Sessiz Kutlama (“Silent Celebration”) is a testimonial book by photographer Nurra Yazıcı, conveying her experiences of her son Ali’s heart transplant process through text and photographs.

The book is structured to allow the texts and images to sustain their own pace. Published bilingually in Turkish and English, the work is designed with a reading structure that does not accelerate the narrative but instead creates space for pauses, repetitions, and moments of stillness, stretching the temporal flow.

Bathhouse, Meatpacking District and the Dream Cards. New York Underground 1973–90 was a solo exhibition by Jimmy Wright, held June 3–July 15, 2016, at Corbett vs Dempsey gallery, Chicago. The exhibition catalog has 136 pages and measures 9½ × 12½ in.

This work charts the secretive subculture of gay bathhouses and clubs, as well as the seedier – and more colorful – side of street life on the lower East Side. An insightful observer of human behavior, engaged with the scene’s action himself, Wright was the fascinated documentarian of a fleeting, often extremely erotic scene. By the 1980s he turned this attention inward, to his dream-life, which he religiously charted in sketches and annotations on what he called dream-cards.   

Tomorrow Elsewhere is a compact, experimental publication posing as a diary from a 20-year-old navigating early-2000s life in a post-Soviet city. Like its predecessor, Fragments, it continues to explore how AI-generated content can fuel narrative experimentation.

Typography here becomes emotional mimicry: each headline echoes the tone of its entry. Sometimes literally, sometimes with naive charm.

The publication features multiple display typefaces from the Typotheque foundry, with the exception of the body text, which is set in Joly Text by Léon Hugues. Given the project’s hands-on, craft-oriented nature, headlines and typographic accents were outlined and embedded as SVGs.

Description of the project by the designers of Paper Paper:

For Testori 100, the first in a series of volumes published by Casa Testori, we designed a visually striking book that collects all the events held during Testori's centenary. The design focuses on celebrating Testori’s polyhedral legacy with a contemporary approach, combining historical references with modern layouts. The book captures the essence of the year’s celebrations while offering a visually engaging and cohesive experience for readers.

The typefaces used are ALT Klarinet, FF Attribute Mono, and Blanchard.

Food Journal is a project by Lena Rettich and Robert Kremer, created at the HfG Schwäbisch Gmünd in the Department of Communication Design. The topic of the semester was “Digital diaries: we deal with digital diaries – tracking, documentation, self-reflection.”

From the school’s website (translated):

Food Journal is an app that collects and organizes culinary memories. Here you can not only save your favorite recipes, but also record special moments around food – be it a cozy dinner with friends or an unforgettable restaurant experience. Events and recipes can be linked together so that you can always see which dish belongs to which occasion.The heart of the app is the large canvas board, on which all your collected recipes are clearly displayed. You can use tags to sort them and discover them intuitively. In the journal view, you can experience your best food moments in chronological order – a culinary diary.

Edition of the war diaries of the Jewish doctor Nathan Wolf covering the years 1914 to 1917, selected and annotated by Anne Overlack with a foreword by Aleida Assmann. When typesetting the book, the special features of the original texts were taken into account. Indents and markings were adopted, and postcards and memorabilia were reproduced.

From designer Ben Weaver:

Sugar Paper Theories explores the investigation of the supposed murder of two missing persons in Iceland in the 1970s and the conviction of 6 people based solely on their confessions. Jack Latham’s photographs are combined with material from the original police investigation files, a copy of the case files obtained by a conspiracy theorist and excerpts from a diary kept by one of the accused. This source material is reproduced using a variety of printing methods, paper types and sizes, and is sequenced to create a nightmarish, disorientating experience of the investigation. A written account of the case by Professor Gisli Gudjónsson CBE, a forensic psychologist whose expert testimony and theory of memory distrust syndrome are central to an ongoing inquiry, is integrated into the sequence.

The book uses the typeface Landnáma throughout.

Sugar Paper Theories was first published by Here Press in 2016. A second edition followed in 2019. Text by Gisli Gudjónsson with a foreword by Erla Bolladottir and photographs by Jack Latham. The book comes with a perfect bound card cover with cloth spine. It measures 31×23 cm and has 180 pages.

