I started by studying the structure of Chinese Taihu Stone, and designed this set of Taihu fonts, following its obvious external outline and circular structure. I used 5 design elements to design this typeface. The interlacing of fonts and typefaces, as well as the hollowed-out parts of the fonts, are intended to convey the spirit of ethereality. In the book, I use transparent paper to enhance the beauty of Taihu stone overlap. and Like the oriental beauty of Taihu stone placed in the garden. That is a good interpretation of the contrast between types and spaces, and between letters and letters.

Book commissioned by Galeria Ocupa!, an art gallery located at an old butcher shop. The gallery retains much of the original place’s aesthetics, and we opted to use the idiosyncratic language seen across the traditional butchers across town. This meant using a lettering style that evoked the visual language used at those places, often hand-lettered by the butcher themselves. As a result, every book cover of this limited series has different title drawings, all hand-lettered individually. The back cover is used as a colophon and the structure of the layout was inspired by the nutritional value stamps that we can often encounter in meat packaging.

The book is writings about graphic design. Its design seeks to embody methods of critical examination. It also represents the writer, who takes an idiosyncratic and irreverent view of design. The cover text addresses a well-known self-referential artifact—the Hipgnosis design for XTC’s Go 2 LP—and questions the role of covers. The standard content is given on forward flaps that can be folded back and suggest gatefold LP covers. The scuffing patterns are understood through reading the cover text. The concept carries throughout, with chapter pages continuing the design and voice of the cover. The book overall can be seen as all cover: entirely framing. Or with no cover: all inside story.

FLY BACK is a compilation of research on the topic of death, specifically exploring the potential for developing new forms of empathy in graphic design through grief. The research delves into “a priori” design interventions and includes a collection of articles and projects contributed by artists and designers from around the globe. The book provides comfort to readers through its tactile and visual forms. The cover of the book features Chinese characters formed by a rug, with the front cover depicting flight and the back cover depicting return, symbolizing the departure of the deceased as a type of homecoming.

Editorialdesign for Lia Sáile
170x340mm
100 pages
Paper: Metapaper rough warmwhite & translucent paper
Print: Drucker Verlag Kettler, Bönen
Fonts: Relevant, Sangbleukingdom, GT America Mono
150 Exemplare

Meike Männel’s photography is an insight into the artist’s point of view, an invitation to share her kind gaze. With great precision and painterly poetry she carefully chooses her motifs focusing on landscape and nature. Her artist book »Good Life« transfers her mostly large scale photographs in printed media making use of an oversize format (34 x 24 cm). The publication features works from various ongoing series, exhibition views and texts by writer Anna Hofmann and art historian Dr. Teresa Bischoff.

THIS VERY LIMITED SERIES BOXSET FOR ALEX ROSS IS CALLED THE “GRID”.

The lid is produced via 3D printing and securely contains a brochure and multiple gallery art pieces, all in a base that clamps to the lid.

I once dreamt about all the emails I’ve received in my life interlacing into a two-dimensional mass, swallowing me instantly like a wave from Miller’s planet in Interstellar.
‍
TMI, Too Much Information.

I decided to make a book about it; About information, conversation overflow and juxtaposition of texts.

In the spirit of the title, the book cover design teases the title by only showing half of the “ITATI” initials. It is only fully revealed when putting it next to another book or next to a mirror – underscoring the very meaning of “Is that all there is?”. The cover is a “palindrome” – a word, number, phrase, or other sequence of characters which reads the same backward as forward.

When is the last time you visited a cemetery? What did you do? The preservation of sacred spaces like cemeteries allows us to understand our community’s history and reflect on the human experience of loss and the passage of time. Grave New World is a self-guided cemetery experience that sheds light on the neglected serendipity of cemeteries, which includes a cemetery passport, a field note, a cemetery guide, and a birding checklist.

Through which framing do we perceive images? How does their reception change depending on editorial decisions? How comprehensively is our perception of global events influenced by their media treatment? Which forms of contextualization come closest to what is actually happening? – Mira Anneli Naß

Conceptual artist and photographer Jonas Höschl gathers numerous theorists, artists and authors in this publication. They respond to Höschl’s work, and the media theoretical questions it provokes. The design puts the focus on the theoretical texts using a classic layout. In addition it features illustrations by Karin Kolb which meander between associative symbols and political protest banners.

HDMIHDGDL—or: shouldn’t audio-visual be called visual-auditory? Sabrina Zeltner aka Subrihanna has been on the road as a visual artist with various live video projects for years. In her artist book »Showreel« she makes the attempt to print her music videos, complemented by texts to reflect on her work by Kristoffer Cornils, Judith Grobe, Linda Weidmann and Meera Theunert.

