A practice between the page and the room & between the syllable and the wall.
— SECTION 02 / WORK
Twelve books, four installations, one museum identity. Each project lives between the page and the room, between the syllable and the wall.
— CASE STUDY № 01
SPINE → 312 PP. · 17×24CM
A book about silence in landscape photography — typography pulled apart so the gutter can breathe. The body sets in 9.5/15, the chapter heads in Roboto Flex at wdth 151.
FIG. 01 — COVER, EDITION OF 1,200
— PROCESS / ANALOG
Studio process for Die Stille: 87 paper dummies, 19 typeface trials, one trip to the Stora Enso mill in Skoghall.
— COLOPHON
— SECTION 03 / PUBLICATIONS
Small editions printed in the studio, in Riga, in Modena. Each comes with a hand-stamped colophon and ISBN. Shipped flat in glassine envelopes.
— SECTION 04 / TALKS & LECTURES
Upcoming and past lectures, workshops, and panels — most recordings live on the studio's Vimeo.
— SECTION 05 / ABOUT
— written from a desk in Mitte, Berlin, on a Tuesday in April, with a Caran d'Ache 849 and a glass of mineral water.
My name is Ina Kor. I design books and the rooms books wish they were. I began in 2014 at Spector Books in Leipzig, as the most junior of junior designers, trusted only with the colophon. I have since designed one hundred and seven books, lost three, and reprinted one twice.
I treat the page as a piece of architecture✱1. A sentence is a corridor; a paragraph, a room. White space is the load-bearing wall. When the reader closes the book, the building should remain in the body — a faint pressure in the chest, somewhere behind the sternum.
I work mostly with photographers, archivists, museums, and the occasional poet who is willing to surrender control of the line break. I have taught at the Werkplaats Typografie, at HfG Karlsruhe, and during three feverish weeks at the Rhode Island School of Design.
Some of the books are pictured below. All of them are finished unresolved, which is, I think, the only honest condition a book can be in.
— Ina