite literally print beyond the bounds of pages, it questions not just what a book is, but what a book can be.

How does 3D-printing process the ‘death’ of print? How do you kill what does not (need) bleed?

I have a great love for Risography, a beautiful Japanese printing technique halfway between silkscreen printing and photocopying. On spec, I have designed a new series of Georges Perec editions for Vintage Classics. I Risographed my designs in vibrant neon inks. My ideas stemmed from the contents of the books – ‘A Void’ is written entirely without the letter ‘e’, which features at the very centre of my vortex design.

Frankenstein Itself is a typographical reinterpretation of the wide-known literature. Taking a thorough and extreme method, the book was designed from scratch. Structured from an odd typeface where the letters are displaced, mixed and reorientated, the book approached itself with a content-wise self-awareness.

Fin Desierto (Desert End) takes the shape of an accordion, so that every reader may begin where they choose. But, when fully opened, it takes on a representational form, suggesting that of the endless desert. Inspired by Mario Montalbetti’s poetry, it is a book in which, somehow, content dictates form. I designed it while working in Studioa in 1995, and I like to think that it has stood the test of time.

In the design of a book about Antoni Pinent’s iSBiC experimental film project, the focus was on conveying the essence of celluloid revelation through paper and graphic design. By selecting a fine paper and using double-sided printing, a typographic effect was created that visually resembled analog processes.

The Joseph Binder Award is an international competition for graphic design and illustration. It is named after one of Austria’s most outstanding graphic designers.

Joseph Binder once said, “The process of creation is unknown, we wish to find out.” Bringing this process to the forefront, we highlighted three aspects well known to all designers: CURIOSITY, FOCUS and FAME.

Based on his iconic poster designs and special use of color, form, and perspective, we take these three aspects of the creative process and place them at the center of our design for the Joseph Binder Award 2022.

A publication that incorporates a collection of missprints occured through the process of producing A3 risograph prints and experimenting with the technique. It acts as an alternative specimen for Risograph printing as it a. showcases a wide range of colours and papers b. highlights the possibilites of overlapping two or more colours (risograph ink is transparent) c. uses examples of how riso translates data from vector graphics, real objects, textures or photographs and last d. embraces mistakes and imperfections.

Risograph Experiments Vol.01, 308 Pages (200 Colored), 13 Colors, Various Papers, Thread Stitching, Width (146mm), Length (204mm), One (1) Copy, Self Published, 2020-2021.

Resemblances are images that resemble similar images of a similar thing or similar image, collected in cologne and in the world. The riso-printing of metallic-silver on finest italian black paper makes each image appear ever changing. Thus every single view of R E S E M B L A N C E S is nothing more than similar to the previous one.