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James Langdon

@jameslangdon.eu

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cottage industry graphic design
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typohypergraphicobject exists! The book was printed and overprinted last week, in multiple offset and silkscreen inks on make-ready sheets and leftovers from four other books. It’s an anarchic object made at some risk for a big factory like die Keure. Many decisions taken and improvised during production. It doesn’t look like it did on screen and that’s the point. Thanks a million to the presale buyers for making it possible. Presale is sold out and as of today the website is updated with some new images and ready for sales of the main edition. Link in my profile. On schedule to launch @ghentartbookfair and start shipping from Berlin the week after. taken in Berlin, Germany by @jameslangdon.eu
10
a year ago
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Writing in @okrm_london ‘A Meaningful Order’. taken in London, United Kingdom by @jameslangdon.eu
3
2 years ago
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James Langdon (@jameslangdon.eu): “My studio is a three by three metre room in a nineteenth century cottage on an English hillside.” by @jameslangdon.eu
2
8 months ago
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A few slides from my talk @typographytheorypractice. Using colour indexes to correlate the integration of text and image with degrees of graphic laboriousness. A great event again this year 🙏 @frasermuggeridgestudio taken in Leeds Beckett University by @jameslangdon.eu
5
a year ago
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I’ve worked with the brilliant @simonmanfieldartist since 2013 to draw mascots and scenarios for teaching projects. 1. Portrait of Leon Festinger, swerving, for Jacob Lindgren’s book Extra-curricular, 2. Arthur Worthington observing splashes of liquid not as they are, but as he thinks they are, for a seminar at HfG Karlsruhe, 3./4. Augustus Putin argues with his book-binder, from my book A School for Design Fiction, 5./6. Gilbert Adair as a robotic head, for an essay in Bulletins of the Serving Library, 7./8. Mason Leaver-Yap as the robotic host of my artist’s audiobook publishing website Sinkhole Audio (9.), 10. A landscape in Piltdown for my A School for Design Fiction Workbook (and workshop) (11.), 12./13. Santiago Ramón y Cajal and Camillo Golgi, proponents of opposing visions of the human brain, for my neuroscience stock-image generation website neurovague.net (14./15.). by @jameslangdon.eu
4
a year ago
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El Lissitzky’s 1925 cover for ‘Kunstismus 1914–1924’ is printed in black and red inks on white paper. As if to reinforce the *nowness* of its project, black and red overprint only in the two dates. Solid rectangles of red ink cover the black frame of 1924 and the black type of 1914. It’s hard to find an adequate reproduction of this cover. One that recreates the emphasis Lissitzky gave to the dates. Even the authorised 1990 reprint of the book omits this aspect: a microscopic sliver of unprinted paper is visible on the left edge of the number 1 of 1914, and a band of misregistered red accidentally overprints at the right edge of the same digit. Black and red ink are separated and the specific blacker-than-blackness of the original is lost. In issue 16 of @revuefaire I catalogue many reproductions of this cover from graphic design reference books and provide a new reproduction, reasoned according to the most pedantic notions of fidelity. by @jameslangdon.eu
6
a year ago
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I’ve designed two books for Sofia Hultén, one of my favourite artists. Sofia has many incredible time-scrambling works in which familiar human-object interactions are presented out of causal sequence. When these books were produced I was obsessed with making design decisions as they might be made by the protagonist whose work I was mediating. Aspiring to extreme sympathy, not punning parody! For ‘Here’s the answer…’ the book blocks were shrink-wrapped *before* they were bound with a stab-stitch, and for ’12 Works’ a dyed board was chosen for the cover and then printed with two layers of white silkscreen, just to make a suitable surface for offset printing a colour photograph. Both produced with @diekeureprinting by @jameslangdon.eu
7
a year ago
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Printed matter for Susanne Kriemann’s exhibition at GfZK Leipzig, which opened last night. taken in Galerie für Zeitgenössische Kunst Leipzig by @jameslangdon.eu
0
a year ago
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I have ~20 copies remaining of peak picture pixel pile, a book made in 2019 with @simonknebl and @lacobjindgren, published with @ingabooks in Chicago. At that time I was obsessed with all kinds of visual affinities and technical reciprocities in graphic design processes. This is a book of images of mountains, each of which is made to look like its own histogram. The image processor was developed by Simon for this publication. Includes an essay by me. Offset print, stapled, 28 × 21 cm, 28 pages. We are moving in three weeks and my back is not ready: 10 euro plus postage, link in profile. (EU/UK/CH only, copies are still available from Inga direct, and from @bungee.space in NYC). by @jameslangdon.eu
7
a year ago
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I designed this expanded facsimile edition of Cecilia Vicuña’s ‘Saborami’ for @bookworksuk. The poems are laborious digital reconstructions from photographs of the original book. I corrected, in Photoshop bitmaps, each individual glyph that only printed partially in the original. I like laborious processes, for me they always seem to impart a feeling of confidence and certainty around the design decisions they support. taken in Berlin, Germany by @jameslangdon.eu
1
a year ago
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— LOOM #12: typohypergraphicobject, James Langdon Opening Hours: Every Friday, 11am—6pm 30 May 2025—1 Aug 2025 Only by Reservation via www.l-o-o-m.com/book Photo by @siniz — ❤️‍🔥 This Sunday is a walk-in viewing day! ❤️‍🔥 (no reservations needed) 15 June, 12:00–18:00 taken in LOOM by @jameslangdon.eu
2
a year ago
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The Penton Kitchen: On view at 019 during all public events this Summer. The Penton Kitchen is one of very few surviving works by the English designer Norman Potter (1923–1995). Potter was notoriously unconcerned with legacy and institutional recognition, and cared little about documenting his work. The feeling is mutual, it seems! Despite Potter’s being an articulate, politically-literate designer, and despite his remaining a forceful influence on a generation of designers through his two books, published by Hyphen Press in London, no museum in the UK could be convinced to accept this major example of his work into their collection.The kitchen, an extraordinary sculptural space-frame on which storage units and appliances were originally suspended, is presented at 019 in an arguably more fitting context. James Langdon (whose book on Potter is forthcoming in 2025) has taken care of the kitchen since 2014, on behalf of Potter’s family. Now it is restored by 019, with students from KASK, where it will remain a long-term fixture, to be used: as a kitchen, a space for events, and a teaching object. @jameslangdon.eu @kaskgraphicdesign @schoolofartsgent taken in 019 by @jameslangdon.eu
14
a year ago
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