1. For Each Minute – Sixty-Five Seconds

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    ArtistNiko Luoma
    Concept designJuha Nenonen and Niko Luoma
    Graphic design and typesettingJuha Nenonen, Bigger Splash
    ReproductionsPetri Kuokka, Aarnipaja
    PublisherHatje Cantz, Berlin Germany
    SizePortrait 25 x 30,5 cm
    Content184 pages, 65 colour artworks, 72 workbook images and sketches, six B/W artworks (on text pages) and six reproduced artworks of other artists
    TextsNiko Luoma, Timothy Persons, Lyle Rexer and Duncan Wooldridge
    TypefaceDolly Pro and Auto Pro by Underware
    PaperArctic Volume Highwhite 150 g, Munken Pure Rough 90 g (text pages), Favini Lunar mini silver 120 g (dust-jacket) and Munken Pure 400 g (cover)
    BindingSwiss softcover with black thread. American dust-jacket poster as cover
    PrintingUV offset 4/4, text pages 1/1 (black), FM- screen, spot varnish on artworks and glossy UV varnish as effect on 8 pages
    Printing and bindingLivonia Print, Riga Latvia

    Concept design, graphic design and typesetting.

    For Each Minute – Sixty-Five Seconds is truly a magnificent one of a kind art book. It is full of highly thought out small details and the printing quality is simply superb. The book is a Tour de Force of book concept design by Bigger Splash.

    For Each Minute – Sixty-Five Seconds is artist’s book that presents works from Niko Luoma’s Adaptations series. The photo works in the series are based on masterpieces of art history – paintings made by other artists – which Luoma has used as a starting point and made his own versions of them using his own unique working method. These abstract photographs are created according to a precise advance plan with hundreds of exposures on 4 x 5 inch film with field camera. The working process is meditative and slow, and this slowed time is also indicated in the title of the book For Each Minute – Sixty-Five Seconds.

    In addition to the works from the Adaptations series, the monograph contains lot of sketches, reference images and spreads from the artist’s notebooks. The book includes an interview with Lyle Rexer and Niko Luoma, an essay by Duncan Wooldridge, and a foreword by Timothy Persons. Luoma’s self-written comments about his sketches, works and his own working process in general are placed at the end of the book.

    The content paper of the book is bulky and bright Arctic Volume Highwhite. All of the artworks are displayed on white background, while a black background is used on the sketch pages. Spot varnish has been used on top of the artworks to increase the gloss and contrast. The book has four foldout / gatefold spreads. Two of them open only to one side and the other two open to both directions. The latter uses a glossy spot UV-varnish as an effect. The text pages with reference images are printed on thin Munken Pure Rough with 1/1 black colour. Thanks to the Swiss binding, the spreads open beautifully completely flat. The use of black thread in the binding is another special detail. It is a small detail but suits perfectly for this book.

    The book has a soft cover with Munken Pure rough paper printed with black ink only. The actual double-sided American dust-jacket cover is wrapped around the Munken cardboard. One can detach it from the book and open it as a poster. It has been printed with oxidation-drying inks on Italian Favini Lunar Mini Silver paper. The flaps of the dust-jacket entail many sketches and archival images and Mary Oliver’s poem The Uses of Sorrow serves as an introduction to the book. Dust-jacket contains also author’s introductions and three artist inscriptions. The inside of the dust-jacket is a hidden gem that shows a collage of inspirational images and objects that Luoma has arranged on his studio floor.

    The book was published by Hatje Cantz in the summer of 2021.

    For Each Minute, Sixty-Five Seconds
  2. Museum Meditations

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    ArtistJorma Puranen
    PublisherJorma Puranen / Aboa Vetus Ars Nova Museum Turku
    Size200 × 280 mm
    Content64 pages / 40 images
    LanguageEnglish and Finnish
    TextsAlistair Hicks
    FontsNexus serif Pro, Nexus Sans Pro and Gotham Thin
    PaperArctic Volume Ivory 150 g,
    front and end papers: Geltex silks 115 g
    BindingSewn binding, hard cover
    PrintingUV offset printing

    Concept of the publication, design and layout, edit and sequencing and taking care of the production.

