The text in this book is written in response to the images, subverting traditional methods of composition and illustration. We invited 50 people to respond to the prompt, Is the Internet Down? They had a week to respond with new work or something already created. We analyzed responses and placed them into themed groups, then drafted essays that contextualized the works.

The book weaves together pop culture references and statistical facts about the greatest network of our time, playfully examining the history of the Internet, with nods to world domination; the physical and emotional cost to humans; network fragility; and more.

Presents 50 posters produced by Draw Down Books, designed by K. and C. Sleboda, for art book fairs, workshops, and lectures between 2013 and 2021, accompanied by reflections and essays by graphic designers that provide context and insights, providing readers with new ways of considering their own poster-making and event documentation. Swiss binding, with neon green thread (lies flat). Offset printed, all text printed in Reflex Blue. Neon orange Pantone (selected by crowd-sourcing via Instagram) used for cover; use on interior cover creates warm inner glow. 160 pages, 5 x 7.5 inches.

As a passionate collector of books, magazines and ephemera, as a frequent visitor of exhibitions and (independent) book fairs, and last but not least as a publication designer, I have gathered a massive amount of paper, bound and unbound, piled, organised, stacked and stored in boxes, on shelves, tables and on the floor. What can one make with all this? The publication explores the material in different sections.
The chapters Shelved and Unboxed look at publications that we bought, traded or received as gifts. The chapters Explored, Detailed and Opened look at publications that I sometimes conceived and always designed. Texts on archives and books complete the experience.

The work “Leafless trees in a square of earth” contains a collection of different structures of the ground. They have been copied with a frotage technique in combination with texts that have been written with a type writer. All those elements have been printed out with a riso printer and binded with a spiral. The cover has been made with a very old letter press. You can see the imprint on on the first page after the cover. In this work, the haptical and handmade component is very important. The ground has been copied with hands and letters have been produced with the usage of old machines.

This self initiated magazine is an ode to the different, the bad taste and the will of revendication of the anti design aesthetic. Unique visuals that requestions the rules of graphic design become as important as the content.

In the book work(shop) we explore books and their characteristics in terms of structure, technology, concept and aesthetics. Books expanded into analog and digital spaces, mix with other media or are taken apart. Thank you to the students in my courses at HTWG Konstanz.

This Annual Report highlights the potential for growth, driven by the disrupting constant changes that characterize human life.
To outline this idea, a visual concept of a situational-present design was created, which formally serves its respective content. This was achived be freeing the layout of a common concrete grid, but working with similar elements that follow a common design idea. Through the use of functional elements–the „fold here“ prompts–an innovative space is created, far away from conventional linearity, which allows the reader an interactive-physical encounter with the annual report and opens up new perspectives.

Exit prize is the prize for young artists on czech and slovak art universities. As we designers have seen art practice ain’t easy practice at all, it’s hard job, we’ve chosen the thermochromatic view on a galery space as the catalogue topic. As we use tre thermochromatic camera data, we need to extend the color gamut of the printed catalogue a bit. Therefore we swapped the 4 cmyk colors to 4 only fluorescent colors in offset printing process. Acording to that decision we mede serrious extra problems to the printers and unexpected result for us and the client. Result: new colors were found, nobody harmed, catalogue succesfully finished.

Civette and combinatorial literature in the headlines of local newspapers.
The “civetta” that the newsagent displays every day in front of his newsstand, that is, the poster with the (hilarious) summary of the most important headlines of the newspaper, is the object of investigation of “ABC 18688 e altre”, a catalogue and a dictionary, a combinatorial game of words and expressions to produce amusing “owls” ad infinitum. A system from the Oulipo group, the potential literature workshop of Queneau, Perec and Calvino. 18688 is the fruit value of the computer code.

With Sugarcoat Giulia Heuser and Johanna Geyer created a manifest of the New Romanticism, featuring a diverse range of visual and literary content centered around the theme of romanticizing. Combining extravagant fonts and colors, the topic is playfully visualized in 6 themed chapters. No two of the over 300 pages are alike, the visual abundance is disrupted by dreamy cloud photographs. With interactive elements such as glasses that make you see hearts, or illustrations and typography that come to life using the Moiré effect, Sugarcoat is more than a book. It becomes a playful experience, breaking the boundaries of traditional book design and reviving fantasy and creativity.

