Systematic book design?

Does designing a book follow a logical and well-thought-out process? Swiss graphic designer and typographer Jost Hochuli studies the crucial role played by instinct throughout the various stages of planning a book, from selecting a typeface and its size to determining the layout of the blocks of text.

Drawing on his own experience and examples taken from various books he created, Jost Hochuli considers the questions which arose while they were being designed and the importance of intuition in rational thought.

“Systematic book design?” was written for a lecture Jost Hochuli gave for the first time in Munich in 2007, and then at the Palais de Tokyo in Paris in 2011 on the initiative of F7. The text has been first published in Back Cover magazine in 2011. John Morgan’s foreword was especially written for the present edition.

Jost Hochuli’s text was translated from German by Charles Whitehouse.
Foreword by John Morgan


Hi, there you cheeky little rascals. It’s us, Gin Tonic, Belissa and the other eleven showstoppers from the Pin-Up Guinea show. We knew you would land here, dusting off that old 2020 vibe. Ready for some well-deserved glitz and glamour for this new year. And let us tell you: we’re all here for that, honey.
In the PIN-UP GUINEA PIGS CALENDAR 2021 you will experience month by month an increase in health, money and love, just by looking at us. Great things will happen. Many great things! We wish you a splendid new year and don’t forget to turn the page every month. It’s such a power move, XoXo.

(Only vegan, animal friendly, and cruelty-free products were used. Animals were not harmed and treated with love and respect.)

Help Your Self! – The Rise of Self-Design

Who are you, who do you want to be, and what do you need to do to get there? We are constantly pushed to lead the perfect life. The media present us with a picture of an existence in which we’re rich, beautiful, happy and successful. Our identities used to be shaped by our communities, families, and friends, but today, in the online era, we’re expected to write our own success stories on social media platforms.

We design our own identity, create our own image and present ourselves in the way we want to be seen. The various imaginative methods and ideas for upgrading oneself—by dieting to achieve the perfect body, transforming your talents into a successful business, or finding bliss by meeting a new love—are seen as new forms of creativity, or Self-Design.

“Help Your Self! – The Rise of Self-Design” is an inspiration book to design your perfect self and shows you how to get started. At the same time, it reflects on the self-help industry as a relatively new phenomenon.
– ‘Gerritzen dissects the self-help industry with wit, intelligence, and merciless absurdity. At the same time, she is dead serious about the inimitable possibilities and everlasting practice of “becoming” self. Brace for an eye-opening roller coaster ride that is called the playground of identity.’
Aynouk Tan, fashion philosopher, journalist and curator, Amsterdam
– ‘The first, only and indispensable do-it-yourself book for the human Kandy-Kolored Tangerine-Flake Streamlined Babies of the Twenty-First Century.’
Timo de Rijk, director Design Museum, the Netherlands
– ‘Mieke Gerritzen makes a crash landing on the island of Ennui. Search the wreckage for shattered bits of selfhood while you explore the mobility of microbes, the myth of mindfulness, the narcissism of Zoom, and the addictive allure of love, money, and success.’
Ellen Lupton, Design Chair Maryland Institute Collega of art, Curator Cooper Hewitt. Smithsonian Design Museum New York
– ‘This fascinating and provocative book “Help Your Self! – The Rise of Self-Design” confronts its readers with the most urgent questions that raise their self-awareness and improve their quality of life.’
Boris Groys, philosopher, media theorist

Support: Creative Industries Fund NL | The Image Society

Designmagazine MUTBOARD & VOGEL #5

Who could expect, that our fifth issue was going to be our best-selling? Perhaps it was the fact that we published it during the first lock-down or it’s because of the main topic: design and architecture for a better tomorrow … But less than 10 copies are left.
In addition issue five features the following themes designers Mischer’Traxler, styrian design, creativity beyond cooking, architecture in western Austria and many more.

As every issue this edition is limited to 1.000 copies–hand numbered by our art-director.
MUTBOARD & VOGEL is available in German language only.

Designmagazine MUTBOARD & VOGEL #4

Austrias only design magazine MUTBOARD & VOGEL in it’s fourth edition! After heading back from an intense time at the Berlin Design Week, where we produced a full magazine on Berlin design, we published this issue packed with features from all over the world of design and … of course: augmented-reality pages you can experience with our own app.

Issue four features the following themes: iphiGenia Gender Design Awards, mid-century design, Berlin designers, Restart Milano, indoor-gardening and many more.
As every issue this edition is limited to 1.000 copies–hand numbered by our art-director. Less than 20 copies left in stock.
MUTBOARD & VOGEL is available in German language only.

