What were the challenges involved in taking something originally designed to be viewed on screen into a printed book?
We think creating unique work using mass production techniques is a powerful concept. It’s something we’ve been exploring for while as a way to enhance the object quality of our physical output. The generative layout technique created for the website seemed to be a perfect fit for this translation into print.
In terms of content, Daniel’s work translates perfectly between print and digital mediums – having both a modernity that suits new contexts, and a classicism that sits beautifully on a printed page.
How was the randomly generated content curated, and how were the covers selected?
600 covers were generated, from those 100 were selected. The content of each book is entirely generated, we created an automated system to navigate and collect imagery from the site.
What do you think has worked particularly well?
It is interesting to us how the project came full circle. We very much started thinking about Daniel’s site as we would think about designing an artists’ monograph, albeit with the endless potential of digital. In the end, the project we created became an artists’ book.
What’s next for YES?
We have a number of digital, publishing and self-initiated projects in the pipeline. We’re excited to be working with Richard Mortimer as art directors of his magazine Ponystep, which is due out later this year.
See more of YES's work here and grab a copy of the book here.