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17 July 2018

New projects on our website

We’ve just updated our website with a selection of new projects. It’s been a busy few months and we are excited to share what we’ve been working on.

New projects include identities for Kettle’s Yard, Stephen Friedman Gallery, Midgramme, Rees & Co, Llewelyn’s, Kunsthalle for Music and Asia Art Archive.

We’ve also been working on exhibitions for Barbican, Kettle’s Yard and Royal Academy of Art; publications for Whitechapel Gallery, Waddington Custot, Bloomsbury, Artangel, Universal Design Studio, Tower Block Books, Erratica, Faye Toogood and Sternberg Press; and books created with artists including David Noonan, Leonor Antunes, Oscar Murillo and Magali Reus.

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11 July 2018

Hot Cottons / As mist description

We recently designed a publication for the artist Magali Reus, Hot Cottons / As mist description, to accompany her excellent recent solo exhibition at South London Gallery. The book takes certain formal and conceptual qualities within Reus’ work as a starting point for its design, utilising a range of paper stocks, die-cut details and printed inserts. You can read more about the book, and the thought process behind its design, on It’s Nice That here.

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25 April 2018

Periferia by Andrés Sandoval

Tower Block Books’ latest publication, Periferia by Andrés Sandoval, is an artwork disguised as a book. Its yellow cover contains a concertina-folded, rubber stamped scene by the São Paolo-based graphic artist, in which the rhythms and patterns of the city are recreated through repetitive motifs of buildings, people, automobiles and abstract forms. Together, they tell a wordless story based on São Paolo itself.

As Sandoval explains, “We associate stamps with a mechanical gesture that can be repeated endless times. But stamps are also characterised by their somewhat imperfect and incidental nature. In this book, what is hard and industrial in the city has been represented through the misalignments, overlaps and multiplications afforded by hand-carved blocks.”

We were commissioned to work with Sandoval to develop this artist book. Enjoying the parallels between rubber stamping and the process of movable type printing, we decided to celebrate this in creating a bespoke stamped typeface for the cover. The textural imperfections of the hand-stamping process add character and a hand-rendered sensibility to the cover of the book.

Periferia will be published by Tower Block Books, an independent small-press publisher of picture books about places, later this year. You can pre-order a copy now on their website.

towerblockbooks.com

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3 April 2018

The frisson of the togetherness

If you have yet to see Leonor Antunes’ site-specific commission at the Whitechapel Gallery, now is the time to pay a visit, as the exhibition is in its final week. The installation, titled ‘The frisson of the togetherness’, combines layered structures constructed from leather, rope, wire, wood, glass and linoleum, incorporating references to overlooked female figures in the history of Modernism and to the gallery’s seminal 1956 exhibition ‘This Is Tomorrow’.

We designed a publication to accompany the commission, which continues Antunes’ thematic exploration of layered references within its design, featuring installation photography, reference materials, loose-leaf inserts behind a clear archival slipcover, and 1:1 reproductions from her previous publications. The exhibition runs until 8 April at the Whitechapel Gallery, and the book is available now.

whitechapelgallery.org.

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8 February 2018

Kettle's Yard Reopens

Kettle’s Yard reopens this weekend following the addition of a new education wing and expanded galleries designed by Jamie Fobert Architects. The reopening coincides with the launch of Actions, a new exhibition that celebrates the poetic and political power of modern and contemporary art. We’ve been working with Kettle’s Yard for the past four years on their identity, exhibitions and printed materials, and now also on the relaunch campaign and the Actions exhibition graphics and book; it’s lovely to see the space open its doors to visitors once again.

In the words of founder Jim Ede, “Kettle’s Yard is in no way meant to be an art gallery or museum, nor is it simply a collection of works of art reflecting my taste or the taste of a given period. It is, rather, a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability which more and more we need to recognise, if we are not to be swamped by all that is so rapidly opening up before us.”

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