The publication chronicles an artist's expedition to the Fourth Pole, presented as a multi-script diary typeset in four different languages: English, German, Arabic, and Hebrew. The lavishly designed book includes an introductory text, a detailed diary, and several imaginative pole drawings by the two artists Julia Wirsching and Gabriel Hensche.

The publication has two identical starting points – front and back. English and German, read from left to right, begin on the left side of the book, while Arabic and Hebrew, read from right to left, begin on the right side. This design ensures that each language system leads the reader toward the center, where the four languages converge at the pole.

Through this innovative format, the book opens up a space of the imagination defined less by national boundaries than by topographical and autobiographical coordinates, offering a unique and immersive reading journey.

The Fourth Pole was published by Edition Taube.

Publisher Atelier Éditions writes:

John Cage: A Mycological Foray draws readers across the idiosyncratic, mushroom-suffused, innermost landscape of celebrated American composer John Cage. Upon the remarkable journey with Cage, one encounters assorted photographs, compositions, and contemplations; all in the very same unexpected fashion one encounters various flora and fungi species while mushroom foraging. Volume I encompasses Cage’s mycological-oriented Indeterminacy stories, Diary excerpts, and essays; and the complete transcript of Cage’s 1983 performance, MUSHROOMS et Variationes. Volume II offers the inaugural reproduction of Cage’s 1972 portfolio, Mushroom Book; authored in collaboration with illustrator Lois Long and botanist Alexander H. Smith.

Text throughout is set in Monotype Baskerville, with headings in Traulha and Cage's own writings in Space Mono.

The colophon credits design director Capucine Labarthe and illustrator Katty Maurey.

The back cover features Traulha Regulara and Italica.

Every Mushroom is a Good Mushroom is a supplement to the book.

Às vezes dá vontade de chorar feito criança – Os diários de guerra 1943–1945 (“Sometimes you want to cry like a child – The war diaries 1943-1945”) is a facsimile edition of Heinrich Böll’s war diaries that expose the anguish of the German writer in the trenches and hospitals of the Second World War.

This edition reproduces in its original size the three notebooks left by the future writer, who would win the Nobel Prize for Literature in 1972, and below them the transcripts of his nervous handwriting. The graphic design of Laura Lotufo uses several visual resources to assemble a network of information that clarify or complement the original notes, through excerpts of letters, technical data, and, future works by Böll and Army reports.

Most headlines use Agena Display. Texts are set in Tiempos, while Ofelia Text is used for transcripts of the diaries. Marginal notes and other small texts use Elza and Elza Narrow.

El trébol Africano is a book written by Graciela Cros and published by La ballesta magnífica at the end of 2023. The diary/chronicle has 168 pages and was printed in Córdoba, Argentina. It’s typeset in Amster, designed by Francisco Gálvez and distributed by Pampa type.

Glauque-Land: 25 ans d’Urbex en France looks back at the derelict sites Timothy Hannem has visited over the past 25 years. He wonders what life was like for the people who lived here. He imagined diary pages as the people who lived there might have written them.

This 272-page book is published by Albin Michel and measures 190×240 mm. A preface was written by Yves Marchand and Romain Meffre.

Atelier Choque Le Goff used the typefaces Exposure by Federico Parra Barrios (205TF) and Serial C by Mario Julián Gutierrez (Dum Dum Studio).

As part of the Ellipsis Studio launch in January 2024, we released a ‘Studio Zine’ celebrating local successes in the Cotswolds during every month of 2023.

The zine uses the typfeaces: Al Motherva, Helvetica and Source Code, a mixture of designed fonts all complementing each other throughout the publication. These were all chosen for different functioning purposes; Motherva as a display, Helvetica Light as the page furniture navigating the reader, and Source Code Variable as the body copy, its functional, plain style contrasting to the other two more elegant typefaces.

Damaskuserlebnis (“Damascus experience”) is a student work made at the Bauhaus-Universität Weimar, presenting a collection of diverse contributions related to the country of Syria. Fifteen contributors offer insight into their very personal Syria between the years 1953 and 2022. The intention of this work is to sensitize our society to different cultural contexts in terms of integration and unbiased communication. It is intended to encourage people to become active, to profess values and to stand up for one another. I see my role as a designer as creating visibility, with the help of thoughtful design. Design that informs and collaborates with others to create a something new.

