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  • Cover of Borderlines of the Present, a publication designed for Grand Union art gallery and The University of Birmingham's MA Curating course by City Edition Studio, a graphic design studio in Bristol. The publication is made up of 4 sections of different widths.
    Cover of Borderlines of the Present, a publication designed for Grand Union art gallery and The University of Birmingham's MA Curating course by City Edition Studio, a graphic design studio in Bristol. The publication is made up of 4 sections of different widths.

Borderlines of the Present

A publication for Grand Union and the Univeristy of Birmingham's MA Curating course. The design emphasises the dynamism and flux of the book through interventions in the format, typography and materiality, informed by the work of two featured artists who explore themes of resistance to polarisation or binary perceptions as well as existing 'in between'. Each section of the book has a different page size, resisting the notion of a singular size and revealing the structure of the book, suggesting the possibility of the book as gallery or architectural space. The book cover has been embossed to give a tactile feel in the hand which references the materiality of the artists' work, silk in the case of Farwa Moledina and concrete surface texture in the case of Nick Jordan.

Variable font technology allows traditional font weights of regular, bold or italic to be bypassed in favour of sliding scales that incrementally adjust the font's width, weight or italicisation (amongst other metrics). This technology is employed throughout the book's headings, where each letter gets progressively wider along the line through the use of scripting.

More information:
www.curatorinthemaking.com

Borderlines of the Present

A publication for Grand Union and the Univeristy of Birmingham's MA Curating course. The design emphasises the dynamism and flux of the book through interventions in the format, typography and materiality, informed by the work of two featured artists who explore themes of resistance to polarisation or binary perceptions as well as existing 'in between'. Each section of the book has a different page size, resisting the notion of a singular size and revealing the structure of the book, suggesting the possibility of the book as gallery or architectural space. The book cover has been embossed to give a tactile feel in the hand which references the materiality of the artists' work, silk in the case of Farwa Moledina and concrete surface texture in the case of Nick Jordan.

Variable font technology allows traditional font weights of regular, bold or italic to be bypassed in favour of sliding scales that incrementally adjust the font's width, weight or italicisation (amongst other metrics). This technology is employed throughout the book's headings, where each letter gets progressively wider along the line through the use of scripting.

More information:
www.curatorinthemaking.com