    Museum Meditations is a small publication made in conjunction with Jorma Puranen’s exhibition at the Aboa Vetus Ars Nova Museum in Turku, Finland.

    For this book I used bulky yellowish Arctic Volume that has a nice uncoated feeling but still allows a superb printing quality. Although the paper is already warm in tone it still accepts a warm printed background tone on every page. As a contrast to that I used dark blue Geltex Silks for the front and end papers. The book begins with a three spread collage-type selection of small illustrations and photographs followed by larger photographic works.

    The format of this book is quite close to A4-size still being a bit smaller and shorter in size. Although being so close to the most used paper format the feeling of the book is unusual; it feels surprisingly narrow and tall.

    The essay text Path North by Alistair Hicks is set with Nexus Serif font that has a relatively large point size. It is beautiful and easy to read.

  3. Observing Eye

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    ArtistSanna Kannisto
    PublisherSanna Kannisto / Hatje Cantz
    SizePortrait 250 × 290 mm
    Content144 pages, including one 8-page gatefold
    76 images
    TextsBarbara Hofmann-Johnson
    FontsMinion Pro and ITC Espirit
    PaperArctic Volume white 150 g, front and end papers: Geltex silks 115 g
    BindingSewn binding, hard cover. Brillianta fabric cover with debossed image on the front cover.
    PrintingUV offset

    Concept of the publication, design / layout, supervision of the printing work and taking care of the production.

    Observing Eye is third monograph book from Finnish visual artist Sanna Kannisto. This book concentrates on Sanna’s bird series that she has been shooting in Finland, Russia, Italy and Costa Rica. 

    Sanna’s working method is very unique. She is an artist who’s work lands interestingly between art and nature photography. She shows her works in galleries and museums but her subjects are familiar from nature photography. For this book she has been working together with scientists at the bird stations. The birds are captured for scientific purpose and ringing and after the research has been done Sanna can take photos of the birds in her small portable field studio. In the white plexiglass studio birds are isolated from their natural habitats for a short time. Sanna pays close attention to how her photographs are composed: She plans and selects carefully all the attributes, props, branches etc and sometimes she might do a lot of work in compositing the images later in Photoshop. The end result is partly portrait, partly still life image and partly nature photography.

    In some images she uses black curtains on left and right side of the studio that gives theatrical “stage look” for the images. The bird (sometimes many of them) certainly is the protagonist of the scene. What makes these photographs different from conventional nature photography is the close proximity. There is always a close encounter between the photographer and the bird – the bird observes and reacts to the photographer and vice versa. It is very rare to see a bird from so close distance in real life. We wanted to take advantage of this and keep photographs as large as possible so that the birds in the book are quite close to their real life-size. 

    Most of the birds she photographs are migratory birds that are on their way to South or North in spring or Autumn. One detail that is not immediately visible in the images are the rings that the birds have in their legs. These birds are not just any wild birds: they are part of research and they have been “named”. They are free birds but have become part of the scientific “culture”. The naming of the works also refer to this. Usually the works are named after the Latin species name. Sometimes Sanna uses another type of naming, that might be more poetical or refer to the outside of the photograph (like Silent Spring or Approach of Winter).

    For the book we wanted to have classical cloth cover. We selected pale green Brillianta fabric that has very nice natural haptic feel. As paper stock we used bulky Arctic Volume paper that gives good printing quality but feels pleasant for the eye and hand.

    Observing Eye was short-listed on Photobook of the year 2020 -prize in Finland and it got silver medal in Deutscher Fotobuchpreis (German Photo Book Prize) 20/21 on series of Conceptual Artistic Photo-Picture Collection (Konzeptionell künstlerischer Fotobildband).