This book is printed with UV security ink, also used on bank notes etc. In daylight the color is invisible – the book presents itself as empty.

A small number of copies was produced but never published, due to financial and other hurdles.

The book block was supposed to be delivered in a special case with a device featuring a processor and a UV light source. Turning on the UV light, one would be able to read the book in darkness.

The book was edited by Mario de Vega, Victor Mazón Gardoqui and Daniela Silvestrin and printed by Medialis, Berlin.

Photos in images DiceyStudios_ReadingInDarkness_03.jpg and _04.jpg by Chris J. Villafuerte.

“Güllen’s green vegetables” depicts the St.Gallen youth movements’ awakening, struggle, dialogue, liberation and networking. Urban youth work and youth cultures have mutually influenced and stimulated each other. The open spine brochure has a black and white reduced design with a neutral stage for the diverse subject, emphasized with black thread binding. Black-and-white photography accompanies the text, and each chapter ends with a colorful picture series. The typography gradually reduces in size, and “links” refer to content pages and overview maps. The 320 pages are set in ragged format.

Karel Martens: Exhibition showing for the first time all books designed by KM.
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Stephan Keppel: For Enter Enter Stephan will expand his book into the project-space, creating installations based on the pages of the book, investigating the relation between the book and the space as a form of representation, and re-creation.
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Bertien van Manen: all of her books, alongside unique material from her archive.
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What They Saw: The What They Saw Reading Room showcases this history and shares both historically significant and under-appreciated photobooks by women.
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Revue Faire: All 45 issues of this cutting edge French Magazine.

‘American Origami’ is the result of six years of photographic research, and results in a statement of over 700 photographs which closely examines the epidemic of mass shootings in American schools, weaving together first person interviews, forensic documents, and original photographs. The book takes the reader through a visual journey of shared grief, to illuminate moments of beauty and bring forward moral questions embedded in acts of collective healing. The book is bound in a unique way, and creates a parallel world of the past and the present, showing the silenced landscape interwoven with the personal artifacts created by those left behind.

Visually translate coulrophobia. A phobia of clowns but more precisely of not capturing the real expressions of the person hiding under the makeup. Here the paper is a mirror paper that offers a reading experience by pushing the limits of printing. The reader sees his reflection between the words, his face is also superimposed on the face of the clown. This book tells how coulrophobia appeared in our society.

For the title, in French it’s an Allograph, the pronunciation of the letters sounds like this sentence « I was in the ephemeral country ». Take up the consequences of confinement, the philosophy of Do It Yourself. These exploratory fields, these modules come in real form extracted from tools for manual use. A mechanism to create, assemble, break, dig, sublimate etc.
The case where the edition is located is a metal pegboard, usually where its tools are stored.

This edition tracing the history of my body through my many accidents and scars.
Photographic processing, a hematoma color palette.
Antony titling typography created by Sun Young Oh, a broken aesthetic like my body.
The binding of the book is made with a medical suture kit.

A documentary book about the life and work of the musician Charlie Megira.
“It started with a Boom and ended with a Crash and in between there was a beautiful harmony”.
In these words, Michal Kahan summed up 9 years of relationship with Gabi Abudraham, better known by his stage name – Charlie Megira. The deeper I delved into the life and work of Gabi/Charlie I found Michal description to be fitting for more than just their relationship. Charlie’s life was full of opposite forces: he was philosophically minded yet not know for overusing words or keeping daily conversations, just like in his tragic and symbolic death, when he committed suicide whilst his amp was on as he was folding clothes.

In the publication “lochkarten” (punched cards), which I designed, I describe the
encryption mechanics of the punch card in textile design and use its codes for a font design in Glyphs.
With this font it is possible to encode text in reverse in the form of a punch card code. This font offers a large scope for graphic experiments and has given me the opportunity to knit an encrypted text with the knitting machine and to create an individual knitting pattern.

The design concept of the book is inspired by the collectors’ walls, which are covered with paintings and objects that, in various compositions, form a long-planned and organic whole. Already the cover of the book comes directly from one such wall and breaks it into similar abstracted rectangles and squares. The book itself subsequently develops this motif into a typographic system that allows English and Czech texts to flow freely on both sides, accompanied by reproductions of works from the collection of Alexander Skalický. Photographs are often placed on book foldouts for better contextual orientation.

This typographic-editorial project combines the art & craft and type development.
The letters first were cutted and printed in linoleum, then they were organized into a font family. The linoleum and the digital letters were used to set two different «spe-zines», one hand printed and the order risograph printed.
The linoleum letters are in a box on my desk, the font letters are an uppercase collection plus a 27 patterns set. I have made 4 origami binding zines and 50 risograph zines were printed.

Recent changes in design, such as the dismantling of patriarchy, colonialism and centralisation, have led to uncertainty in schools. The book ‘Ununimimimdedesign’ explores different perspectives within design discourse and education and seeks to reflect and build on the knowledge, thinking and discomfort that comes with this state of uncertainty. Rather than offering quick fixes, the aim is to deepen understanding and encourage reflection.
The vision was to create a bold but inviting graphic layer. Key to the design is the Stotts typeface by Lot Mars, who also designed the cover.

“Humor is like the Soviet Union! It has no borders!” The first comprehensive book of Czech meme God, graphic artist and author of many popular collages that comments (not only) recent political events here in the Czech Republic – Tomáš Břínek alias TMBK. He has a rarely balanced relationship with the entire Czech political scene – with the government and the opposition – with the right and the left – they hate him together.

The catalogue presents the HfG Offenbach diplomas of 2021 and 2022 from the art and design departments. In doing so, it questions rules and plays with the principles of book design. How do we move through a book? Where is the beginning, where is the end? What guides us? What if the title cannot be found, but suddenly there are three spines? Can a publication become an exhibition? Where is inside, where is outside? How do we read?

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.