The art of sculptor Florian Ecker is the result of an exploratory curiousness, in which he examines natural phenomena with scrupulous precision and the experimental set-ups of a scientist.

His artworks do not represent this explorative movement but its result, once Ecker feels it as being finished. Thereby the traces of its experimental undergoings are of varying recognizability. However, they belong to the artwork no less than the visual impression we get.

The book structures Florian Ecker‘s work in the form of a scientific journal into research, experimentation and results, and is thereby reflecting the creative process of the artist.

Rooted in editorial design and journalism, my work centers around visual storytelling. My artist books are driven by an intensive personal dialogue between artist and designer, verbally and creatively. Having had the great pleasure to have been invited into the archives and production of the artists, I help translate the artworks, mindset and process into a book object.

Sculptor Shinae Kim is fascinated by measuring her world. By recomposing these measurements, numbers turn into objects with a soul. Moreover, for her even a simple pencil line is a spatial object, as it leaves a tiny graphite layer on the paper. In consequence, the book was designed as a three-dimensional space on its own by arranging the original artworks into new layers and compositions.

Rooted in editorial design and journalism, my work centers around visual storytelling. My artist books are driven by an intensive personal dialogue between artist and designer, verbally and creatively. Having had the great pleasure to have been invited into the archives and production of the artists, I help translating the artworks, mindset and process into a book object.

Florian Lechner plays with space in all its aspects: wideness and narrowness, gravity and volatility, analog and digital, just to name a few. In his installations and wall objects he changes how the spectator perceives a space and creates new spaces, even impossible ones.

One of Lechner’s series is titled Raumskizze (“spatial sketches”) as they appear like an unfolded drawing placed in a room. They convey the impression, that they are not physical but virtual objects. The layout of Lechner’s publication Eins (“One”) echoes this impression by weaving together the catalog texts like a tapestry – showcasing Lechner’s notorious use of lowercase Helvetica – that transmits Lechners sculptures once more into spatiality.

The typography of the publication uses Neue Helvetica throughout.

Rooted in editorial design and journalism, my work centers around visual storytelling. My artist books are driven by an intensive personal dialogue between artist and designer, verbally and creatively. Having had the great pleasure to have been invited into the archives and production of the artists, I help translating the artworks, mindset and process into a book object.

Daniel Roeckl is a traveller. Below the Surface is collecting architecture and portrait shots he took in the last fifteen years visiting Armenia, China, Ethiopia, Myanmar, Russia, and other places. In every city he visits, he is turning his gaze rather to the “final stations” than the “high streets”. For this book, he composed his images into a personal sequence. In several sessions, Schwarz and Roeckl refined this rhythm and set the images into a pure layout.

The chapters of the book follow twelve emotions: calmness, serenity, joy, easiness, cockiness, scepticism, confusion, depression, anger, courage, force and confidence. The publication is concluding a spiritual epilogue by the artists in English, German, and Russian.

Rooted in editorial design and journalism, my work centers around visual storytelling. My artist books are driven by an intensive personal dialogue between artist and designer, verbally and creatively. Having had the great pleasure to have been invited into the archives and production of the artists, I help translating the artworks, mindset and process into a book object.

Pulp and pigment. Sculptor Raphael Grotthuss is pushing the boundaries of paper. He’s exploring and inventing methods of paper manufacturing. His work is an interplay of his own artistic concept and skill, whilst embracing the unpredictability of paper as a living work material. Thus, using the same method in the same manner will inevitably produce varying outcomes.

Afronaut as a main typeface showcases this tension through its mix of constructive and organic letter features. It’s paired with Romie for the captions. With the documentary shots of photographer Louisa Marie Summer, book designer Dominik Schwarz created the rhythm of the book, following the process of the artist: Exploring, experimenting, exhibiting. Repeat. Exploring, experimenting, exhibiting. Repeat.

The book was published by Black Matter Editions.

New design for the catalog of the FC Bayern Museum titled Unser Verein. Unsere Geschichte. Seit 1900. (“Our club. Our history. Since 1900.”), using the club’s custom typeface FC Bayern Sans along with LD Elsnac as the main text typeface.

Delicious and well done! Independent Medien-Design uses our LD Moderne typeface for Benedikt Faust’s cookbook Sterneküche kann jeder! (“Star cuisine’s for everyone!”), published by well-known German publisher Gräfe & Unzer.

LD Moderne can be seen in two of its three optical sizes, Display and Subhead. It’s paired with Futura.