This book was made as an object using different types of materials – transparent foil, pachica, coloured paper with neone color silkscreen prints. We have printed it a week ago and there was not much time to make product photos – that we can deliver if needed – if you will choose to present our work. Book is an collaboration between me as an author and photographer Alžběta Jungrová. Main idea behind the selection is a story of Alice in wonderland – different types of images in strange combinations. Finally Iam sorry for the quality of presentation – that we can fix easily. all best, Adam.

A 1000+ page book examines a fixed set of the 178 Pantone process colour range. Two tones from opposite ends of the spectrum are confronted and detailed in their technical composition. The book in it’s strict structure offers two entrance points, accidental colour combinations, and can be flipped through for a continuously changing colour journey.

Fortepan Masters is a experimental photographic album, which includes the most remarkable images from the collection of Fortepan, the most significant modern Hungarian online photographic archive. This selection highlights the poetry in the pictures, their artistic value, the “fine art” so far hidden in this enormous archive. His principle of selection did not involve enforcing historical or thematic viewpoints, but finding outstanding photographs excelling in their beauty, purity, aesthetic significance, and sorting them without any thematic obligation.

The publication brings together nine contemporary positions, each of which refers in its own way to aspects of Joseph Beuys’ extended concept of art. With little money, a magazine was to be created that conveys the processual and interactive nature of this artistic concept. Only a selection of the works has been printed in full color on illustration paper. The greater part of the illustrations, as well as all the text, is printed in a dark green color on an uncoated and wood-containing paper. The ephemeral nature of the paper and the green, reminiscent of school blackboards, relate to Beuys‘ materials and practices, as does the intuitive and sketchy yet scientifically composed layout.

Starting point of the design process was Borries’ concept, that good design shouldn’t be subjugating, but projective. So, we questioned the traditional way theory books are designed, since this traditional form of design implies a certain unalterability.
We wondered: what if the design could be fluid, dynamic, porous and open, so that it implies the skill of the unfinished, or rather the imperfect. This way, the reader could be stimulated, to understand Borries’ theory as a work in progress.
Our approach was to find a form, which moves somewhere between a work of theory and a college note book. It should communicate seriousness as well as playfulness, and the idea of a conceptual draft.

How can the political, activist and interventionist dimension of design be adequately conveyed graphically? Neutrality would contradict the missionary aspect of activism. So would timelessness or static monumentality. Attention, accessibility, dynamism and transience were ultimately core concepts in our thinking.The form of the magazine seemed appropriate for this. At the same time, we had to achieve a balance of value and modesty, since the magazine was not intended to be a vogue or a fanzine. A high-quality produced magazine, but 90% in B/W, seemed to be the right mixture of seduction and refusal, desire and asceticism, irony and seriousness.

The book was planned as an affectioned new edition of Gottfried Benn’s first poetry book, that was published in 1912. We wanted to refer as much, as possible to the first edition, using the same format, the (almost) same blackletter typeface, the same sequence of poems and a comparable typographic concept. Applying a slightly bolder typographic concept and adding early drawings of the reknown painter Georg Baselitz, we wanted to give the publication a contemporary twist, showing the topicality of Benn’s oevre.

In a file, an opaque cover and loose pages were used. The appearance of the cover may vary.

The author tells the most interesting stories about the flags of all countries of the world. We were working on the cover and we had a question: how to demonstrate the topic of flags in a way that does not turn around former colonial centers, and, on the other hand, not to exploit the “exoticism” of former colonies or simply distant countries?

After several brainstorming sessions with the entire design team, we went through a dozen viable concepts. But in the end, we settled on the most neutral tone, and subtle at the same time. The very title of the book, setted in a “discreet” font, has already become a flag. However, we had to rewrite the title a bit, and add a single straight line.

A series of books created by manipulating the movement of paper in an offset printing machine, transforming it into a new printing tool – challenging the function of a printer as a tool for reproducing design. The whole process illustrates a situation somewhere between hacking and control when most of the time the machine exerts control over me.

Print on demand has revolutionized the world of books. Digital printing and low-threshold online platforms like Blurb, Lulu, and Kindle Direct Publishing allow anyone to publish work immediately across the globe without financial investment or risk. This opens up space beyond the traditional book market and gives rise to an entire new subculture. The Library of Artistic Print on Demand maps this experimental field of post-digital book culture, continuing avant-garde, underground, and counterculture, and compelling us to rethink books and publishing. The Library contains almost 300 POD publications, which are available online in a web archive and in print in the Bavarian State Library Munich.