After collaborating with YES on both Warp20 and his own website, Dan commissioned us to design the book of his Blackout series. Published by the legendary Gerhard Steidl, the publication documents a series of work featuring Icelands glaciers — manipulated to present a reversal of the original colouration. At over 2 metres wide these are major pieces that are extremely rich in detail. Our solution to represent these works effectively, was to feature them in the original format on a sparse single‑page, in addition to key works included as large‑scale, double‑page details. The large dimensions of the book, and the high‑end production and finish, allows the viewer to experience the imagery on an immersive level that is close to viewing the original artworks. Buy the book here.

‘An Incomplete Dictionary of Show Birds’ is a body of work by photographer Luke Stephenson. This unique project documents the very British subject of show birds through a series of meticulous and striking photographs. As fans of the work we believed the project would make a great photo book and suggested the idea to Luke. After various design iterations and mock‑ups over the past year, we can reveal the first publishing venture from YES Editions in collaboration with Stephenson Press.

Buy your copy here: www.incompletedictionary.com

YES collaborated with Peter Saville on the art direction and design for the retrospective exhibition of Yohji Yamamoto's work. Under the direction of Saville, we were responsible for all visual material produced for show. Elements included a 192 page case‑bound book, print campaign, exhibition graphics, private view invites, exhibition guide and signage around the V&A. Main campaign image shot by Nick Knight, who alongside Peter Saville and Marc Ascoli, had created the defining Yohji campaigns of the 80s and 90s.

As a key record for McCartney ‘RAM’ qualified for the super‑deluxe treatment within the Archive Collection. After many rounds of production prototyping and experimentation we chose a clam‑shell box format, containing a rich variety of material designed to reflect the free‑spirited nature of the period. The package includes a softcover book; featuring open binding and a hand screen‑printed cover, a set of reproduction photographic prints, a scrapbook containing unseen photography and drawings, a set of facsimile lyric sheets and a tiny book featuring all the sheep photographed during the original cover shoot. The project was nominated for the Best Boxed or Special Limited Edition Package Grammy in 2013. Buy RAM here.

In early 2010 YES were commissioned to design a series of McCartney re‑releases. The ongoing project encompasses creative direction, branding, packaging, editorial consultancy and book design. The form of the deluxe edition took inspiration from high‑end art and photography books, rather than conventional music packaging. Key titles are picked out to receive the ‘super‑deluxe’ treatment, such as RAM and the as yet unannounced forthcoming release. For each part of the series, extensive research within the McCartney archive is necessary to build a complete document of the period surrounding the original release.

The project that became the 3rd Person Archive began in 1976, the work comprises anonymous figures, appropriated and isolated from a pictorial encyclopaedia published in the early 20th century. YES collaborated with Stezaker to create an artists book of the project. Structurally the book is broken into three parts. The first features single figures within various urban spaces on sidewalks, street corners and in city parks. The second section includes two figures within each frame, and in the third section groups. Various sub‑sets are present within these sections. The publication shows each component of the work as exact facsimiles of the original. To accurately reproduce these works, a rare six‑colour stochastic print process was used. The book is 296 pages, cloth bound with foil blocked typographic details.

Fashion photography agency CLM commissioned YES to create a magazine to promote their photographers. We designed a format and picture edit that allowed each photographer to be isolated, typography ran in continuous blocks on the cover and back pages and agency and photographer's names were featured vertically on image pages to remain discreet. Superior print quality and colour reproduction were a prerequisite — a premium, super‑matte paper was specified and the publication featured a sewn binding method.

YES were commissioned to redesign the covers of these four seminal titles. The series artwork aimed to reflect Penguin’s rich heritage of modernist cover design. The imagery for both ‘Design as Art’ and ‘The Medium is the Message’ was sourced from the books themselves and reworked. The transparency for the Magritte painting ‘La clef des songes’ was lost, and another had to be sourced — eventually from the American pop artist (and owner of the work) Jasper Johns. The photograph featured on Susan Sontag's 'On Photography' is by British photojournalist Don McCullin.

Warp Records comissioned YES to create the identity and visual material for their 20th anniversary — Warp20. The imagery we conceived aimed to reflect the iconic, ever evolving nature of the label and it’s place in British music. We comissioned the fabrication of a large scale 3D Möbius strip to be photographed in various environments around the country. In collaboration with photographic artist Dan Holdsworth 20 images were produced to mark the labels connection to the UK. The centrepiece of the project was the ‘Warp20 (Box Set)’ — a super‑deluxe, limited edition release comprising exclusive content and music in a high‑spec package.

YES collaborated with Turner Prize winner Mark Wallinger to create the publication for the exhibition ‘The Russian Linesman’ at the Hayward Gallery, London. The show takes its title from a famous – or infamous – sporting moment when the linesman awarded the decisive goal to England in the 1966 World Cup Final. This controversial ruling exemplifies a central concept of the exhibition; disputed boundaries. The cover of the hard‑bound edition graphically plots, in diagrammatic form, the moment in question. The design and layout, informed by the central premise, was allowed to be non‑systematic in both image and text layout. Mark’s stream‑of‑consciousness text allowed for fluidity and subtle conventional‑breaking. This way of working lead to an end‑product that both informed, and was an extension of the exhibition.