The book I was (t)here is an encyclopedic documentation of numerous stories and images assembled by Berlin-based artist Helene Sommer.

Designed together with Merel van den Berg, roughly 100 stories and images are shown in recurring contexts, based on the occurrences of specific words they or their notes may contain. An automated system developed by Joel Galvez and Helene Sommer was used to organize generate the book’s content.

A full description taken from the artist’s website:

The book project I was (t)here. is a collection of stories compiled over a few years. The sources are newspapers, books, magazines, TV, Internet, museums, rumors and encounters. Both texts and images.The book consists of re-narrations of collected stories, frequently taken out of context, highlighted or twisted according to memory and perception. It is all so-called nonfiction and second or third hand information.The meticulous system of footnotes includes information on the background, the sources and other personal comments found relevant. Revealing, at times, as much about the author as the story being told. The randomly collected stories

A description from the NAi Publishers website describes the book Beyond Leidsche Rijn:

I assisted designer Felix Janssens in the making of this book, establishing a typographic grid and a technical means of production over two 200-page editions (Dutch and English). It was made over a period of about two months, from the offices of Total Identity, where Felix is now currently based.

It was printed by Die Keure in Bruges, Belgium on Arctic Volume White 115grs paper.

The new website for the Gerrit Rietveld Academie, made with Joel Galvez and Kjartan Fridriksson, was launched in early 2010. It is made to work in two ways; first, it offers clear and easy access to all information about the school and its programs. It also works as a publishing platform for anyone at the school (staff and teachers), where anyone may upload content.

Subsequently, the layouts were treated as bare as possible, with objective photography (by Jonas Lund and Anika Schwarzlose) that simply show the spaces.

Everything else is up to the user generated content, which is constantly changing with the people at the academy.

Located in the east part of Amsterdam, The Petersburg Project Space was gallery space organized by Gerben Kruk, Su Tomeson, Monique Verhoeckx & Maria Heijdendael, showing primarily photographic and video works. In November 2008, I began working with them to establish a cohesive identity, which was presented in the form of A5-sized invitations for their events.

The resulting look was a direct reflection of the unique space, which was situated in the tip of a triangular building block.

This was done by having the page divided diagonally, with all textual information contained within one half. The text was also set diagonally. The triangular form created, along with the diagonal type was also a subtle gesture to Constructivist graphic design, in relation to the name ‘Petersburg’.

This project served as the basis for an outstanding working relationship with Joos Wiersinga, a local printer in Amsterdam also known as Joosmooi.

Under the constraints of relatively low budgets, we developed ideas and methods to get the most out of the invitations, using her A3+ offset press.

By printing ‘4-up’ and rotating or flipping the paper when necessary, we able to print in multiple colours and have variations of each invitation. Each invitation was made using one printing plate.

This printing process was revealed in the last invitation for the Petersburg, titled ‘Grand Finale’. Instead of the usual A5 format, on heavier (250grs) paper, the printed sheets were thinner, left uncut and folded instead.

The Petersburg invitations were the first use of the Hora typeface, my own [crude] digitization of the Greek national highway type design.

The third book in a series of book reproductions, this small monograph on the work of Le Corbusier, was purchased at a weekly book market in rather frail condition. It was in such a bad state, that to hold it and look through the pages would only make it come apart. In order to preserve what was left of it, working only with a photocopier (as with the previous books) would not suffice.

Unlike the other books in this project, it became necessary to digitize the whole book and treat it for numerous printing techniques. The idea was not to restore the book, but instead to ‘freeze’ the content, which consisted mainly of different images. One small section of the book shows a series of illustrations printed in green, blue and black. Based on the block-style in which it was printed, this section lent itself well to stencil printing - as did the cover, in yellow and black. A very faint layer of yellow on the outside jacket could only be reproduced with offset printing. The rest of the book, in black and white was laser printed, and then photocopied.