Soft Cover, Thread Stitching, 456 Pages, 6 Colors
Design by Philipp Dittmar at Complex Pleasures
VDR055, 2022

It is a creative point of view on Joyce’s work, focused on the problems that the book had to be published.

‘The Bigger the Short, the Sweeter the Bottom’ is an artist book/exhibition catalogue for William Ludwig Lutgens. Published by Stockmans Art Books in 2022 in context of an exhibition with the same title at De Garage. Reproductions and installation views of exhibitions at PLUS-ONE, Bruthaus and De Garage are included next to sketchbook drawings and video stills of his studio. The colourful open-spine of the book makes a direct reference to the patterns of dress shirts worn by sculptures and wallpaper in the show. An index was printed in purple PMS on thin 60gr paper. The cover uses four colour offset plus white printed gray cardboard, a tactile nod to the artist’s handmade paper canvases.

Graphic design can break free from traditional concepts and transform ordinary objects into unique forms of communication. Jianping’s experimentation with cutting pages and transforming blank books showcased the potential for change and the thrill of the creative process. The delivery of information through text and imagery remains crucial to effective design. The struggle to break free from traditional book design led to the discovery of a new way to present information, akin to peeling off corn husks to reveal the beauty within.

“Daydream” Jumping He’s solo exhibition opened its doors on March 2021, at the Sea World Culture and Arts Center in Shenzhen, China. On 1.200-square-meters Jumping displays his works in nine sections: Montage, The indistinct, The Moun- tains and the Water, Face, Typography, Art, Reading, Identity and Curation. The book „daydream jumping he“ was published together with the opening. On 678 pages, Jumping He is revewing his graphic design achivements of the past 25 years. Designed and published by hesign Berlin, with 35 articles written only for this book by famous graphic designers.

“Collection of shapes, colors & words” is a patchwork of drawings, travel notes and analogue photographs from South America, where German Artist and Designer Isabel Schubert lived and studied in 2018/2019. She explored the countries Brazil, Chile, Peru, Bolivia, Argentina and Uruguay. The book summarizes personal impressions of this journey.

At which point does one feel able to speak about feminist issues? What do power relations look like in the field of design an is feminism imaginable without criticizing capitalism?

break*in points out, makes visible and is loud.

The project was born at the end of a research on the tree, on the multiple aspects that characterize it and that link it, in an indissoluble way, to the human being. The concept I decided to deal with in this book, is that of “time,” starting from the desire to make a dilated, secular time (impossible for a human to perceive) into a small time. The tree that comes to life in these pages is a specimen of Sequoia Sempervirens (the tallest species in the world), two hundred and fifty years old. Deliberately depicted in a simple, almost childlike manner, it renders in just under 25 seconds the idea of how a seed, falling into the earth, grows and transforms until it explodes into an adult tree.

In my typeface design process, I use my body movement to perceive how the types change, using performance to give types emotion, and people performance dances together to convey the relationship between the center of types gravity and structure of the types, and so on. The body experimental typeface was purchased for use by the Focus Group in Berlin, which is a global group of artists from diverse backgrounds.

This book is inspired by the fledgling protest movement that is still happening in Iran.
Many inspiring moments were created during Iran’s uprising. From the grieving but proud parents celebrating the death of their child for the freedom of country beyond their graves, to the women shouting “Freedom” in the graves of their husbands or fathers, to the courageous Iranians who despite Losing their eyes and vision are still seeking the liberation of their people and country.
I dedicate this book to those who have lost their eyes.
I strongly believe as one of the victims said, “I have not yet seen the day when I ‘must’ see; I know it is close, very close.”

the objective of my work is telling a story affected by structural change and showing people who witnessed this story. what happened to the opel workers of bochum? it is essential to reflect on the fate of these people, since memories of opel´s disappearance collect dust in shoe boxes or rest on hard disks and servers of press agencies. sufficient inducement for this book. it takes a look at opel´s disappearance from bochum, with the voice of former factory employees, partially linked with news items, photos and keepsakes and an essayistic annotation. and it also takes a look at the time after. copyright repros: pixelgarten

For many years, first on a blog, then on Instagram, I have collected and posted midcentury book covers that use modernist design strategies. I often create groupings that that use a similar formal or conceptual approach. One can see in them both the overuse of worn-out cliché’s and the way in which a simple concept can produce a near endless number of creative permutations.