Snap Shot

Taking inspiration from the online presence it created for him, YES has designed a stunning limited edition book for the very talented German photographer Daniel Sannwald.

YES has collaborated many artists over the years – its latest project sees the studio team up with celebrated photographer Daniel Sannwald to create a gorgeous limited edition book. We caught up with YES designer Oliver O'Driscoll Joseph to find out more.

How did the relationship between YES and Daniel Sannwald first come about?
In the studio we're interested in breaking with the established conventions of how artists' and image-makers' work is presented online. We’ve been fans of Daniel’s work for a long time. We felt that his diverse and experimental approach to film and photography could lend itself well to an experimental approach outside of a traditionally structured site, so we approached him to work on a project together. Daniel was an amazing collaborator, he really allowed us to work without any boundaries or expectations.

Was was the thinking behind YES’ approach to Daniel’s website? How was this implemented?
To reflect specific elements of Daniel’s aesthetic and process we appropriated the visual language of the deep web, hacked homepages, pop-up adverts and corrupted code. This allowed us to create a series of sites that host an edit of Daniel’s work from the last 10 years, presenting it in a challenging and unexpected way.

Where does the name Sukurin come from?
The titles for each site (スクリーン.club,, etc) are meant to sound slightly arbitrary, using the sort of language that could have been generated by a spam bot. These urls are intended to feel unofficial, akin to pop-up sites you might be redirected to when watching movies online, only they’re populated with Daniel’s work, usually found in magazines and on billboards. スクリーン translates directly as ‘screen’ and so has a similar arbitrary, machine-generated feel.

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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.

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Technical spec
Dimensions: 148 x 210 x 5 mm
Typeface: Ariall Narrow
Print method: Digitally printed on a HP Indigo
PUR Bound