Designmagazine MUTBOARD & VOGEL #3

Issue two of Austrias only design magazine MUTBOARD & VOGEL comes with a cover printed on wonderful structured paper from Peyer, Germany! It features augmented-reality pages you can experience with our own app.
Issue three features themes like sand as a resource, 3d-printing in design and architecture, interviews with director Aric Chen and designer Thomas Feichtner and many more.

As every issue this edition is limited to 1.000 copies–hand numbered by our art-director. Less than 20 copies left in stock.
MUTBOARD & VOGEL is available in German language only.

Designmagazine MUTBOARD & VOGEL #2

Here comes issue two of Austrias only design magazine MUTBOARD & VOGEL! This is the first issue featuring augmented-reality pages you can experience with our own app. Starting with a handful of pages, this is so ta say the start of linking print and digital for our magazine!

Each issue shows the plurality of design as we can see and experience today.
Issue two features themes like spaceship-design, light, mobility, architecture, design on human survival, designing schools and many more.
This issue comes (in comparison with issue one) with a shiny finishing of the cover

As every issue this edition is limited to 1.000 copies–hand numbered by our art-director. Less than 60 copies left in stock.
MUTBOARD & VOGEL is available in German language only.


LUDIFIED offers a comprehensive insight into the artistic research project “GAPPP–Gamified Audiovisual Performance and Performance Practice” which was based at the Institute of Electronic Music and Acoustics of the University of Music and Performing Arts Graz from 2016-2020. In this project, a team of artists and researchers set themselves the task of exploring the artistic potential of elements from computer games in the context of audiovisual composition and performance. The examination of almost twenty artistic works that have arisen in connection with this project has led to numerous findings, which are not only reproduced here textually but also aesthetically.

In addition to various texts by the core team consisting of Marko Ciciliani, Barbara Lüneburg and Andreas Pirchner, LUDIFIED also presents texts, pictures and sketches by guests who accompanied the project. The integrated USB stick contains high-quality documentation of audiovisual works that were of particular importance for the project. Numerous illustrations and the integration of an augmented reality part complete the aesthetic impression on the one hand, and on the other, convey the process of creative and research work.

The book is divided into two main parts, one in which the project is introduced in general, and various methodological research approaches are set against works by different artists. Another part is exclusively dedicated to Marko Ciciliani, the head of the research project, who contributed numerous newly created audiovisual compositions to the project and thus set significant focal points in the research.

Also, it contains an USB-Stick and Augmented Reality–for those who wonder.

Think Like a Designer, Don’t Act Like One


This anthology of design concepts reveals what you can learn from Mad Men’s Don Draper, why the Beatles were not just brilliant as musicians, how a lemon tart can make you world famous and why purple is just always so wrong. Unless you’re Prince or the Pope, that is, but this book is for everyone who isn’t—Think Like a Designer, Don’t Act Like One.

Out to Lunch

In her book “Out to Lunch,” Ina Weber assembles an array of ceramic architecture models depicting diverse variations of Chinese restaurants familiar to our hemisphere.

Ina Weber concerns herself with the exotic and its romanticisation. Her ceramic works refer both to the subject matter and materiality of eighteenth-century chinoiserie and to contemporary trends in architecture. She deals with the mutual influence of east and west—between affirmation and misunderstanding.

Certain elements of traditional Chinese building techniques have found a sustained and unbridled distribution in our hemisphere. In fact, not one of the many Chinese restaurants in any mid-sized or larger city could do without them. When the first restaurants run by Chinese owners opened in Berlin Charlottenburg in the 1920s, Asian folklore was by no means part of the décor. These restaurants were initially a decidedly urban phenomenon and were considered throughout Europe to be specific expressions of cultural modernity. It wasn’t until the big boom of Chinese restaurants in the ‘60s and ‘70s that folklore found its way into the ambience. It was during this time that Ina Weber was growing up and perhaps it was one such early childhood visit in the circle of her family to a similar establishment that introduced the desire for far and unknown worlds. Even to this day, the artist draws much of her inspiration from traveling the globe.

Ina Weber was born in Dietz on the Lahn in 1964. From 1989 to 1994, she studied with Friedrich Salzmann, Harry Kramer, and Martin Kippenberger at the Kunsthochschule Kassel. After working a number of positions, Weber has lived in Berlin since 2003 and worked as professor of sculpture at the Universität Der Künste since 2016.

Woodcut Vibes

Roman Klonek, born in Kattowitz / Poland, has a spot for old fashioned cartoons and modern block printing styles. In the 90s he studied Graphic Arts in Dusseldorf and discovered a passion for woodcut. With this book the Dusseldorf-based artist gives a detailed insight into the working process and the background of his woodcut prints.

