Structured from personal notes and memories of a lifetime, Specimen Days is a collection of descriptions, excerpts of prose poetry, lists, short essays, some consideration of politics, portraits of illustrious characters and ordinary people, letters and quotes. The book design was inspired by Whitman’s habit of storing dry tree leaves in his notebooks. The cover and the inner pages are illustrated with leaf silhouettes. Each of the 1,000 copies of the edition has a different leaf on the cover, resulting in a print run of 1,000 unique covers.

Client: Carambaia
Design: Thiago Lacaz
Design assintant: Leonardo Santana
Graphic production: Lilia Góes

Burnt Coffee Shadows is an ongoing typographic experiment. The genesis is material from note and sketchbooks dating back to 1996. The project features visuals generated from thoughts, scribbles and experiments mixing analogue and digital tools. It is an ongoing project, using impression and expression to create dark, brooding typographic landscapes — ‘typescapes’. Also featuring poetry and asemic writing, the project is in a constant state of renewal. The material gets sampled, remixed, manipulated and variations created, focussing on the process instead of the outcome. This iteration exists as a tabloid-sized newspaper, which will feed into further processes and companion pieces.

The quarterly magazine “Architectural Culture” is layered and processed to resemble a “folder” overflowing with architectural drawings and data. Through the use of pages of varying lengths and partial pages that reveal glimpses of architectural drawings, the magazine aims to encircle each issue’s architectural theme and respond to the structural changes of “architecture” over time through folding and saddle-stitching techniques.

La Perruque is a 1 × 90 cm-long magazine publishing nonstandard type specimens. La Perruque hacks unused paper surfaces from print shop production, so they become “carte blanche” for type designers instead of waste, showcasing experimental typography projects. It is also a place for type manifestos and in-progress fonts.

Year 2015. A first unspoken agreement with a print shop in Rennes allows Oliver Bertrand to use a blank surface in the margins of their regular prints. Ever since that founding experience, it has been the playgrounds for type designers, print shops and publishers to collaborate. Production time, number of copies, colors and type of paper depend on this economy of means.

Two stories of escape from different times: at the time of the Second World War from Poland – today from Syria.

The assignment in my studies, thoughts on longing journeys in times of Corona, seemed absurd to me. Absurd that the Mediterranean in those days was – and still is – a seaside holiday and a struggle for survival. So the longing journeys became stories about escape: my grandfather’s story and my university friend’s near past. The longing to arrive. Not having to go any further.

A book in shades of grey, with lighter and darker moments. You start off into the unknown. No page numbers or chapters, no table of contents and no explanation.

The book Observatören / The Observer by photographic artist Emanuel Cederqvist, depict Sarek National Park and the remaining traces of a man working as an observer at a weather station there before disappearing during a snowstorm in 1917.

All photos are in grayscale and portrait format, which determined the dimensions of the book. The book begins with a photo part that is completely separated from text. The text part at the end of the book where you can read more about the expedition is also separated considering choice of paper.

The Young Ukrainian Artists competition «MUHi» is held every two years to discover new names in contemporary art. A catalog of works by the winning authors is traditionally prepared for the exhibition. The competition has been held for more than 10 years, and the exhibition catalogs have already become the material used to study the history of contemporary art in Ukraine.

But a catalog is not necessarily a traditional heavy hardcover book. Especially when it comes to young and bold art. So we decided to release this catalog in the form of a large format newspaper, without binding, with a poster inside, in order to convey the character of the event as much as possible.

The 90s was a distant yet near era for us, as Taiwan had not yet entered the era of digital networking, and art creation was still in a state of tangible analog contact. In this exhibition “Restless Ambiance: Re-exploring Experimental Art in Taiwan and Beyond”, a historical photograph of the “Ragged Life Festival” taken at the border of Taipei County and City at that time was used, as well as a hand-drawn newspaper of the festival, which was like a declaration of a life/creation attitude. Through stacking the “sticky and messy” avant-garde art that was isolated yet independent at that time, the exhibition hopes to convey a sense of visual and tactile experience.

The Margin of Error, by photographic artist Emanuel Cederqvist, continues the work started by Axel Hamberg one hundred years ago, depicting Sarek’s National Park in the north of Sweden. In the book Cerderqvist places Hamberg’s archive photos next to his own taken in the same area.

Published in 2019 by Blackbook publication. In collaboration with Karolina Eriksson

The book is designed with both the past and the present in mind, making it look at home both in a modern bookshelf as well as in a century old archive.

Two images, taken in the same place, one hundred years apart, meet each other on the cover.

Stormskadad / Wounded by the storm by photographic artist Mari Lagerqvist explores a forest where shrubs, log piles and damages made by storms are left undisturbed. The images investigate the structures, patterns and compositions that are created by decaying branches and tree trunks.

In collaboration with Karolina Eriksson

As a compliment to the images, we created a low key design with a muted color scheme. The typeface has a high contrast between thick and thin lines, gi

An Asian Perspective takes a geographical approach to explore art through the medium of technology in Asia. In the main visual design, the blue interface of the blank screen is combined with the “geographic latitude and longitude lines” and ubiquitous “window interface,” weaving together a sense of visual imagery that is both expansive and immediate.

60 verses like ends title and 60 illustration. How to lay out in a not-boring way? I made the graphic design to transform the book into a piece: a totally black and white and centered text just like movie ends titles are. Two different paper, coat for text and recycled for illustration.

