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"To Infinity and Beyond!: The Story of Pixar Animation Studios", 2007. Published by Chronicle Books. Design by Tolleson.
John Wilmot Earl of Rochester: Perfect and Imperfect Enjoyments
1992. Folio Press, London
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
Imperial Chemical Industries - the then great ICI - was the UK's largest chemical concern and it employed high standards of publicity and advertiisng for many years. This delightful book was issued in 1937 to promote the development of a new waterproofing agent 'Velan' which was launched with an exhibition at London's Dorland House. It tells the story of Hilary Hexagon (Hexagon House was interestingly the home of ICI's ex-British Dyestuffs Corporation laboratories in Blackley, Manchester, and where Velan was developed) and her quest in London to remain waterproof with the assistance of an already waterproofed duck.
The uncredited text was written by Marjorie Hayward, a press officer at ICI, and the illustrations are by the marvellous Polish born Feliks Topolski who had arrived in the UK in 1935. I've long admired his work and this is a wonderful example of his loose drawing or sketch style. The book is beautifully printed by the Plaistow, London, based Curwen Press; interesting as ICI themselves owned a superb in-house printing outfit, the Kynoch Press in Birmingham. ICI did use Curwen on occasion, possibly when Kynoch were busy?
The cover shows our heroine braving the rain whilst a Guardsman stands snug in his sentry box.
Postcard advertising the ICA exhibition of the work of Gerald Cinamon (card printed at Incline Press)
marcel ayme
(an example of the masterful 'couvertures' created for gallimard's luxury editions between 1941 and 1967 by paul bonet.)
Capital eszett in a drawn version of Futura Display for an East-German book about the Cosa Nostra.
Klaus Polkehn, Horst Szeponik: Wer nicht schweigt, muß sterben. Ein Tatsachenbericht über die Mafia. Berlin: Militärverlag der Deutschen Demokratischen Republik, 1968 (7. Auflage, 1985). Einband: Erika Baarmann. Typograf: Helmut Herrmann. Printing: Druckerei des Ministeriums für Nationale Verteidigung, GDR
"To Infinity and Beyond!: The Story of Pixar Animation Studios", 2007. Published by Chronicle Books. Design by Tolleson.
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
right page:
foreword is printed in brown ink.
left page:
a seal made for this book, printed in vermillion.
foreword by the author(a rough translation of the latter half, the second of two pages):
taste/style is the quintessence of writing.
writing without taste/style is like sunshine without warmth. it won't have any value.
i don't care how these pieces would be interpretated by their readers.
but if this book were blamed to have corruptive influence on any of the young reader's taste, it will be a shame for the rest of the author's life.
i didn't take the risk of publishing "Uzurakago" for my fame.
it is because i am convinced that these pieces would never corrupt the young people's tastes at all.
November Meiji39(1906)
NATSUME Soseki
part of Soseki NATSUME's "Uzurakago"
Soseki NATSUME(1867-1916) is a Japanese author.
this is a facsimile of the first edition printed in 1907.
designed by Goyo HASHIGUCHI.
three short stories "Botchan", "Nihyakutoka", "Kusamakura" and foreword by the author are included in this book.
facsimile edition was printed in 2005.
序文は茶色のインクで、扉は朱のインクで刷られている。
夏目漱石《鶉籠(うずらかご)》初版復刻版より
装幀：橋口五葉
『坊つちゃん』『二百十日』『草枕』及び著者序文収録
初版1907年、復刻2005年
How can research findings, personal experiences, and complex ideas be translated into a concise visual identity?
45 Symbols—Clay to Code examines how emerging artists and designers develop systematic approaches to a visual language, inspired by one of the most enigmatic objects in media history: the 3,700-year-old, still-undeciphered Phaistos Disc, embossed with 45 distinct symbols. The works present a range from personal narratives to global themes and demonstrate how an original visual grammar can be constructed.
Over more than a decade, the internationally hosted design seminar series The Phaistos Project—Forty-five Symbols have evolved into a global community—driven by open calls, workshops, exhibitions, and risograph publications. This volume, 45 Symbols—Clay to Code, brings together over 2,000 symbols as the result of this collaborative endeavor. It stands not only as a living archive of research inquiries but also as a testament to collective experimentation, bold visions, and the expression of intercultural dialogue.
The contributions are organized into five thematic fields:
I. Traces of everyday life, material culture, and the domestic archive
II. Planetary surfaces, landscape as archive, and the ecological memory of the Anthropocene
III. Politics of language, symbols of protest, and collective transformation
IV. Cultural scripts, spiritual codes, and visual identity
V. Speculative alphabets, linguistic flux, and future archives
This book aims to both inspire and provide hands-on methods for developing skills in visual storytelling, documentation, and reflection practice that foster authentic, systematic, and distinctive personal outcomes.
Publisher: Slanted Publishers
Editors & Design: Olivier Arcioli, Pascal Glissmann, Andreas Henrich
Release: January 2026
Format: 21 × 28 cm
Volume: 320 pages
Language: English
Printing: offset printing
Paper: Munken Print White, 115 g/sm
Workmanship: Softcover, Swiss brochure with flaps, thread stitching, black thread, foil lamination
I wish we still had such drop caps, now and then.
The text is the beginning of Julius Caesar’s Commentarii de Bello Civili (Caes.civ.1)
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
____
The Wolf Book, designed in 1990
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In first grade, our teacher assigned us a project. Each student was assigned an animal, and our task was to research that animal. We compiled our research into a short, ten page book. The animal I chose was the Mongolian wild horse, and the experience was a blast. I absolutely loved the process of researching, drawing pictures and maps, and ending up with a designed object.
A few months later, during the summer of 1990, I decided to make another book about one of my favorite animals, the wolf. I spent several weeks photocopying pages from National Geographic World magazine, redrawing maps and diagrams, filling pages with some very bizarre editorial drawings, and typing paragraphs on an ancient word processor. The finished pages were then comb-bound at my father's office.
While designing my recent book, Forgetting Oildorado, I recalled the process of making The Wolf Book. I travelled to my parents house where the book resided, and flipped through it for the first time in well over a decade. It's fascinating to revisit something that was once so cherished, and to see the striking parallels between something that was designed at the age of 7 and the work that I'm currently producing.
When I made this book, I had no idea that I'd end up a graphic designer. But it seems that from a very early age, I was -- unknowingly -- well on my way.
____
"To Infinity and Beyond!: The Story of Pixar Animation Studios", 2007. Published by Chronicle Books. Design by Tolleson.
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
"To Infinity and Beyond!: The Story of Pixar Animation Studios", 2007. Published by Chronicle Books. Design by Tolleson.
A project from a few months back. Chromatic is a hand-bound edition of books based on the colour blue. Seven images were created based on seven swatches of blue, ranging from a green-blue to a darker, deep blue. The book is A5 format, printed on white cartridge, has reverse-folded pages, and Japanese bound.
I actually have a few copies left (of ten) if anyone wants one for the cheap price of, say £4? hello@ianep.co.uk