The woodcut technique is particularly interesting, as it is primarily known as a “very old” medium and therefore often creates a surprise effect, especially with contemporary motifs. Feel invited to follow the pages about a variety of whimsical characters, often half animal / half human in preferably curious surroundings and embarrassing situations.

A bizarre balancing act between propaganda, folklore and pop!

Sunflowers—Artist print

Working across photography, moving-image, wheatpasting, and text, Dorrell Merritt’s work explores, incorporates and often blurs the lines within a range of genres, primarily by way of staging or orchestration. Themes such as nature, sexuality, voyeurism, identity, and the uncanny regularly manifest within his works. He has exhibited in galleries across the U.K and have had works reviewed and published by platforms such as Outpost,, Optology Magazine, Aint Bad and more.

Sunflowers (2019) photograph, by London-based visual artist & writer, Dorrell Merritt.

Edition of 3 signed, numbered and dated prints.
Will be shipped flat, unless requested otherwise.

Moving Pictures – The complete film posters of Hans Hillmann

Between 1954 and 1974, Hans Hillmann designed over 150 film posters for masterpieces of cinema—including films by Jean-Luc Godard, Luis Buñuel, Alfred Hitchcock, Sergio Leone, Ingmar Bergman, Orson Welles, and Akira Kurosawa. In the early 1950s, while still a student, Hillmann began designing posters for the newly founded film distributor Neue Filmkunst Walter Kirchner. With little or no intervention by the client he had the freedom to create unique graphic design solutions. He used drawing, photography and typography in a complementary interaction and quickly gained international recognition. In his twenty years of work for Neue Filmkunst, he revolutionized poster design for independent movies and became one of the trailblazers of modern graphic design in Germany after the Second World War.

This book shows, for the first time, all of Hans Hillmann’s film posters. Unpublished sketches and drafts from his estate along with commentary from conversations and interviews provide an insight into the creative process of the award-winning designer. His principle to “compete with himself” and to develop different approaches for each task is a universal and timeless leitmotif for all designers and can be explored in the best possible way here. With over 300 illustrations, reproduced and printed in the highest quality, the book presents one of the most remarkable oeuvres in graphic design history.

further 02

The Fotobus Society, founded by Christoph Bangert, provides a network connecting more than 700 photographers who are currently studying at German and European universities or photography schools. Members have access to a wide range of cultural and social activities offered by the association. At the heart of the community is a 30-year-old bus that serves as a mobile photography school and regularly carries members to photo festivals, symposia, and professional events.

“further 02” is the second volume in a series presenting selected works by members. Whereas the main mission of the association is to promote exchange within the international photography scene, the coronavirus pandemic prevented the artists from travelling and meeting up as usual. For many of them, taking photos became an outlet and a medium to communicate with the “outside world”. As a result, the projects showcased in this publication also tell of the insecurity, hope, and distress of the last months, giving an inside view of the experiences and stories of people from around the world. In different ways, the images document their lives and the spaces in which they live, or the concepts and ideas, in which they believe.

Adalbertstraße 2008-2010

Marcus Weber’s series of paintings “Adalbertstraße 2008-2010” takes on the appearance of a colorful curio collection bringing into the picture urban conditions of the German capital in a fashion at the same time insouciantly sensual and cryptically analytical.

The individual works are suspensefully staged variations of one horizontal and one vertical visual structure. For the most part a clear-cut, geometrically variable basic design is discernible, with the laid-out-in-color sidewalk strips localized in the bottom third. Separated by contours, an architectural background rises above this, usually treated like a modular construction system of geometric basic shapes. Only because lettering is added by way of fluffy brushwork, the form constructs can be identified: as a billboard, a fish store, or a travel agency. Onto this, in most cases stereometrically structured, matrix, Marcus Weber applies most diverse figurative personnel. The people depicted enliven with their postures, penchants, and gestures the architectural framework in manifold ways.

The artist presents the confusingly multiform big-city stage complete with keenly observed and lovingly typecast human specimen acting on it. What comes across as ever so fresh and colorful, though, is not just the result of an affirmative, insouciant joy of painting, bur rather a realistic, precisely researched and implemented social study wherein individuals of a most heterogeneous character have been observed with subtle irony in their “suchness”.

At first sight the paintings by Marcus Weber would join the ranks of a genesis of painterly comic book adaptations generated since the 1960s—you might feel remotely reminded of Philip Guston, Peter Saul, or George Condo. Yet it is no less intriguing to perceive the series “Adalbertstraße 2008–2010” in the tradition of Berlin milieu descriptions. You would think, of course, of George Grosz, also of Karl Hubbuch, or Rudolf Schlichter—albeit Marcus Weber endearingly avoids any sarcastic or cynical undertone when describing the human condition.