In the past, as today, people all over the world leave their homes behind in search of a new future. The numbers of people fleeing are constantly increasing and for this reason it is important to have an extraverted interaction with each other and to create spaces for common discourse. If we read something about Syria today: then mostly in connection with war, suffering and torture. From the stories of my grandparents and and other persons with a contribution in the book, I know that Syria was and still is much more. My grandfather, for example, described Syria as a colorful, open, joyful country with thousands of smells and sounds. A place of friendship and great hospitality, work and progress. My motivation for this work is also to show the positive sides of the Middle East. Nevertheless, it is of great importance to understand how it could come to the current situation in Syria.

The book was published in cooperation with the Lucia Verlag and Wortschatz. The price of the book is composed of the production costs and a donation which will go to the association Wortschatz – Netzwerk Welcome Weimar. This network is a language workshop, viewing itself as a dynamic low-threshold offer to improve one’s own language together and to learn from and with each other.

The Bachelor thesis was supervised by Junior-Prof. Stefanie Schwarz and Dipl.-Des. Stefan Guzy, Department of Visual Communication Faculty of Art and Design Bauhaus-Universität Weimar.

Damaskuserlebnis is a thread-sewn brochure with 104 pages, measuring 16.5×23.5×1 cm. It was digitally printed on 270 gsm Symbol Card and 120 gsm Lona Offset by DZA Druckerei zu Altenburg who also took care of the OTA binding. The book is available from do you read me?! Berlin. ISBN 978-3-945301-55-5

Find more information in an article about Damaskuserlebnis by Slanted.

Christoffer Leka. License: All Rights Reserved.

Leo Tolstoy once wrote that every happy family is alike, whereas every unhappy family is unhappy in their own way. Likewise, every perfect book is perfect in the same way. This book does not belong to the category of perfection. Indeed, it is imperfect in numerous ways.

The text above is from the back cover or our book Imperfect. It is in many ways a curious book. It lacks covers, but comes in a box. When opening the box the reader first finds a single leaf note printed on one side. This note serves as an instruction as to how to handle the book so that reading is possible. The first words on the note tell the reader: “You will need a knife”.

The reason for such a strange mandate stems from the fact that the edges of the books are not trimmed. Meaning that in order to enjoy the contents of the book the reader has to cut open the pages themselves. Now at first this might seem like unnecessary attempt at making something different only for its own sake, but this would be a mistaken notion. In our books we always look for some reason for choosing a particular form, and Imperfect is no exception.

To explain why this form was, if not essential for the book, then at least beneficial for telling the story I will however need to take you on a small detour first. But in the end I promise that everything will be clear(er).

Christoffer Leka. License: All Rights Reserved.

In a previous post I shared with you how we tried (and failed) to gather funds for a bike trip across the United States. But even despite our much lacking financial acumen we managed to make it to New York City. On the 3rd of June 2016 our great bicycle adventure began from the corner of the 17th St. and 2nd Ave. Our destination was the Pacific Coast, though at this point we didn’t dare tell anyone about it. We just said we were on our way to Delaware, and even then we were met with ill-hidden skepticism.

If you think that riding a bike across a continent wouldn’t be difficult enough by itself, we decided to raise the stakes and combine it with an art project. We had previously written and published books about our adventures, but these books had been conceived of and made after the journey already had ended. One example of such a book is Tour d’Europe in which we told the story of us cycling from our hometown Porvoo in Finland to Nice by the Mediterranean Sea.

Christoffer Leka. License: All Rights Reserved.

Christoffer Leka. License: All Rights Reserved.

The project we now envisioned was different, and in a sense simple enough – each day we would send out a postcard. In these postcards we would document our journey, where we went, how we felt, who we met, and what we thought about. Kaisa would illustrate and write the cards, whereas I would hop into the post offices to get the stamps cancelled by hand, as to provide the artifacts with yet another level of information.

The recipients to the cards were my young niece and nephews Alwa, Edwin, and Wilhelm, who at the time of our trip were 3, 6, and 8 years old and lived in Helsinki, Finland. Our reasoning was that the kids were at this point too young to understand or even care about the antics of their old relatives, but that in the distant future they might wish to learn about what we had done.

Christoffer Leka. License: All Rights Reserved.

Christoffer Leka. License: All Rights Reserved.

