Future Ruins: Lisbon is a collection of maps, charts, urban guides, group studies and new writing by Artists, Writers, Researchers and Engineers that explores Lisbon through the lens of urban development and decline.
We designed a custom headline typeface for the book using RUHA, a stencil lettering tool developed by Portuguese type foundry Tipos das Letras. Both ornate and functional, the typeface pays homage to the tradition of decorative tiles and lettering found across buildings in Lisbon.
Claire Nichols’ work plays with the philosophical and physical spaces of the studio and gallery, through sculptures, drawings and performances that she sees as always ‘in process’.
‘Variations’ references the spatial and temporal nature of Nichols work by bringing together documentation, sketches and studio shots into a shifting composition of images. The book was edited with the Artist through a process of selection and refinement that aimed to mirror the often intuitive nature of her performances and studio practice.
Hypersurface was a group exhibition at the Austrian Cultural Forum London that explored a shared interest in surfaces and their porosity. The selected artists were invited to consider technology as a way to perceive new realities through surfaces and materials.
With alternate pages printed either metallic silver or green-screen green, our design for the exhibition catalogue intersperses essays and shorter texts with interventions and proposals from Barbara Kapusta, Simon Mathers, Florian Mayr, Hannah Neckel and Stefan Reiterer.
Publication for Royal College of Art research group
Energy, fluidity, serenity
When was the last time you breathed deeply? Marketing Suite was an exhibition organised by Critical Cartographies, a research group at the Royal College of Art, staged at Filet Space and Assembly Point in 2019.
The accompanying publication combines work produced by the artists in the group with texts taken from existing marketing suite brochures used to advertise apartment complexes in London. Designed with Eilis Searson.
For the Time Being was an experimental programme of photo-performance, conceived as a response to the everyday presence of social media.
Through a series of on and offline events and performances at the Photographers’ Gallery, London, the project invited 5 international contemporary artists Agil Abdullayev, Feng Mengbo, Max Grau and Tamara Kametani and artist collective Agorama to reflect on the role of image sharing networks in their personal lives.
We created a flexible identity for the project, referencing the visual language of stickers and animations associated with social media. The events were supported by a series of texts published on a website that also acts as an archive of the project.
Developed from a series of talks held between 2014–2017 in the Sculpture department of the Royal College of Art, Everything is Sculpture: Immaterial Constructions / Material Realities is a publication that brings together a diverse range of practitioners to interrogate new contexts and issues that draw from and affect the production and reception of sculpture today.
Printed over-size on lightweight glossy paper, the publication is both weighted and ephemeral. The range of subjects explored by each contributor, and the diversity of their approach is highlighted by contrasting type styles and sizes. The whole book is printed in a combination of metallic gold and black ink.
City & Guilds of London Art School Shows
Exhibition Identities, 2016–2020
Founded in 1854, City and Guilds of London Art School is an independent university that focuses on Contemporary Fine Art and the Conservation of Cultural Objects.
Since 2016 we have worked with the Art School to develop visual identities for the annual graduate shows. The work we produce for each exhibition seeks to reflect the variety of work on show through the application and treatment of typography, images and colour.
For the 2019 summer exhibition we wanted to highlight details of the making that happens at the Art School. The identity uses a bespoke typeface based upon Bureau Grotesque. The invites have been printed in a combination of fluorescent colours and metallic silver.
For the 2018 degree shows, we highlighted the diverse range of disciplines and practices of students at the art school, by cropping and isolating photographic details of students at work. These were then printed in a set of complimentary spot colours for each degree show, to create a set of visually coherent, yet distinct identities.
Our work for the 2017 degree shows at City and Guilds of London Art School was the result of consultation with graduating students from the Foundation, Undergraduate and Postgraduate courses. Working with the students, we collected textures, objects and materials from the studios and workshops associated with each course and scanned them to create a set of adaptable collage-like images. These were then printed in a set of contrasting spot colours to clearly distinguish between each degree show.
Noit–4 Reflections is dedicated to writing by Noa Latham about his father’s art and ideas. A mixture of memoir, interpretation and critical analysis, the publication is heavily illustrated throughout by personal photographs and exhibition images of John Latham’s work, as well as printed ephemera found in the Flat Time House archive.
A variety of typographic treatments throughout the publication help to support the content as it changes in tone from personal reflection to interview. The larger format for this special edition of NOIT Journal allowed for a more generous range of image sizes as the photographs shift from close details of one particular work to wide angle installation views.
Richard Slee is a British Contemporary Ceramic Artist who has, since the 1970s, been producing work that challenges conventional notions of Ceramic Art with humour and irony.
For his exhibition Work and Play at Tullie House Museum and Gallery, Carlisle, we designed a comprehensive monograph of Slee’s work produced over the previous decade. Contrasting yet traditional typefaces throughout the large-format book helped to emphasise the playful use of colour and personality in much of the work featured within.