Text: Thomas Groetz
Translation: Johannes Sabinski

Objekte (Objects)

The catalog “Objekte (Objects)” presents scupltures by Matias Bechtold. His models of buildings and cities are ironic comments on architecture that celebrate possibility – in a surprising artistic take on feasibility.

The different view through which Matias Bechtold perceives our world is essentially determined by shifts in scale. He miniaturizes modernist architecture. The urban topography put forward in his models allows two perspectives. You can perceive it as a sculpture, as if circling over street canyons at a dizzying height, only to imagine yourself a moment later as an inhabitant of the miniature buildings. Bechtold’s utopias not only provide an overview of the seemingly limitless complexity of a city but also open up unusual perspectives when you go into detail.

nomad #7 — where to go?

The new links between disciplines and technologies being built by visionary
designers, artists, scientists and architects are currently unveiling options for the future of our primary needs: how we live, what we eat, how we dress. Signs which—if indeed they come to pass despite their occasional outlandishness—may tomorrow be viewed as harbingers of a new age: The New Reality.

We meet with New York-based fashion designer Suzanne Lee, who has spent many years exploring the possibility of manufacturing materials based on microorganisms with radically low environmental impact, which could revolutionise our use of leather and cotton.

In our interview by Kimberly Bradley, architect David Chipperfield spoke with the luxury of far-sightedness, discussing architecture and its opportunities to cast influence. “Architects have no power, designers have no power—unless we leverage it. At one time architecture was far more connected to social advocacy… We’ve been working for investors and not society. That has to change”, believes Chipperfield.

Canadian-British designer Philippe Malouin has devised an aesthetic that captures a new language of form. His studio is small, his working methods unconventional—the office is closed every Friday without fail. And yet it works: Philippe is currently one of the most sought-after designers in the world. nomad visited him in his London studio. Designer Marije Vogelzang has chosen a remarkable path; as an ‘eating designer’, she experiments with food and incorporates personal and sociocultural experiences associated with food and eating into her work. We visited Marije’s refreshing universe of ideas in Dordrecht.

Our interview in Copenhagen with Liza Chong, CEO of INDEX, immersed us in a non-profit with a wonderfully straightforward description of its mission and image: “It’s all about design to improve life”.

Der Sendermann / The Transmitter Man

In the winter months of 1972, the first messages from the so-called Sendermann (Transmitter Man) appeared in the Berlin districts of Tempelhof and Schöneberg. By 1978, when the messages ceased to appear, “Der Sendermann” had covered the city centre of West Berlin with a whole series of inscriptions. Back then, the Berlin artist Andreas Seltzer wandered through the city in search of these inscriptions and captured his findings in a series of photographs.
In times in which the uncovering of various secret service surveillance activities has become a recurring topic in the daily news, the warnings of the Sendermann seem like early prophecies.

… The Sendermann’s inscriptions develop an anarchic vitality …
(K. H. Bohrer, FAZ)

… Seltzer shows the work of a man who warned at an early stage about the invisible control and manipulation of consciousness by transmitters …
(Dirck Möllmann, MANSON, catalog, Kunsthalle Hamburg)

… Like the drifter in John Carpenter’s “They Live,” the Sendermann saw more than most people could see. It had somehow become clear to him that one is not only being listened to but also manipulated. …
(Claudia Basrawi, TAZ)

… an act of revolt! …
(Andrea Hill, Artscribe)

Tonight at Merlin

Over the course of a year, graphic designers Mark Bohle and Raffael Kormann designed posters for all concerts at the music and arts venue Kulturzentrum Merlin in Stuttgart. The publication “Tonight at Merlin” captures this noticeable collection. For each of the 80 posters, some of which have been awarded internationally, the publication offers an honest glimpse into the visual making-of and the corresponding thoughts behind. Moreover the publication is linked to the bands and their posters, enabling the reader to listen to the corresponding sound while deep diving into the artworks.

Three essays by Arne Hübner (booking Merlin, designer and DJ), Niklaus Troxler (poster designer and founder of the Jazz festival Willisau), and Das bisschen Totschlag (Brunchpop-Band) contextualise this stimulating symbiosis of visual communication, music, and popular culture.

“The present publication ‘Tonight at Merlin’ shows an impressive annual production by a design team that draws on unlimited with high design standards.” —Niklaus Troxler

The 41st Annual of the Type Directors Club

The Type Directors Club of NY reinvents itself. The TDC book as a classic remains! Excellent typography, nothing else.