That we called our book Imperfect was born out of the fact that in making it we had to give up much of the control a graphic designer takes for granted. This is to say that there was a built-in randomness into the process. There was no chance to edit the already sent pages. Nor did we know what would happen the next day. Or even which cards would actually make it across the ocean. Making the book was for all intents and purposes an analog live-streaming of our adventure.

The more we thought about postcards, the more miraculous they began to appear to us. A postcard is not restrained by the same boundaries that control us: It crosses not only spatial borders, but temporal ones as well. Postcards speak to us in a voice that is simultaneously static and dynamic. Their voice is static inasmuch that which is written with ink on paper stands, but dynamic in the sense that their voice will have a different tone and meaning when read fifty years from now, compared to being read today. Which is to say that the meaning of the postcards will grow along with the kids.

The cards took their own road. We rode on ours. Fields of green turned into prairie, and prairie turned into mountains, forests and desert. Then one day in August we stood on the shore of the Pacific Ocean. And just a few days later we rolled over the Golden Gate Bridge into San Francisco. Against all odds we had crossed the continent. Our expedition was now over.

Christoffer Leka. License: All Rights Reserved.

Christoffer Leka. License: All Rights Reserved.

The next adventure was turning all this into something publishable. Our experiment of documenting our journey had been a success, at least as far as we were concerned. So why not share it with the world? First we sought permission from the kids, it was after all their cards we wanted to publish. To our great relief they granted us permission. Or at least cared too little to actually forbid us from moving forth with our book plans.

But you are really here to hear about the typography, right? Well, we’ve got you covered! The typeface we chose for our book is Cheltenham. It is a roman influenced by the aesthetic sensibilities of the Arts and Crafts movement, and drawn by Bertram Goodhue and Ingalls Kimball in 1896 in New York. It is a well-known typeface, and one with a fair share of idiosyncrasies. Characters that have, while much loved, also been at the receiving end of some criticism. The venerable American printer and historian of typography Daniel Berkeley Updike wrote: “Owing to certain eccentricities of form, [Cheltenham] cannot be read comfortably for any length of time.”

We could think of no typeface better suited for our book than Cheltenham. It is far from perfect but makes up for any such deficiency with a most charming personality. The missing old style figures for the typeface were drawn by our trusted lettering artist Teo Tuominen in the fall of 2016. He is also the person to credit for the beautiful script on the back cover post card.

Christoffer Leka. License: All Rights Reserved.

Along with the instructions on how to handle the book, the book block itself and the box it came in, we also included a map. This map depicts our slow progress across a continent, with statistics underneath to further illuminate what took place and where. But the main thing we sought to convey with the help of the map was all the kindness and help we received throughout our journey. While it might seem bleak at times, this trip imbued the two of us with a strong conviction that there still is hope for humanity, even when it doesn’t always feel that way.

Christoffer Leka. License: All Rights Reserved.

Christoffer Leka. License: All Rights Reserved.

Postscript

Once the book was published we hosted a party to celebrate in its honor. The posters shown below advertised the event. The images depict our feelings regarding the journey: The underdog who took a serious beating but still remains standing, and the strong pioneer lady who is prepared to fight for what she believes in. In the third one you can see young Alwa being held by me. (She got to participate as the representative of the kids, as the brothers had already made their appearance in another project of ours. But that is a story for another time.)

Christoffer Leka. License: All Rights Reserved.

Christoffer Leka. License: All Rights Reserved.

Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

How do you go about designing a book about a 3,000 kilometer bike journey across Europe? What should such a book look like? How should it feel? And how would the form reflect the content?

There are of course many ways to achieve such a goal, but this was a ride we did ourselves so we had ample time to think about the aforementioned questions.

What follows is an explanation and examples of how we chose to tackle the problem.

First of all we started by envisioning a book as clunky and impractical as a bike ride spanning four countries and thirty days. What we landed on was a pocket book too big for any pocket we’ve ever known. This seemed only natural – an arduous journey requires a format of the same kind.

The book should also look battered and bruised, much like the two cyclists who did the journey in the first place. A book you would throw into a bag without remorse and read it whenever you had some time off.

(Fun story: At a comic book convention we attended a lady came to buy the book from us and exclaimed in surprise: ”Oh! It is supposed to look like this? I thought the library copy I read had just been terribly mistreated!”)

