projects
︎
{1}
Toon Hermans
book design
“The nicest nonsense-songs of Toon Hermans” is a book for all ages, showcasing songs by the late Dutch comedian Toon Hermans.
The design had to be purely typographical – no pictures or illustrations were allowed. So I tagged along with that.
The design had to be purely typographical – no pictures or illustrations were allowed. So I tagged along with that.
For the titles, I chose an ultra-bold version of the typeface Calibre, a sans-serif font with a warm touch. These letters work so well in an array of funny arrangements: after all, being able to read and understand the words was subordinate to the visual playfulness.
The text for the songs is set in Tyfa, a quirky letter with slab serifs. From a distance, it’s very easy on the eye and a real pleasure to read. It’s when one takes a closer look that the details come to life!
Made in collaboration with Tom Hautekiet.
The text for the songs is set in Tyfa, a quirky letter with slab serifs. From a distance, it’s very easy on the eye and a real pleasure to read. It’s when one takes a closer look that the details come to life!
Made in collaboration with Tom Hautekiet.
{2}
HART summer edition
editorial design
︎ image editing
HART is an influential Belgian art magazine which has had the same layout for some 13 years. The tabloid format gives the magazine a newspaper feel, with pages that featured densely set text in Univers.
The editors of HART assigned me to design a special summer edition, with the idea that it should be a handier edition, one that you could drop in your bag and read at the beach.
This special edition should also resonate a summer allure, but at the same time give the HART readers the feeling they were still reading their trusty magazine.
I kept most of the original typography, typeface, hierarchy, subtitles and author names, for the main text. This move ensured that I could maintain familiarity and thus not lose sight of the original character of the magazine.
The editors of HART assigned me to design a special summer edition, with the idea that it should be a handier edition, one that you could drop in your bag and read at the beach.
This special edition should also resonate a summer allure, but at the same time give the HART readers the feeling they were still reading their trusty magazine.
I kept most of the original typography, typeface, hierarchy, subtitles and author names, for the main text. This move ensured that I could maintain familiarity and thus not lose sight of the original character of the magazine.
I handpicked one single colour for the layout: coral. This specific tone featured in the artwork of Otobong Nkanga, the artist whose work starred on the cover, and the coral tint gave the layout a subtle warm summer sheen.
For the titles, highlights and quotes, I introduced a new typeface with truckloads of character. This quirky curveless font really contrasts with the text in Univers and gives the typography a fresh, unexpected look.
The spreads were divided into a 4-6 column grid, and by alternating with lots of white space, the text had room to breathe.
As the cherry on this summer cake, I selected images which would contribute to the atmosphere of the layout. These images often boldly covered the whole page.
For the titles, highlights and quotes, I introduced a new typeface with truckloads of character. This quirky curveless font really contrasts with the text in Univers and gives the typography a fresh, unexpected look.
The spreads were divided into a 4-6 column grid, and by alternating with lots of white space, the text had room to breathe.
As the cherry on this summer cake, I selected images which would contribute to the atmosphere of the layout. These images often boldly covered the whole page.
{3}
Berthe van Regemorter
book design
︎ print production
“A life in service of the book” is the title of the biography devoted to Belgian bookbinder Berthe van Regemorter. This book needed classy allure, which I created by means of the typography and a distinct usage of colour.
The 2-column design formed a solution to accommodate the richness of images, and by setting the corresponding notes and digits in a bronze colour, the whole became easier to navigate, and the reading process was facilitated.
The 2-column design formed a solution to accommodate the richness of images, and by setting the corresponding notes and digits in a bronze colour, the whole became easier to navigate, and the reading process was facilitated.
The main section of the biography is printed in the black and bronze duo of pantone colours, which made the printing affordable and gave us the freedom to go for a metallic hue, an option that would have been unavailable in standard 4-colour print.
Full-colour plates of van Regemorter’s designs are brought together in a separate dedicated section at the end of the book.
The cover is a detail photo of one of Berthe’s guilded leather bindings.
Full-colour plates of van Regemorter’s designs are brought together in a separate dedicated section at the end of the book.
The cover is a detail photo of one of Berthe’s guilded leather bindings.
{4}
Burn-out
book design
︎ print production
Dr. Eric Boydens treats patients with a burn-out in his serene orchard in the countryside. Together with a colleague, he decided to write a book that would aid other doctors with their guidance of patients during the recovery process.
I was challenged to transform the raw material they had into a real book, which could also be used as reference during training sessions. Therefore, easy navigation of the contents was of prime importance.
I was challenged to transform the raw material they had into a real book, which could also be used as reference during training sessions. Therefore, easy navigation of the contents was of prime importance.
We analysed the material together so that the result would cater to Eric’s needs. My inclination was that the design should turn pure information into didactic material.
My headstart was a schematic layout with prominent navigation at the top of each page, with one key colour per chapter corresponding to each stage of the treatment.
To create harmony, the graphics followed the same principle, and I made sure these images consisted of simple geometric forms.
My headstart was a schematic layout with prominent navigation at the top of each page, with one key colour per chapter corresponding to each stage of the treatment.
To create harmony, the graphics followed the same principle, and I made sure these images consisted of simple geometric forms.