An afterword usually covers the story of how a book came into being, or of how the idea for the book was developed—but given how I have already said enough, and that the study speaks for itself in terms of how the work came to be—I have decided to include in this section a collection of my notes, images, test prints, byproducts, and a couple of other things that did not make the cut.
May the following visual narrative give a further insight into my thoughts and the things I made, that led up to this study and the creation of this book.
Bil'ak, P. (2011). Experimental typography. Whatever that means. In: A. Blauvelt and E. Lupton, ed., Graphic Design: Now in Production, 1st ed. New York: Walker Art Center, pp.131–132.
Cooper, A., Gridneff, R. & Haslam, A. (2013). Letterpress: Looking Backward to Look Forward, Visible Language, vol. 47, no. 3, pp. 52–72.
Daniel, K. (2011). Stuart Geddes, 'Makeready Readymade'. Three Thousand. <http://thethousands.com.au/melbourne/look/stuart-geddes-makeready-readymade>.
Duffy, C. (2013). What the CMYK? Colour spaces and printing. Collection Care Blog. <http://britishlibrary.typepad.co.uk/collectioncare/2013/10/what-the-cmyk-colour-spaces-and-printing.html>.
Dyment, D. (2014). Xavier Antin | Just In Time. Artists' Books and Multiples. <http://artistsbooksandmultiples.blogspot.com.au/2014/05/xavier-antin-just-in-time.html>.
Geddes, S. (2011). Makeready Readymade Exhibition. Chase & Galley. <http://www.chaseandgalley.com/?/other-projects/makeready-readymade/>.
Hamilton, P. (2003). Research in progress: the printmaking studio of the future in higher education?. Art, Design & Communication in Higher Education, 2(1), pp.67–81.
Kühne, D. (2009). Woodtype Now!. Woodtype Now!. <http://www.woodtype-now.ch/>.
Marsh, R. (2013). Hendrik Werkman—The Graphic Designer's Printer. Semple Press. <http://semplepress.blogspot.com.au/2013/05/hendrik-werkman-graphic-designers.html>.
Meister, B. (2013). Maximage—Emotions & Technology. The Gradient. <http://blogs.walkerart.org/design/2013/09/16/maximage-emotions-technology>.
Morley, M. (2016). The Harry Potters of Graphic Design, Trapped in Suburbia's Posters Sing + Blow Smoke. Eye on Design. <http://eyeondesign.aiga.org/the-harry-potters-of-graphic-design-trapped-in-suburbias-posters-sing-blow-smoke/>.
Morlok, F., Beckmann, T., Zehentbauer, M. & Jäger, U. (2009). Extra: Encyclopaedia of Experimental Print Finishing. Basel: Birkhäuser.
Motto Distribution. (2011). Maximage Formula Guide—Special Colors for Offset Printing. <http://www.mottodistribution.com/site/?p=14696>.
Perimeter Books. (2013). The Most Beautiful Swiss Books 2013. <http://perimeterbooks.com/The-Most-Beautiful-Swiss-Books-2013>.
Pickstone, E., & Rigley, S. (2012). In Decant/Keys Cut, 6x6 Project.
Purvis, A. & Werkman, H. (2004). H.N. Werkman. New Haven, CT: Yale University Press.
Shaughnessy, A. (2010). How to be a graphic designer, without losing your soul. New York: Princeton Architectural Press.
Stohler, P. (2011). Maximage : David Keshavjee / Julien Tavelli. Swiss Federal Design Awards. <http://www.swissdesignawards.ch/federaldesign/2011/maximage/index.html>.
Warwicker, J. (2016). John Warwicker (Tomato).
Beyond the Margins: Experimental Printing with Digital Printing Systems was designed & printed by Yung Tyng Lee at RMIT University, Melbourne, in June 2016.
Of this first edition only two copies have been printed, one for submission and one as a personal copy. Printed on K.W. Doggett 100gsm Envirocare 100% Recycled.
Typeset in Quarto and Mercury by Hoefler & Co., Akkurat by Laurenz Brunner.