The contents of the book consist of a graphic novel drawn by Kaisa, divided into eighteen chapters, all of them beginning with a reflection over our human traverse on this earth.

The book speaks of two journeys, the external one, i.e. cycling from one country to the next, but to an equal degree of the internal journey of an adventurer. It deals with the meditative aspects of road cycling. (Trust us, this will be important later on.)

Photo: Christoffer Leka. License: All Rights Reserved.

Now that we have the background information sorted, we can dive into the topic you came to read about: typography!

As the most astute of you have already figured out, the headline is set in Banco by Roger Excoffon. For us it was the obvious choice, as it is French, and because it has a distinct ’50s feel to it. The style we we’re going for with the book’s visuals was a nostalgic one, hinting back to a time when traveling still felt like traveling.

Photo: Christoffer Leka. License: All Rights Reserved.

For the secondary type we knew we wanted a sans serif, preferably a geometric one. But this time our old friend Futura felt out of place. Too cold, too logical. There was little logic to our venture anyway. So something else, something a bit quirkier, an underdog of sorts.

Perusing our collection of type specimens and books on typography, we found the perfect contender: WAD’s Metro No. 2!

In a book Dwiggins wrote in 1928, he complained about the lack of good gothic capitals. Harry L. Gage at Mergenthaler read the piece and promptly commissioned Dwiggins to create a sans serif of his own. Thus Metro was born, and while it might not have outshone Futura, it was still the perfect fit for us – a bit idiosyncratic and not super popular, just like the two of us!

To make the type a bit softer with a slightly less crisp feel to it we aged all text through a both intricate and secret process. (Just in case you’re thinking that this looks nothing like the Metro you knew.)

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

You will also see that we made two different covers. Or at least an additional dust jacket of sorts.

This was due to Kaisa being convinced that no one in their right mind would buy a comic book that had a photo on the cover.

So we reached a compromise – on half of the print run there would be a dust jacket with some promotional text to go along with the cartoon representation of Christoffer cycling.

We’ll leave it to you to debate which one works better!

The important thing here is that here we encounter yet another typeface – this time we used Morris Fuller Benton’s Empire, which adds to the classy feel of the project. For us it is all about class! Empire felt like the perfect companion to Banco and Metro, even when such a pairing might not be text book.

And speaking of books, what adventure book would be worth its salt, should it not include a map?

That is why we too were compelled to add a map depicting our adventure through Europe in the back of the book. As true to the modernist ethos we stuck with the same tried and tested typefaces as in the book itself – Mostly Metro with just a smidge of Banco thrown in for good measure.

And that’s it, the story of one of our more beloved books to date. But fear not, we will return to this very topic in a second post, as there is more to this project than a simple book.

In the meantime if you desire to learn more about our projects you can turn to our website.

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

Source: www.absolutetruthpress.com Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

Front cover featuring lettering based on DIN 1451, Bodoni, and Narrow Roman Stencil JNL

Please note!

Given the abhorrent war Russia is engage in in Ukraine this project is of course cast in a different light than when it was first conceived.

Like many neighbouring nations, Finland too has a troubled past with Russia. At the time of our journey our aim was to try to cast aside past wounds and try to get to know the people. But some three years later old fears and prejudices have unfortunately resurfaced and been proven valid.

For this we are truly sorry, as the people we met during our voyage were anything but the rabid warmongers we now encounter in the daily news. But let us be clear, we do, in no uncertain terms, condemn the unlawful and completely senseless occupation of Ukraine that Russia is presently absorbed in.

Despite this less than cheery disclaimer we hope you can appreciate this project for what it is – an attempt to build bridges instead of burning them. Something we feel the world is in dire need of.

*

It was not a very well thought out idea, but very few adventures start with being meticulously planned. At least our adventures. But at least we had a rough outline of what we would attempt to achieve:

Our aim was to paddle from the small town Kem located on the shore of the White Sea all the way to St Petersburg.

These two places are connected by a number of locks, rivers, and lakes to each other, and upon learning that it was at least theoretically possible to kayak from one to the other we decided it was well worth trying. On the 9th of June 2018 we set sail southward.