Curated by Joseph Townshend of Housework Press, Ideal Science is a group exhibition of artists, designers, publishers and printmakers from across the world, who use Risograph printing as part of their wider practice.
As part of the exhibition, we produced an A3 print that used all nine of the colours that Housework Press had available. Stock photography and patterns extracted from 90’s football kits became the sources for our print.
Commissioned by Whitstable Biennale, Stuff Happens Here was a year long programme that provided workshops and mentoring for young people aged between 18–24 on the Isle of Sheppey, Kent. The project culminated in a presentation and exhibition at Tate Exchange in April 2017.
Working closely with lead artist Esther Collins, we drew a typeface, based on found woodblock lettering, that became the centre of the project’s visual identity. Using this lettering as a frame, we printed two-colour risograph posters for each workshop throughout the year.
In November 2016 we led our own Sheerness Sans workshop on Sheppey as part of the project, working with the programme participants to develop a typeface based on found objects collected during group walking activities.
Freedom From Torture’s biannual fundraiser, Drawing a Line Under Torture, is a two-week exhibition and auction featuring work by internationally recognised artists, as well as the charity’s own art therapy groups.
The 2017 exhibition was held at the Bargehouse on London’s Southbank. Our visual identity referenced the stripped back architectural details and industrial history of the building through the use of textured grey board and a muted colour palette. The typeface, Montefiore – selected for its reference to Victorian road signs – was used throughout the exhibition for headlines and signage as a further nod to the historical context of the Bargehouse.
Founded in 1854, City and Guilds of London Art School is an independent university that focuses on Contemporary Fine Art and the Conservation of Cultural Objects. From 2015 we have worked with the Art School to develop its visual identity, expanding on the logo drawn by typographer Eiichi Kono for the School a number of years ago.
The courses offered by City and Guilds of London Art School have a focus on historically informed craft practices – it runs the only undergraduate and postgraduate historic wood and stone carving courses in Britain. Our work for Art School is often informed by these traditions, while at the same time looking to more contemporary applications of material, craft and technique.
Produced to accompany Marc Camille Chaimowicz’s project of the same name at Flat Time House, the third edition of NOIT, a journal of John Latham’s art & ideas, acted as an extension of the ideas of inhabitation, decoration and deconstruction explored during the exhibition, which also included the work of Bruno Pelassy.
Featuring critical contributions from Kirsty Bell, Marie Canet, Roger Cook, Katrina Black and David Thorp; alongside documentation of the exhibition, the book is punctuated by Chaimowicz’s hand-drawn borders and artwork, which mirror and respond to his physical interventions into the space of Flat Time House itself.
Sir John’s Nose is a room atomiser and fragrance disguised within a life-size cast of the nose of the bust of Sir John Soane. A project by designer and maker Michael Hurley, the ingredients of the fragrance are a direct reference to the materials that the Soane household would have purchased to mask the scent of urban London in the 18th and 19th Centuries.
With Michael Hurley we designed and letterpress printed packaging and accompanying material for the Nose, using a typeface that was drawn by Abake directly from Sir John Soane’s original architectural plans.
The project was commissioned by the Royal College of Art with Jerwood Charitable Foundation for the exhibition The Digital Soane, held at Sir John Soane’s Museum in 2014.
Produced to accompany the inaugural group exhibition at Assembly Point Gallery in Peckham, South London. Back to the Things Themselves is a large format, loose-leaf catalogue that combines a short essay by Graham Harman with images submitted by the artists involved.
A homage to Bruno Munari’s experiments with a Xerox machine, Original Risographies explores the potential of the Risograph duplicator as a tool for creating new images, as well as reproducing existing ones. Part manual, part investigation, the book contains 56 experiments, collected into chapters covering Reproduction, Scale, Density, Movement, Pattern, Texture, Layering and Colour.
Featuring visual contributions from An Endless Supply and Peter Nencini, Original Risographies also contains writing by Darryl Clifton and Adrian Holme that explore the theoretical implications of the theme of each experiment. The publication is held in a number of collections in the UK as well as the Watson Library, Metropolitan Museum of Art, New York.
Original Risographies was conceived, published and printed in collaboration with Studio Operative. Printed in an edition of 500.
The Bunhill Walking Map was produced as part of artist Sam Curtis’ long-term project with St. Luke’s Community Centre in Islington. In an ever-changing environment, the map was generated from walks led by local residents, documenting the sights, sounds and stories of their community.
From the Moon to the Sun was published in the middle of artist Rosalie Woods’ 2 year project in Archway, North London. Having spent one year ritualistically cleaning the same manhole cover in Archway on the new moon, Rosalie used the objects and detritus she collected to create a new piece of music that would be played once a month for the following year on a barrel organ next to the original manhole cover.
The publication collects together Rosalie’s notes and images with new writing that provides a theoretical perspective on the project. Accompanying postcards were produced to advertise the dates of each music performance and given out to local passersby.