Design-wise Jamie Reid (Ditto’s long-time designer rather than the Reid of Sex Pistols fame) has echoed the book’s aversion to the obvious, shunning a visual language that glamourises aggression or borrows too heavily from the scene’s origins in reggae and Rude Boy culture. Instead, chapters have been divided with simple, yet powerful typographic pages, set in Skin, a font designed by Reid especially for the book (and available to purchase from Ditto) based on a re-drawing of a headline typeface from an article in Penthouse on the skinhead subculture published in the 1980s. Each of these pages is paired with a patterned frontispiece made up from icons inspired by the chapter’s theme. Perhaps a no-brainer for a publisher that started off as a risograph press but incredibly effective nonetheless, the large majority book has been printed in riso (largely in black and white but with carefully chosen one or two-colour highlights) in keeping with the the photocopied, low-cost production of much of the featured material. There is a small offset chapter, which features coloured photographs, DVD covers and the like, introduced where risograph would detract from the power of the original imagery.
Elsewhere, the essays have been printed on red stock with a narrower page width, a clever way to make a clear visual division between the archive material and contemporary additions. Where the text does not quite fill both sides, Reid has developed a series of stylised illustrations inspired by promotional material for skinhead shop The Last Resort, printed in gold matching the book’s unexpectedly gleaming cover. A similar Last Resort illustration, a skinhead pinned to the cross, has also been used for the cover, adapted from a male to a female figure by Ditto to echo the book’s unorthodox approach. “There's a famous meme within skinhead and hardcore music of people being crucified for their beliefs,” explains Freemans. “It stems from this weird victim mentality within some quite aggressive subculture scenes.”