Book Design /// Selected Work
Open for commissions in 2024
ABOVE: An early draft of the Artist’s Edition of The Incomplete Thombu, by T. Shanaathanan (Raking Leaves, 2011)
The Incomplete Thombu was included in Stuart Tolley’s Collector’s Edition — a global survey of design innovation, published by Thames & Hudson (2014).
Bookbinding: Nimal Joseph; Marbled endpapers: Muwini Silva and Padmini Jayalath; Letterpress print: Amilia Karunadhara; Production: Shehan de Silva and Leroy Mack of Gunaratne Offset Printers. And boy, do I owe a debt to Ms. Kamala and the staff of the Technical Branch at Sri Lanka’s National Archives — for sharing their deep love and knowledge of bookbinding.
I’ve had the good fortune to design books for:
poets, multinationals,
schools, art galleries,
humanitarian agencies,
theatre groups, legal scholars,
a future Booker Prize-winner who with gleeful malice
agreed to the dumbest idea I’ve had about typesetting,
conservationists, sculptors,
literary festivals,
and other far-flung folk,
from whom I’ve learned a lot.
Some of these books were made solo. Some were made with Asvajit Boyle, a very good human and skilled book designer, who now has his own studio over at Fold Media. He and I still make books the same way: here’s what we did then, and this is still my process for making a book:
Step 1: Be mindful when assembling your colleagues. Start with the author, and build outward.
Step 2: Avoid having your first meeting in an office.
That’s about it. When I’ve had the freedom to commission the people making a book, with a little nudging and yowling, the book mostly happened on its own: the people who commissioned me liked the book and most satisfyingly — the people who read it enjoyed it.
Once someone commissions a book, I recruit and work with the rest of the crew —it’s a bit like a heist movie— author, researcher, editor, photographer, illustrator, layouts artist, proofreader, and printing press. As designer and project coordinator, I’m the one with the toolbox and blueprints.
The getaway driver, more often than not, is Shehan de Silva (print and production). I’ve worked with him since 2007 and he’s taught me a lot. Most importantly, he specialises in books and he loves them. He’s currently over at @wizardofprint in case you need a book printed.
In some cases, I am commissioned by a publisher or seasoned project manager, with a finished manuscript and a team in place. I’m good in teams — I like those jobs, too.
I hope you get the chance to pick up one of the books — the pictures don’t do justice to the tactile aspects of the design, or the sheer heft of a friendly book in your hands.
Thank you for reading this rigmarole. Please do get in touch if you need a book made.
Of Kings and Nobles: Notes On The Kotte, Sitavaka, & Senkadagala Kingdoms Of Sri Lanka, 1395—1815.
Vajira Tennekoon (2023)
“…substantially enhances our understanding of the last three major kingdoms of Sri Lanka.”
— C. R. DE SILVA
Emeritus Professor of History, Old Dominion University, USA, and former Professor of History, University of Peradeniya
The most challenging history book project I’ve undertaken. Not because the design was overly complex (though the typesetting was), but because of the number of hats I wore during its production: making contributions to textual and illustrations research; editing; designing; layouts; and print supervision. The manuscript had taken 15 years by the time it arrived on my desk, and we spent another three years refining it and producing the book. I’m immensely proud of this book and its author, my Esteemed Dad. Available at Barefoot Bookshop.
More images below:
Gateway College (2023)
I designed a hardback tête-bêche for the 25th anniversary of the College. Half the book was a history, written by Marissa Jansz, while the other half was a compilation of clever projects dreamed up by the students. There’s an online version, which, sadly, does not retain the design of the book, but is a good read nonetheless. Commissioned by Smart Media.
Resource Books for Theatre Practitioners (2020)
Four resource books published by Stages Theatre Group, spanning nearly two decades of their work. An extraordinary project to work on, as I got to see skilled artists revisiting work with a view to helping new artists make theirs. If you work in theatre, I recommend these unreservedly.
The full set of books is here for free (most are trilingual).
The Girl Who Lost Her Country (2018—)
Amal de Chickera & Deirdre Brennan, with art by Dian Pu.
A timely book that speaks to the right to nationality. The Institute on Statelessness and Inclusion are a squadron of hardworking lawyers and policy wonks and I am so very glad to have worked with them on this set of books. Please give it a go with any small humans you love. Here’s the direct link to the English edition.
The book is available free here, in seven language (and counting)…
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Below are a few pages from a previous portfolio for which, apparently, I have lost the original files. Here they are, in all their slightly glitchy glory:
