“Liu Xiaodong: Weight of Insomnia” is a book/catalogue designed for Lisson Gallery and detailing the process of Liu Xiaodong's technologically radical project that's been ongoing since 2015, where large painting machines connected to live streaming cameras around the world painted scenes of urban landscapes, each robot painting continuously for 3 months, day and night, slowly rendering a monochrome image.

The bilingual book is typeset entirely in 12pt SimSun (ZHONGYI Electronics Co.), a standard Chinese-first mono serif typeface lending a digital and sometimes sinister quality to the pages.

Silver ink is used extensively throughout this book, a reference to the glow of the screen and the metallic machine, suspending the book in a constant flux between light and dark. Process images have been printed in 5 colours using the colorlibrary.ch CMYK+Silver profile.

240×320mm, hardback, 184pp

Available to buy: Cornerhouse Publication

Ellingsen von Krogh is a small photography gallery in Stavanger, Norway, open since 2018, with a programme consisting of only a handful of carefully curated exhibitions per year.

We devised a very simple and effective visual identity system for the gallery, based solely around an overlooked sans-serif typeface from the early 20th century and the eight-spoked asterisk; the latter being an abstract yet obvious reference to the photographic medium, while also referring to the gallery name as a footnote on branded material and the website, giving the works of art centre stage. Through almost crude yet restrained application, the identity manages to shine through while letting the artwork or information into the foreground.

Paolo Scheggi: In Depth was a retrospective exhibition of works by Italian Spatialist artist Paolo Scheggi at the Estorick Collection in London.

The exhibition (and the catalogue) covers Scheggi’s whole artistic practice in the 60's and 70's, from his early sculptural works to his later theatrical performances — typeset in Forma by Società Nebiolo (revived by David Jonathan Ross), the hardback catalogue references the various facets of Scheggi’s work through the use of brightly coloured materials, large sans serif type, as well as a dust jacket and centrefold.

25×31 cm, hardback with dust jacket, 88 pp

Moonlight is sculpture was an alternative catalogue for the graduate exhibition of the MA Sculpture department at the Royal College of Art. The book was initiated by a group of students from the course, with the aim of showcasing the written work by the students – ranging from poetry and fiction to essays and project descriptions.

“Moonlight is sculpture; sunlight is painting.” is a quote attributed to American novelist Nathaniel Hawthorne (1838).

The publication was entirely designed and produced in an edition of 100 by Studio Bergini, including risograph printing; foil-blocking; collating and creasing; perfect binding; and trimming (with the exception of a few digitally printed sections from a print on demand service).

Visual identity for Sam Talbot. Sam commissioned us to design his logotype, website, and stationery for his newly formed cultural communications consultancy.

Reflecting his personal and bespoke way of working with clients, we drew a custom logotype, taking inspiration from early sans-serifs, and devised a dynamic grid system for layouts. The grid system was also implemented on the website, which changes its layout on every visit.

Our good friends and neighbours at the London Centre for Book Arts celebrated their 5th anniversary of existence in 2015, also coinciding with the 50th anniversary of Space Studios. On that occasion, they tasked us with revitalising their shopfront.

Previously a slightly worn, plain varnished plywood facade, we decided to give it some character by applying seven different colours inspired by the workshop. Each panel in the wall was treated as a separate surface, creating an interesting layout of coloured panels, with the desired effect of looking aesthetically pleasing and intriguing without being too flashy.

For the CSM Foundation show of 2018, the course wanted to present an exhibition that, rather than focusing on each student’s individual work as in a typical degree show, would instead give an overview of the course.

It was curated by Emma Tod and Gary Colclough, and the exhibition graphics done by Studio Bergini.

The exhibition was colour coded to indicate the four subject areas of the course; Fine Art, Fashion & Textiles, 3D Design & Architecture, and Graphic Communication Design. The colours were used for the course descriptions at the centre of the space, and were reflected in the coloured vinyl stickers used for the labelling system around the gallery.

To communicate the playful, experimental, bold, and “in progress” spirit of the Foundation course, we developed a display typeface for use around the exhibition. Grotesqini was created by combining features of various old grotesque typefaces, which then were combined and redrawn to create a single font with a lot of playful character and a feeling of being a bit rough around the edges and unfinished.

Rationalism on Set: Glamour and Modernity in 1930s Italian Cinema was an exhibition at the Estorick Collection in collaboration with RIBA, exploring a little-known period of Italian cinematic history, highlighting the strong Modernist influence apparent in the set designs created for a number of romantic comedies during the inter-war years. A selection of vintage photographs were complemented by sketches and contemporary periodicals from the Cineteca Nazionale, Centro Sperimentale di Cinematografia (Rome), the Cineteca di Bologna, the Museo Nazionale del Cinema (Turin) and the RIBA Collections.

The catalogue makes use of three different paper stocks to separate the featured essay, photos, and sketches. The type is our interpretation of a popular typeface contemporary to the period. The front cover was done in shiny, black foil, contrasting the uncoated gray paper and suggesting a reference to the italian modernist style featured in the exhibition.

Nuart Journal is a forum for critical discourse and commentary on urban art, defined as broadly as possible to include all aspects of both independently sanctioned and unsanctioned art in public space that does not fall under the general rubric of traditional public art practice.

The bi-annual journal is a joint venture between our long term collaborator Martyn Reed of Nuart Festival, and Susan Hansen of Middlesex University, London, with its first issue out in 2018.

Having shaped the Nuart Journal since its inception, we continue to be in charge of design and layout, as well as having designed the custom typeface in use throughout.