But enough about the background, you are here to read about fonts. And we’re getting there. Just one quick thing we need to mention first:

During our voyage Kaisa kept a diary in which she recorded what happened during the trip. When we reached St Petersburg seven weeks later she had filled four small journals with drawings and text.

Source: www.absolutetruthpress.com Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

Title page, with the custom digitization of Secession’s Cyrillics and LTC Remington Typewriter

In 2020 we published these diaries in book form under the title Русские Дневники (Russian Diaries).

In 2021 our small book was included in the collection of the most beautiful books of the year in Finland. It also received the Hopeahuippu prize (silver) in the annual Finnish design competition Vuoden Huiput.

As for the typefaces, we came upon the Cyrillic version of Secession in an old type specimen book in our library and felt it fit our purposes perfectly. The problem was that we couldn’t find a digitised version of it.

Here our friend Teo Tuominen came in the picture. As an accomplished type designer it took him little time to render beautiful versions of the needed letters from a scan we provided him with.

Source: www.absolutetruthpress.com Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

The specimen book on which Teo Tuominen based his digitization

As for the body copy we went with LTC Remington Typewriter, a nice typeface that also came with the much needed Cyrillic characters.

For more information about the project and our journey you can pop over to the project website.

Alongside with the book we also made a poster in which we posed with our expedition flag. It was a horribly cold and miserable photoshoot (you can see the frost on the rocks in the foreground!) but the picture itself turned out really nice. At least we think it did.

(Oh, and for all the real maritime design nerds out there: On the cover of the book, as well as on the poster we spell out “Русские Дневники” in the Soviet Signal Alphabet. Admittedly not a font, but still interesting for letter lovers.)

Source: www.absolutetruthpress.com Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

Reproduction of an illustrated spread in the original diary, with lettering

Source: www.absolutetruthpress.com Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

Reproduction of an illustrated spread in the original diary, with lettering

Source: www.absolutetruthpress.com Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

Poster showing the mounting of our expedition flag, as well as the title “Русские Дневники” spelled out in the Soviet Signal Alphabet

Zine documenting a road trip from the Bay Area to the Cascades in Washington and back.

Over the summer, Joseph and I drove Rancher, a bright yellow camper van, from the Bay Area up north to the Cascades in Washington and back. The drive spanned nearly 2000 miles as we stopped in Portland, Mt. Rainier, and Seattle. This zine documents the trip through photographs I took along the way, incorporating forms that reflect and highlight the jagged peaks and organic landscapes of the Cascades. The zine uses Arial Narrow and Apple Garamond – both condensed takes on common fonts – as well as Neue Haas Grotesk Text, to complement and contrast the imagery and forms.

Any Human Heart. The Intimate Journals of Logan Mountstuart by William Boyd was first published in 2002 and nominated for the Booker Prize. Shown here is the TOC edition from 2022. It was printed in dark blue with a matching dark blue sewn binding. The letterpress printing was done by Die Lettertypen on an original 1954 Heidelberg cylinder. Set in Guyot by Ramiro Espinoza, plus FF Real and Haus Stencil by Erik Spiekermann. TOC comments on the typography:

Ramiro Espinoza studied type-design in The Hague and in Antwerp. There he came across the work of a lesser-known French punchcutter, François Guyot, who worked in Antwerp during the sixteenth century. Espinoza’s design combines the elegance of the historic model with contemporary efficiency. A good Italic was needed to distinguish the comments between the sections of the story. We also used swashes and embellishments, which suit the wide range of Boyd/Mountstuart’s imagination. Any Human Heart is written as a diary, conjuring the image of a printed calendar where you tear off a little note every new day. The aptly named Haus Stencil (initially designed for door numbers) gave us this look and provided a spot of color on the page.

Schotis Text in use in an art book by Elina Brotherus, designed by Dog Design in Helsinki, Finland. From design studio Dog Design:

The AKO Foundation invited artist Elina Brotherus to photograph a series of works on the southern coast of Norway. Brotherus visited the locality of Kristiansand in Sørlandet several times during 2018-2019. Seabound: a Logbook was born from these works.

The book stands alongside the photographic series as an independent work in which Brotherus’s stunning pictures, multi-faceted visual narration and typographical elements are joined together like entries in a catalogue-like logbook. The book is published by the well-known German art book publisher Kehrer Verlag.