Awnings 2018

Book published at the Jan van Eyck Academie, Maastricht, NL. Printed and bound with Jo Frenken in the Charles Nypels lab. Photographs taken from 2014–2018 in Queens, Brooklyn, and Manhattan, NYC. Essay by Jordan Hruska.

Limited quantites available from:

UC Books, Zürich
Motto, Berlin
McNally Jackson, New York
Printed Matter, New York
Pon Ding 朋丁, Taipei City
Stedelijk Museum Bookshop, Amsterdam


Shown at UNFOLD, the 2018 Shanghai Art Book Fair in an exhibition curated by Jo Frenken.






Jan van Eyck Open Studios 2018

Soft launch of Awnings, opening both doors. Sharing my process/research and some Haribo in atelier 113. Top Photograph: Werner Mantz Lab.












Never-Not-Testing / Pre-Press-Prep 2013/2016/2017

From Left to Right, Top to Bottom

1. Riso calibration sheet designed to test the limits of our new machine (Yale School of Art, New Haven, CT 2013). Features gradation tests, trapping diagrams, overprinting and opacity charts, LPI samples, type size and stroke width tests. 11 x 17" 7 colour risograph. Paper: tbh I forgot, some copy paper nothing fancy.

2. A second test sheet was printed at the 2016 Ventriloquist Summer School. A graphic design summer school/press ran by João Doria and Kristina Ketola Bore. Shown here on the first day of the summer school on the window of 1857 in Oslo. Paper: Munken Lynx.

3–4. Continuation of risograph tests at the Jan Van Eyck Academie with Jo Frenken. JvE #1, Initial test with 19 colours on the Riso 1070E in the Charles Nypels Lab. Paper: Munken Lynx and Colorplan Smoke Grey.

5–6. Part of this inital test at JvE included a run with selected white ink underbase. Paper: Black and Colorplan Smoke Grey.

7. Detail JvE #2. After the initial test there were a few things discovered that could be improved upon. In addition I was interested to test the grain touch screening in the RIP of the Riso, as I planned to employ this setting for Awnings.

8–9. JvE #2. Fruit rack Top left: faux cymk. Other Fruit racks: drawn separations with flo green, orange, yellow, bright red; different screening settings made in photoshop. Paper: Eoos and Colorplan Smoke Grey.











ink-y 2012–2014

Two pairs of pants, used until exhausted; then retouched.







RECORD TIME–001 2016

Please Don't Squeeze. Collaboration with Matthew Harvey. Street pamphlet featuring scans of fruit boxes and data concerning their transport. Web offset. Unfolded: 28 x 43 cm.











A School, A Park 2017

One day workshop with Emmy Thelander. at Sean Yendry’s Montreal-based graphic design summer school, A School, A Park. We divided the students into 8 groups to form one collective printing mechanism. Each group reacted to the inked screens in circulation; creating different compositions using the same tools, in the same motion. Photographs: Edwin Isford.








Croissant Buch 2016

A book about a shape and its failure to retain a definition. Printed at a residency at the Ventriloquist Press in Oslo, Norway. 2/2 Riso text pages. Covers screenprinted 1/1. s/o João.









Side Out 2013

Double sided take-away poems in collaboration with Keith J. Varadi and Eric Amling for an exhibition at Primetime, Brooklyn. Risograph 1/1.










Make You Feel Some Kind of Way 2013

An anthology of compiled writings on the art historical concept of Aura. The book features uncoated and coated signatures, black and white laser and Riso text pages. Cover screenprinted in one colour on black paper with three additional riso colours overprinted. Designed and produced while in Julian Bittiner’s Typography and Context course. Edition of five.





Untitled 2014

Produced with Urs Lehni & Lex Trüb at a large-scale woodblock printing workshop for the Yale graphic design dept. 3 colours, 1.5 x 2.2 m print. Edition of 5. Photograph: Eric Petschek.





Deux Faces 2014
Coin design submission to Parallelograms Deux Faces project. Exhibited online and at The Shortest Distance Between Two Points, an exhibition at Syndicat Potentiel in Strasbourg, France. Curated by Parallelograms; Leah Beeferman and Matthew Harvey.


























Thesis Book 2014

Constant Calibration; Never Not Testing. Yale MFA thesis. 192 pages, Black and White Laser and Risograph. 6 signatures, sewn binding, edition of 11.

Owen gothic: typeface redrawn from a sign painters alphabet. Made in Tobias Frere Jones’s type design course (2012).





See it First 2016

Promotional poster/mailer for New Museum membership dept; included upcoming events and information on membership levels.











Membership Calendar 2016

New Museum calendar of member events. Folded: 4 x 6" Flat: 8 x 6" 2/2 sheet-fed offset.







Open Score 2017

Program for Open Score, an annual symposium exploring the state of art and technology. Presented by the New Museum and Rhizome. Black and white Laser, 1/1, saddle-stitched. Folded: 8.5 x 5.5" Flat: 11 x 5.5"






Paul Ramirez Jonas Broadsheet 2017

Broadsheet for ‘Half-Truths’ at the New Museum. Web-fed two colour offset at Linco Printing. Folded: 15 x 22.75" Flat: 30 x 22.75"



Teen Night 2017

Handbill for Teen Night at the New Museum, a night of workshops and teen-led gallery experiences, and a musical performance by UNIIQU3. 5.5 x 8.5" 4/0 Risograph, 1/1 black laser print.






My Barbarian Broadsheet 2016

Broadsheet for the My Barbarian exhibition at the New Museum. Web-fed one colour offset at Linco Printing. Folded: 16.5 x 22.75" Flat: 33 x 22.75"














A Pot for a Latch Broadsheet 2016

Broadsheet for Pia Camil’s exhibition at the New Museum: A Pot for a Latch. Folded: 9 x 12" Flat: 24 x 36" sheet-fed 4/4 offset.






Lobby Card 2016

Leaflet featuring information on current New Museum exhibitions and upcoming events. Sheet-fed 4/4 offset.








Alexander Girard Tokyo 2015

Bookmark for the Alexander Girard exhibition at the Herman Miller Tokyo store. Pattern: Alexander Girard. Designed with Emily CM Anderson. 4/4 digital.


sean kuhnke at gmail dot com