“Collection of shapes, colors & words” is a patchwork of drawings, travel notes and analogue photographs from South America, where German Artist and Designer Isabel Schubert lived and studied in 2018/2019. She explored the countries Brazil, Chile, Peru, Bolivia, Argentina and Uruguay. The book summarizes personal impressions of this journey.

At which point does one feel able to speak about feminist issues? What do power relations look like in the field of design an is feminism imaginable without criticizing capitalism?

break*in points out, makes visible and is loud.

The project was born at the end of a research on the tree, on the multiple aspects that characterize it and that link it, in an indissoluble way, to the human being. The concept I decided to deal with in this book, is that of “time,” starting from the desire to make a dilated, secular time (impossible for a human to perceive) into a small time. The tree that comes to life in these pages is a specimen of Sequoia Sempervirens (the tallest species in the world), two hundred and fifty years old. Deliberately depicted in a simple, almost childlike manner, it renders in just under 25 seconds the idea of how a seed, falling into the earth, grows and transforms until it explodes into an adult tree.

In my typeface design process, I use my body movement to perceive how the types change, using performance to give types emotion, and people performance dances together to convey the relationship between the center of types gravity and structure of the types, and so on. The body experimental typeface was purchased for use by the Focus Group in Berlin, which is a global group of artists from diverse backgrounds.

This book is inspired by the fledgling protest movement that is still happening in Iran.
Many inspiring moments were created during Iran’s uprising. From the grieving but proud parents celebrating the death of their child for the freedom of country beyond their graves, to the women shouting “Freedom” in the graves of their husbands or fathers, to the courageous Iranians who despite Losing their eyes and vision are still seeking the liberation of their people and country.
I dedicate this book to those who have lost their eyes.
I strongly believe as one of the victims said, “I have not yet seen the day when I ‘must’ see; I know it is close, very close.”

the objective of my work is telling a story affected by structural change and showing people who witnessed this story. what happened to the opel workers of bochum? it is essential to reflect on the fate of these people, since memories of opel´s disappearance collect dust in shoe boxes or rest on hard disks and servers of press agencies. sufficient inducement for this book. it takes a look at opel´s disappearance from bochum, with the voice of former factory employees, partially linked with news items, photos and keepsakes and an essayistic annotation. and it also takes a look at the time after. copyright repros: pixelgarten

For many years, first on a blog, then on Instagram, I have collected and posted midcentury book covers that use modernist design strategies. I often create groupings that that use a similar formal or conceptual approach. One can see in them both the overuse of worn-out cliché’s and the way in which a simple concept can produce a near endless number of creative permutations.

“A Book Of Signs “investigates the study of meaning through the concept of semiotics. The idea is conveyed by appropriating the structure of a dictionary, which enables the reader to examine the particular elements of semiotics from the spoken words, to the written words, and to the mental concepts. Each tab leads to a different part of the narrative that leaves the reader with a question: what does the word “language” really mean? When the reader flips the pages of this book. The size of the images and typography keeps getting smaller and smaller. The definition of an “image”, of a certain “word”, of how we receive information becomes vague and reconstructs along the reading experience.

How do we define or measure luxury? Not with money or time, but diversity. Yet contemporary modes of living luxuriously have lost sight of this reality. This is why theory is needed to provide a course correction. As in evolution, luxury drives both diversity and a variety of forms in the history of individualism, too. In the same way that natural luxury breeds biodiversity, human luxury breeds ego diversity. Without natural luxury, individual luxury, too, will die out.

The book traces the history of luxury parallel to the evolution of subjectivism and individualism from the 14th century to date.

Cover design for a book dedicated to the historic shops of Pollença town in Mallorca. The colors of the town’s flag have been worked on, with a typography that reflects the beauty and tradition of a past time that survives in the present.

For my bachelors degree I created DESIGN BY ACCIDENT. I asked myself: What influence can an accident have on the creative process? I attempted to answer this and other questions within the framework of twelve design experiments that were further collected in an experimental slipcase which itself serves as a stage for the last experiment of this collection.

We stand in a white, empty room without corners and edges. With us are a plate with an ‘R’-shaped hole, three light sources of different strengths and a camera. With the goal of finding new graphic elements, we explore the limits of legibility and the possibilities of playing with light and shadow. We translate these newly developed graphic elements into typography. Unconventional typographic pages are created with reinforcing content from the book “Experimenting – Insights into practices and experimental setups between science and design”.