The monograph is divided into two volumes, “Catalogue” and “Texts,” based on the attributes of exhibition works, research materials, and document files. The “Catalogue” primarily presents pages on the artist’s life, “Artworks,” “Temple mural works,” “Temple maps,” “Postcards,” “Clippings,” and more. The “Texts” mainly includes research papers by scholars related to the artist. The book’s layout aims to systematically classify the artist’s fascinating and diverse life and work into a monograph with a hierarchical relationship, bidirectional reading, and appreciation and research properties. It focuses on how to handle the integration of the pioneering artist Cai Caoru, who had two identities

The publication commemorates the work of Hungarian architect Elemér Zalotay (1932-2020), in particular the concept of the “Ribbon House”. The plan was designed to solve the housing crisis of the post-war years, following in the footsteps of Le Corbusier’s utopian concept of architecture, and was broadly conceived as a megastructure of 20-30 storeys, over a kilometre in length, based on a new construction method. The plans were never realised, as the designer was labelled an enemy of the pro-Soviet Hungarian regime and his ideas could not be brought to life.

The topic of my university project was “development”. I used the rules of my school department as an expected form of development. I highlighted the rules to remember them so that I can become a “good” graphic designer. The strict rules are leaking on the back of the paper, because the designer cannot be limited.

Between Danube kilometre 1902 (Orth / Donau, Austria) and 0 (Sulina, Romania), all kind of flotsam is being fished out of the Danube with a landing net, measured and documented. The artist tries different approaches on how to “read” all the collected materials and she invites the viewers to discover. Besides the tangible aspects, she also touches on questions of the creation of value, of permanence and durability, and the paradox of holding on to something ephemeral.
2023, self-published, multi-part publication, riso & digital print, flexible edition of 100.
Supported by MS-FUSION A.I.R., Federal Ministry Republic of Austria, Culture Moves Europe Mobility Fund and a lot of individuals.

This is a book about a powerful phenomenon in Ukrainian art – Ukrainian modernism and the avant-garde of the early 20th century. At the same time as Jan Tschichold, Piet Zwart, and Guillaume Apollinaire, in Ukraine worked Mykhail Semenko, Vasyl Yermilov, Borys Kosarev, Anatol Petrytsky, and the other artists. For a long time, they were remained in the shadow of world art history due to the colonial policy of the Soviet Union towards Ukrainian culture.
Meanwhile, history returns in cycles, and the works of the Ukrainian early 20th century avant-garde are once again becoming pretty similar to current trends in graphic design. The design of the book itself was a modern take on our predecessors.

Futur 3—»a future that will not have taken place«—is an art festival from Northern Germany, proactively initiated by artists, for artists; it stands for diversity and autonomy. The catalogue provides a platform for all those involved. More than a documentation, it shows the process and its outcome – a presentation of the festival’s reflection. It offers a perspective for the future of the festival and an understanding of one’s own action in the current art context. The design responds to this interlocking structure by using three complementary fonts and a variable type area – revealing the diversity of art and giving ephemeral artworks their own permanent and equal place.

The first “heftl” (~booklet) is a declaration of love for the Danube, an abstract travel diary between Belgrade and Sulina.
2020, self-published, 48 pages, riso-printed, handbound, edition of 80. Awarded as “One of the most beautiful books in Austria 2020”.

Various up- or recycling projects emerge from this publication, working with its’ paper-leftovers as a resource: Danube Carpets (weaving paper-carpets with the bleed paper strips), Danube Paper (scooping paper with paper left-overs and Danube water), Part of the Flow (upcycling leftover prints in secondhand or found frames).

Continuing the visual planning of the exhibition, the album “The Wind Catcher – Fang Qingmian’s Images and Returns” is designed to resemble a vintage family album with its antique bronze ring binding and hardcover fabric texture. The unique blue color used in the main visual is incorporated into the front and back pages, implying that this album is not just a collection of photographs but also a dialogue on contemporary art and its significance, before delving into the content co-created by the curator and contemporary artists and image makers.

Das OETZ Archiv: A book about the former OETZ-magazine from Düsseldorf, Germany.
A special feature of this book are the chapter separators consisting of pages folded into each other. The additional free space created by the folded pages implemented a haptic orientation system which allows readers to navigate easily through the chapters or the registers.

OETZ is a magazine made by design students from Düsseldorf, Germany. It was published from 1979 to 1987 under the direction of Helmut Schmidt-Rhen.
The most prominent aspect of this magazine is the asynchronous binding which is placed 8 cm of the left paper edge. This created short pages on the first half and wide pages in the second half.

My final project, Interphase, is a book whose entire content was generated by multiple artificial intelligences. The book consists of seven stories based on the seven deadly sins. Thereby, my goal was to check what the AI thinks about these topics, because a collaboration with an artificial intelligence also requires to be aware of its moral values. Three text AIs wrote the individual stories in collaboration. I provided the initial input in the form of a sentence. The rest was generated by the AIs themselves in a cascading manner. A fourth AI generated additional images based on the texts. All seven stories provide deep insight into the diverse mindsets of AI. (Whole book see Website above)

The exhibition proposition of “Black Box” immediately brings to mind an imagining of a “dark and mysterious space”. This space could be an endlessly contracting container, guiding the audience into the artist’s investigation of mysterious phenomena and media history, or it could be a reflection on the limits of science and a sensory preview of video and installation spaces in Tony Oursler’s work. At the same time, it led us to create a laser surface of dazzling, colorful media light, placing the main title and visual elements on top, using silver foil card with laser film, and distributing it on exhibition VIP tickets, invitations, exhibition brochures, and album covers.

The Ditch, by photographic artist Emanuel Cederqvist, recounts the story of a forgotten defence line built on Öland, a small island on the east coast of Sweden, during the Second World War. The line was intended to act as an obstacle for tanks, splitting the island into two parts near the village of Föra. In the book, Cederqvist’s images are combined with documentary material from the Swedish War Archive, records which remained classified until the 1980’s.

The cover is screen printed with white pigment on a blue paper and debossed with a glossy transparent foil.