Design competitions are now a dime a dozen, but one shines as a beacon in the world of typography: that of the Type Directors Club of New York. Founded in 1946 as an informal lunch meeting of typo-savvy agency creatives, the TDC focuses on judging typographic quality. A TDC Award accelerates graphic design careers. The 41st Annual of the Type Directors Club showcases the latest winning work from book design to packaging and posters to exhibition concepts, interactive applications, and corporate design.

It is a trend seismograph, inspiration and yardstick, documentation of zeitgeist and quality timelessness in design. Because quality craftsmanship unites the works that make it into the book. Cutting edge is allowed, but without skill it is worth nothing. Regularly leafing through the book sharpens your eye for detail—and inspires your work.

The TDC is unbiased and unprejudiced. Simply the best wins!

Designmagazine MUTBOARD & VOGEL, Sonderausgabe Berlin Design Week 2019

This special edition of our design magazine is so to say the “secret issue four” of MUTBOARD & VOGEL and … a really special one. During Berlin Design Week 2019 our art-director Max and editor Sabine produced this issue with 21 students from all over the world at the SRH Berlin University of Applied Sciences. An issue, like never before. Produced within three days (and nights ;-)), printed the day after and distributed all over Berlin.
This special features the following topics: partners of Berlin Design Week, design business by Joachim Kobuss, roof-farming and many more.

As every issue this special edition is limited to 1.000 copies–hand numbered by our art-director.
This is the only chance to grab one of the remaining copies. This issue has never been sold before–any profit will be used to finance our next students edition.
MUTBOARD & VOGEL is available in German language only.


character#02 is the second specimag by Character Type—a blend of type magazine and a typeface specimen. Their rich archive of collected typeface specimens and type magazines has inspired them to marry the two into one creative space and share some recent type-related thoughts and insights, while introducing Character Type’s newest typeface super family NewsSerif.

character#02 features a photographic essay by Bettina Theuerkauf about the self-destructive tendencies of modern society. We also look at the history of type families and also work our way through the concept of variable fonts.

“Type The Dots” Tote Bag

“Type The Dots” Tote Bag is a black cotton bag with white typographical design featuring weights from the typeface “night”.
A eco-friendly alternative to plastic bags, but is also good for caring books, gym gear or snacks for your next adventure.
The bag was hand screen printed locally (to Bonez Designz) in Birmingham, UK by an independent printer.

Der FRTZN Block

In a playful and experimental way, “Der FRTZN Block” immerses the viewer in a fairy-tale, almost fabulous world. At the same time, he confronts him with the absurd real world of data flow, stimulus and information overload—a world full of violence and frustration, but also absurdities and humorous weirdness.

In his pictures the viewer can lose himself and often look at a multitude of different sceneries. These “hidden object pictures” cannot be deciphered at first glance—so the viewer can discover new themes and things again and again. With this visual excess, Peer Kriesel translates today’s flood of images, videos, expressions of opinion, and information that is created via television and, above all, the Internet. As in his “grimace carpets,” one work often simultaneously creates extremely gloomy worlds, but also witty absurd situations.

This clash, which Kriesel observes in real life and which influences him in his works, he himself calls defective (“defectivism”).
In the surreal representation of his grimaces, Kriesel wants to confront the defective and distorted state of the world.
Cranky figures, fearful facial expressions and destroyed existences, but also funny-looking, ridiculous caricatures are brought to the paper or canvas with a fine stroke and yet gestural painting style. “But these grimaces are also the grimaces you encounter on Facebook, Instagram, Tumblr, and the other ‘communities’ as well as on TV. They grin at you from everywhere, whether it’s Big Brother, one of the many casting shows, or the jungle camp.”

In the merging grimaces, which Kriesel calls “grimace carpets,” these different grotesque grimaces become one. In the process, a grimace can appear deeply unhappy and at the same time, for example, laugh wickedly. According to the artist, this also reflects our society, which on the one hand functions “well”—offers good entertainment—and on the other hand creates suffering.
Peer Kriesel shows his state of shock about this crazy world and his inner struggle for its acceptance by almost restlessly painting, drawing or blotting his grimaces. He is in search of the perfect, perfect grimace, which—according to the artist—embodies “the total emotion, the absolute power”.

This is what happens when hope, love, anger, and happiness merge into one face.
“The FRTZN block” results from individual letters of the “Das FRTZN Alphabet” pushed together. This work is a giclée/pigment ink on Hahnemühle paper measuring 29.7 cm × 42 cm. The work is dated and signed by the artist in pencil on the reverse.
Sold unframed.