“Frames of Reference: An Analysis of Queer Representation in Film” is a comprehensive graphic design book that delves into the importance of representation in media. The book specifically focuses on queer representation in film and aims to educate readers on the significance of accurate and diverse representation. The book’s main inspiration is “The Celluloid Closet” by Vito Russo, a film historian and queer activist. Russo’s book is considered a seminal work in the study of LGBTQ representation in film, and “Frames of Reference” builds on this legacy by providing an in-depth analysis of queer representation in film using a data visualization approach.

This three-volume set is the Traditional Chinese version of the autobiography trilogy by the famous Japanese photographer Eikoh Hosoe. Limited edition of 1,500 sets. It was published in May 2020. The book size is 128mm x 188mm. When the three books are placed side by side in the box, the spines of the books would be combined then show the four Japanese Kanji characters of the author’s name, When the three books are separated, the spines of each book have their own appearance. The spine design focused on the integrity of the three books in one, which is important for a set of three-volume autobiography to produce a sufficient sense of visual weight when displayed.

My book is all about the experience of AIs’ understanding of the fundamental rights of the German constitution and the way they visualise and interact with them. Four AIs wrote and illustrated the content of this book, another AI reproduced the national anthem, a random function in excel contributed to the layout, and the three typefaces used are AI-generated by Daniel Wenzel. The book contains 280 pages full of randomness, ranging from a profound comprehension of the law to random thoughts, from politically correct to questionable ideas, and from criticism to applause.

During Covid time, a team of 18 young graphic designers from Cairo have conducted online interviews with different designers from the Mena region. The result project is Makhzan – the first issue of the non-profit bilingual magazine that portrays 70 designers from 14 different countries in the Mena region and provides a platform for the presentation of their work and thoughts.

Ever-changing seascapes hold many contradictions: powerful yet calm, dark yet enlightening, dangerous yet enticing. SEA is an abstract photography project that explores Nolletti’s emotional connection with the sea. This unique publication features images from “Geometries of Water”, a parallel design project.

The abstract nature of the images creates unique forms and portrays his darkest feelings. All the photographs were taken in Brighton over a period of two years (2015 – 2017).

The design of the publication incorporates a modified Japanese binding method that mirrors the layout of the title. The inner pages are printed on translucent paper which creates a unique overlaying effect.

The design of the book is rooted in its story. The soft cover is perforated, as also every page. The hole pierces through and eats up parts of words to match the narrator’s feelings of discomfort. You have to untie the knot in his throat in order to open it.
Although very distinct stories, the scenes are bound by a common thread: the narrator doesn’t feel with his heart or stomach. Every intense sensation travels through the neck and its elaborate chambers – jaws, tonsils, tongue, esophagus, mapping out the entire area of his emotional center. He uses phrases as “the roof of my mouth caved in” and “the root of my tongue was frozen solid”.
A book about tension & obsessions, a well built maze.

This book is not meant to boost confidence or reveal the one trick to perfect, never-ending self-esteem, but to be encouraging and show that everyone is only sometimes confident.

To achieve this goal, information pages, interview pages and comic pages take the reader through the topic of self-esteem. The interview pages can build on the theses and facts of the information pages and show different perspectives on the topic in which the reader can find himself. The comic pages loosen everything up again and again and show personal situations or experiences that shake my confidence.

Foto Foglia Napoli is a photographic project that began in February 2020 and ended in February 2021.
The result, after one year, is a book containing the history of the photographic studio of Simone Foglia’s family.
100 years of life, 4 generations and lots and lots of archival photographic material. A journey into the belly of Campania
as seen through the eyes of his family. Very happy to have contributed to the creation of this fantastic book!

In mid-nineteenth-century Turin, legend has it that, among the forms of discourtesy reserved by the people for the executioner, bakers would hand him the bread upside down as a form of contempt and evil eye. Local administrators, prompted by the executioner’s repeated reports and complaints, issued a city ordinance formally banning this discriminatory practice. So it was that the bakers, in order to circumvent the law with a creative choice, invented a new device with magical and symbolic power, a type of brick-shaped bread: the pancarré. In the impossibility of recognising the baking side, it could continue to be served upside down, thus exerting its silent power.

I come from a war-divided family. In hopes of reuniting with their babies trapped in North Korea after the Korean war, my grandparents cultivated a barren land in Sameri, Korea and built houses for the following generations to live together.

The Chronicles of Sameri collects the memories of this land from all family members. The gravity of the narratives shifts over generations; the family’s bickerings over dates and details are thoroughly recorded.

The glass book cover preserves the stories as if in ice. The process of blowing glass at the hot shop mirrored the process of cultivating a land. Coordinated movements based on mutual trust made both works possible.