FAC3D (2021) initiated by Chong Yan Chuah, is a collaborative exploration encompassing the idea of the digital self; one that connects machine learning, digital art, and the written word. This publication includes writings and Q&As by human and machine writers.

The skin-like tactile, bold read cover can be personalised with two vivid stickers. The grey pamphlet is a compilation of selected A.I.-generated conversations from the visitors.

‘The Misconceptions of Me’ deals with growing up in two different cultures and its effect on one’s identity. I am reflecting on my own identity and trying to research what belonging means when home becomes a blurry space inbetween. The diffuse identity is given a three-dimensional container. The aspect of double-sidedness of being bicultural is emphasized, from material and medium choices to the thesis design, by incorporating methods of overlapping, mirroring and transparency. By doing so, the thesis as well as the visual booklet are part of the installation in its printed form and 3- and 2-dimensional spaces are interchangeable and connected, just as the two cultures one grew up with.

The project is reflecting on the strategy of hostile architecture/design. The first chapter of the photobook shows examples of the most common form of hostile design. As the added elements on the benches create a visual disharmony and an unexpected symmetry, the pages are bound in a special way to accent this symmetry. The photos of the second chapter serve as a reaction to the first, with the help of experimental typography.

We created a special format catalogue design for a renowned Indonesian artist’s exhibition of new works on the theme of media, which was reflected through a publication split into 3 different sections but bound to look like a stack of magazines. The resulting publication was interactive but could also be viewed linearly like a regular book.

One Point Six One Eight is a special format poetry book produced on a shoestring budget. The poet came to us wanting an accordion format for her book but due to machine-printing size limitations, we were unable to fit so many pages in an accordion. We then experimented with a spiral diecut format that zig-zagged into a booklet, which was reminiscent of the accordion format, and we were able to fit many more pages in. Grey chipboard was utilised as a raw finishing for the cover, and the entire book was printed in a single-colour black ink.

Small Night’s current project (Slanted issue #22 a formative influence) is dedicated to text-based art. Text is prevalent in our visual economy, especially in the proliferation of memes on social media. The editors have prioritised artists who use text in their art as a standalone thing, divorced from the visual, but intimating an imaginary space that brings images and emotions to bear on the reading of them. The texts come in a variety of forms, from typed to handwritten. Our hope is the reader will experience the chiastic structure of text as experience & experience as text. Since 2022 we have published three issues, featuring 18 international artists, from Laure Prouvost to Tony Cokes.

We created a special format catalogue design for a renowned Japanese contemporary artist’s exhibition of new works. Playing on the theme of artwork creation from both the manga cut-outs of the artist’s collage-based compositions as well as using its by-products, we came up with a catalogue which featured an additional booklet containing essays embedded into the front cover to mirror the concept of the exhibition.

Mind The Gap was a special format catalogue design created for a tripartite art exhibition involving the work of 3 different contemporary artists. Segmented into 3 sections, interacting with the book became a typographic word play with the title “Mind The Gap”, where flipping through pages disembodied the title and carefully came together again to form the front cover when closed.

Nicanor Parra’s technique of “antipoetry” consists of the brilliant invention of using a “second-hand language” in his collections of poems. This means using the words and syntax of colloquial speech, popular sayings, set phrases, linguistic clichés, slogans, and the tone of language from the media, radio, journalism, and religious preaching. All of these are mixed with a cultured or pathetic language.
The main concern of Parra’s poetry was to destroy the elevated, dogmatic, and prophetic position of the “vates” poets (such as Neruda and Huidobro) and replace it with the voice of a speaker from the common and current masses.

Our memories never fully belong to us. The last family moments that analogue photography has immortalized belong to our generation – that of Beltran, who was born in Santiago de Chile in 1985, and that of Lucia, who was photographed since August 1992 ten thousand kilometers away, in Oviedo, Spain.
This is the story of our grandparents, who smiled brightly in some studio photographs of our parents, who found themselves in a different city, but still found ways to keep their memories alive. From our childhood, whether as children, grandchildren, or siblings, we cherish memories of bike rides, dances, and days at the beach that are almost identical despite the passage of time and distance.

Bound documentation of the own VR project “Illusionary Spaces”. This project shows a visual processing of the theoretical examination of constructivism. In the multimedia project digital spaces were created, into those are thrown different images of ‘reality’, that are more or less abstract depending on the space. The deformations visualize the subjective mechanisms that influence people’s constructions of reality. The documentation combines the theoretical consideration and my visualization to it.

ReadingRave is an event series initiated by Julia Bichler during her diploma studies at the University of Applied Arts Vienna. The unique event format brings together individuals to silently read books in a communal setting. In a world where reading is becoming increasingly unpopular, ReadingRave is a countermovement to this trend.

By creating a space where individuals come together to read a book, ReadingRave aims to create a sense of community around this solitary activity. By removing the pressures of socializing and conversation, ReadingRave provides a unique opportunity for people to connect with each other without missing out on a good party! ;–)

Type +,- Gender is a research project revolving around how typography is gendered with findings which point out the correlation between human anatomy and typography, which highly contribute to gendering typefaces, fonts, and glyph designs, have been presented. These facts were supported by methodologies such as interviews and social media surveys. Each letter of the alphabet is desginer with several variations which represent diversity and in addition to this each glyph has a poster design. A total of 8 creatives were included in this project to give true meaning to diversity and see how other people see gender and type intertwining with one another.

This is a book about studying the relationship between typeface design and straight lines. It is about cutting, editing, and reconstructing straight lines. See if the surroundings can break the inherent cognition. Reconstruct the combined object image using a conceptual pattern. Explore light straight lines, time passing, and editing processes. Find more interesting lines and typeface styles. Changed the possibilities of photographic image combinations based on my generalized graphics, and challenged standard recording methods in photographic images.

My works are mostly concerned with western font design and combined with Chinese culture’s spirit. I spent my childhood in a peaceful area in the embrace of mountains and rivers. So it makes me rethink what an ideal living environment for a human being is like. About the experimental typeface Mountain book, I deconstructed body symbols and looked for the balance and rhythmic beauty of body symbols images, it looks like Calligraphy font and Chinese painting feeling. Like a combination of m-o-u-n-t-a-i-n to build a new mountain image which is the mountain of the body perception. We can be feeling the metaphorical relationship between types and nature, which can be called Empathy and metaphor.

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.
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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.