Descent into the Marsh is a visual document of protest that highlights the universal human quest for freedom and dignity. The book functions as an open archive, regularly updated with new media articles and reflections on ongoing struggles, providing a lasting record of unfinished events that remain unblocked and uncensored online.

This book serves as an archive of a pivotal moment in Belarusian history, documenting the 2020-2021 protests while drawing parallels with the 2019-2020 Hong Kong movement.

Published in late 2024, just before Belarus’s 2025 elections, it highlights ongoing repression, with thousands of political prisoners and around a million people forced to flee. The author connects the protests in Belarus and Hong Kong as examples of modern resistance shaped by digital control and China's geopolitical influence.

The book also examines the exchange of repressive practices between the regimes in China and Belarus, focusing on the role of surveillance technologies. The combination of modern surveillance with traditional methods of intimidation points to the evolving challenges facing protest movements.

The project was written by Lesia Pcholka, edited by Black Seeds in Hong Kong, and curated by Katarzyna Zielinska of zusa gGmbH. The design was created by Karolina Pietrzyk and Tobias Wenig, with typefaces KTF Concrete and KTF Prima used throughout.

Nothing to See Here. The subtle art of graffiti suppression during the 2019 Hong Kong protests is a book by Hans Leo Maes, published by Building Books. For the design, French graphic design studio Building Paris used Clément Le Tulle-Neyret’s Immortel Infra.

Hong Kong, Summer 2019. Amid massive protests and increasingly severe government repression, graffiti is proliferating in the city and becoming an iconic expression of dissent. Hans Leo Maes/TypicalPlan documents and makes an inventory of the different forms taken by the incessant work of state officials to cover up, hide, or attempt to remove these inscriptions from public space. This book particularly highlights the smudged inscriptions of tram stops. Under the combined action of graffiti and attempts to erase them by the authorities, unique and ghostly visuals emerge, with a plasticity that refers to certain current forms of the post-graffiti and contemporary art. This pugnacity also questions the real motivations of a state determined to eliminate as quickly as possible all traces of protest.
With photographs and texts from Hans Leo Maes/TypicalPlan

The book has 224 pages and measures 11,5×16 cm. It includes 123 color pictures and 16 monochrome images, and was bound as softcover with dust jacket. Printed by PBtisk a.s. in Příbram, Czech Republic.

From Penguin Books:

Unfree Speech is Joshua Wong's urgent call for us to defend our democratic values, whoever we are.

It chronicles Joshua's path to activism, collects the letters he wrote as a political prisoner, and closes with a powerful and urgent manifesto for us to defend our democracies at time of global flux and change.

Joshua Wong made history when he was 14. While the adults stayed silent, Joshua staged the first ever student protest in Hong Kong to oppose National Education - and won.

Since then, he led the Umbrella Movement, founded a political party, and rallied the international community around the Hong Kong protests, which saw 2 million people take to the streets. Now, he is in jail again. His actions have sparked worldwide attention and earned him a Nobel Peace Prize nomination, as he continues to fight for what he believes in.

Alias Elephant is used for big type, supported by Rotation for smaller text.

A crossroads of races
A hotbed of passions
A fascinating city: Hong Kong

From Wikipedia:

Tai-Pan is a 1966 novel written by James Clavell about European and American traders who move into Hong Kong in 1842 following the end of the First Opium War. It is the second book in Clavell’s Asian Saga.

Shown here is the Spanish hardback edition translated by Fernando Corripio and published by Editorial Bruguera in 1979. Jacket designer Neslé Soulé used Fanfare Condensed for the title, paired with Century Schoolbook Bold for all other text. Both typefaces are set with very tight letterspacing.

Programme leaflets for the 2020 tour of M+ Rover to local primary schools in Hong Kong. The participating artist is Wong Tin Yan. M+ Rover is “a traveling creative studio that serves as a space for exhibitions and can travel around to different parts of Hong Kong”. It’s organized by M+, Hong Kong’s new museum of visual culture.

The visual identity of these leaflets represents Wong’s concept of “cut and paste” and bricolage (a DIY-style work made by putting together various on-hand materials). Wong will create an educational bricolage by inviting different collaborators – from musicians to chefs to architects – to join him in the M+ Rover tours. The graphic design also foregrounds the question “Yes But Why?”, the title of the artist’s work. This is the question we want to have in mind when entering the primary school campuses, as it encourages the artist, students, teachers, and M+ team to challenge and explore the world around them.

The primary typeface for English text is A2 Boing. It’s paired with Noto Sans CJK (i.e. Source Han Sans) for Chinese. Small English text is set in Nitti Grotesk.

Download the programme leaflet (PDF).

rundemcrew.com:

Bridge The Gap is the movement that brings all of the global urban running crews together under one roof. Formed by founding father Mike Saes (NYC Bridgerunners) and Charlie Dark (Run Dem Crew) Bridge The Gap connects the dots between running culture, lifestyle, music, art and creativity with events around the globe where crews come together to meet,run, create and party together.