Context Window takes a McLuhan-esque mosaic approach in the form of a visual essay on the ever-expanding role and effects of computers and digital technology on our lives. As our exposure to computers and digital technology has expanded, infiltrating nearly every aspect of human existence, their ability to change our behavior through subconscious cues and otherwise invisible environmental changes should prompt deeper consideration of who these changes ultimately benefit.

On the font choices throughout the book:

Like the books I've designed and produced, Context Window is a creative outlet to utilize a number of my favorite typefaces. Tiempos being an economic and reliable family for long-form text – and especially capable in print. And Nick Sherman's HEX Franklin has become a go-to workhorse but also fitting for its historical ties back to the writing of Marshall McLuhan.

The first printing, a limited edition of 100 copies was printed by Newspaper Club in the UK and includes additional related Risograph prints and other ephemera produced in the heart of Silicon Valley.

Long Way Home (Доўгая дарога дамоў) is an art book and collection of essays centred around the work of Belarusian artist Masha Maroz. With sections in Belarusian and English (as well as French for the introduction), the publication forms both an archive and a personal reflection on Belarusian Palessie, which Maroz has explored in her work for the past decade.

Both the front and back covers are an artwork by Maroz, Shall the Sun Shine Once Through Our Window, with the title in three languages wrapping around the spine.

The body text of the book uses Roboto, with titles set in an early version of MD Thermochrome by Mass-Driver. The latter doesn’t (yet) include native support for Cyrillic, so several characters were created ad hoc by designer Ihar Yukhnevich, reusing components from the typeface and manually placing them on the same grid.

A poster celebrating the end of the first motion graphics course at Texas A&M University with a triple feature of films that the students developed opening titles for. It is printed on the Risograph using three inks (Black, Bright Red, and Mint) and featuring the in-progress typeface by Mass-Driver, MD Thermochrome.