Roosi Press Lyon residency, a single-print-run-testing of various paper colours with fixed ink combinations. @gourvei & @ethananthonyread
Dimensions: 217.5×305/310 mm
Paper: SUPER Teintes pastel 5 couleurs assorties 60 gsm, Exacompta Paris
Printing: Fluorescent Pink, Flat Gold, Hunter Green (sometimes), Medium Blue on the Risograph, Toner Toner at Grrrnd Zero
Binding: Loose leaf
A bootleg of Katherine Hayles' 2002 publication 'Writing Machines' redesigned in disguise as a VHS tape. Produced in partial fulfilment of the Graphic Design MA programme at the Estonian Academy of Arts.
Typeface: New Rail Alphabet, Margaret Calvert
Dimensions: 94×102 mm
Paper: Munken Print Cream, Arctic Paper & Black drawing paper, Marpa Jansen
Printing: Laser printed content (screen printed cover and centrefold), LASER engraved case
Binding: Sewn signatures (coptic stitch), housed within repurposed VHS case
Accidental Surrealist Masterpiece, a short exercise in mortality, seeks to question the value of decay in art. Would the Venus de Milo be an iconic cornerstone of the Louvre's antiquities collection if she still had all her arms? Would Alexandros, son of Menides, citizen of Antioch of Maeander be kinda pissed off that his sculpture is displayed in such a ruined state?
We don’t really know, but what we do know is that none of us are impervious to time. Even beautiful works of art are doomed to eventually fall apart, and perhaps this reflection of morality is what makes a wounded artwork all the more special. That’s why this little book is printed on infamously ephemeral thermal paper, willingly embracing a finite existence.
Typeface: Brill, Brill
Dimensions: 67×144 mm
Paper: Thermal receipt paper
Printing: POS (point of sale) printer
Binding: Just loads of folding
A Complete Metamorphosis, a zine on internal/external change, features a revolutionary new pagination system where every page number has been replaced by a different species of butterfly (certainly made extra helpful by only being printed in black). The contents page catalogues all these butterflies but unfortunately they won't keep still!
This whole zine evolved from the funny idea of putting a butterfly across the cover so it can flap its wings when you wobble the pages. The several paper colours used represent the type of bright colours a butterfly would be attracted to (not trimming the fore-edge creep creates a nice rainbow) and by 'intentionally' cutting against the paper grain this zine is constantly trying to spread its wings and fly away home.
Typeface: Chilean Bugs, Latino Type & Chiswick Serif and Grotesque, Commercial Type
Dimensions: 110×150.5 mm
Paper: Colorplan range (Fuchsia Pink, Mandarin, Hot Pink, Citrine), GF Smith
Printing: Laser
Binding: Singer sewn
Abyssal Gigantism is a book made up of several unusual typographic decisions presenting the giants of the deep ocean. Although we only understand a little about these enigmatic creatures, this book is designed to relentlessly inform. No page space is safe from overengineered informative systems such as a page-continuous index, typographic depth scales, and a spitefully comprehensive contents page.
Most excitingly, this book also features many fold-out pages (spanning up to 6 times the original page width) to neatly fit in even more pictorial data, including some life-size images! If you're wondering why the cover title is so tiny – it isn't, it's just very deep underwater, very far away...
Typeface: Noto Sans, Noto Sans JP, Noto Sans SC & TC
Dimensions: 90×180 mm
Paper: 90 gsm A0 inkjet roll & Colorplan Imperial Blue, GF Smith
Printer: Wildly Upbeat
Binding: French fold, French link stitch
Today was the London launch of Nuart Journal issue 8, an academic journal publishing critical writings on street art practice and urban cultures. Topics of discourse include practical and theoretical explorations of graffiti, post-graffiti, muralism, street art, post-street art, and activism. For issue 8: INTANGIBLE, contributors were invited to reflect on the theme of intangible cultural heritage, a living form of heritage that incorporates the parts of our shared past that are alive in our present.
The physical edition of this journal (210×280 mm, perfect bound) was designed by Studio Bergini, Alice Bertazzi, and yours truly. Nuart Journal is typeset in Bergini's own typeface: Melpo, produced in collaboration with Paul Christ and releasing in 5 weights. Melpo is currently pre-soft-launch-ing at the Tokyo Art Book Fair this week!
Democratic Futures “X” was a collaborative enquiry between BA Hons Graphic Arts students at Winchester School of Art, University of Southampton and the Parliamentary Archives. The project explored the political archives of the 1872 Secret Ballot Act on its 150th anniversary and the implications of this act then, and now, to the democratic electoral system.
This book, which catalogues the works of all the students and professionals involved, was designed with Amy Mepham, Matt Slater, Mitesh Shantilal, Tom Emery, Weihong Tang, and Zhuoya Wei (under the auspices of George Davis-Ansted & Studio 3015). Through this project we have received the Student Partnership Impact Award (SEDA & Jisc).
Typefaces: Neureal, Laura Csocsán (ECAL Typefaces) & FT88, Ange Degheest
Dimensions: 148.5×210 mm
Paper: Cyclus Offset, Antalis & Peregrina Majestic Real Silver, GF Smith
Printer: Pureprint Group
Binding: Perfect bound
Where the Miners Sleep, a typographic storytelling of the Hartley Colliery Calamity of 1862, the deadliest coal mining accident of its time. This book explores the extreme first-hand experiences of the disaster and the enduring remembrance still held in New Hartley today. This book was made for the 2023 ISTD design competition, awarded with a commendation! An achievement only made possible by the invaluable guidance of Jodie Silsby and Andy Reaney.
Typeface: Adobe Caslon
Dimensions: 157×259 mm
Paper: Colorplan Smoke & Colorplan Ebony, GF Smith
Printing: Risograph & screen printing
Binding: French fold, perfect bound
The Fourth Estate, a project both about and inspired by the humble (insidious) newspaper, using ‘typographic data visualisation’ to study how the language of newspapers can impact perspectives on politics, taking 4 differing articles on Boris Johnson’s 2022 PM resignation as a case study.
“The term Fourth Estate or fourth power refers to the press and news media both in explicit capacity of advocacy and implicit ability to frame political issues. The derivation of the term arises from the traditional European concept of the three estates of the realm: the clergy, the nobility, and the commoners.” – ripped from Wikipedia.
Typeface: Latin Modern Roman & Franklin Gothic
Dimensions: 195×254 mm
Paper: Cyclus Offset, Antalis & Colorplan Smoke, GF Smith
Printing: Laser printed content & screen printed cover
Binding: Concertina
Omnipotent was a zine I made halfway through uni to document some of the earliest reactions online regarding the incorporation of new AI in creativity. The methods of creating this zine were chosen to contrast the stereotypical sleek designs of new tech, embracing the cheaper, physical, and ephemeral processes of making. Omnipotent now rests in the Winchester School of Art Library, artist book collection.
Typeface: Courier
Dimensions: 128×198 mm
Paper: Newsprint (scrap)
Printing: Risograph
Binding: Five-hole saddle stitch
