I think the moments when we started to look at the first print test and when we decided what the rhythm of the publication should be, were particularly important. We had these working sessions at the Gallery where me and Monica Dăniă (the editor) were discussing the materials and we envisioned how the reader would react to it and also overall what kind of object this book would be. And then of course, in the context of the time constraints and the possibilities from the printing house, we started to wonder what it can actually be?
 

Also we always kept in mind that the object has a very special nature, it’s the result of an exhibition made to honor the artist’s grandmother. Therefore I think the need to conserve and to communicate the sensitivity of the matter into the object was very important for us.

The initial idea was to include the intention behind the project as much as possible - which was to build a portfolio that also talks about the journey of the author next to his body of work. So I would say the moment we decided to feature the diary as a mirrored publication was what shaped the complete package that we see now, giving it a stronger narrative, and becoming a book that can be read in more than one way.

I think especially when it comes to book design, the process is always collective.

Working on this publication was one of the most enjoyable collaborations that I took part in and I think a great deal is because me and Monica had a series of  meetings in person where we looked together on the material, we discussed the potentiality of the object and the content and also together with Miruna Radovici. It created a very special kind of synergy and I really appreciated being part of the project. A lot of times I felt it like a very educational process for me. I don’t have a lot of experience so far with designing books but this context felt very nurturing.

During my master’s studies and throughout my work experiences, I’ve learned a lot about how I function within a team and how much I grow through shared processes. That’s something I value deeply, especially because I now work mostly remotely as a freelancer, which can sometimes feel isolating. In that sense, collaboration itself became my most unexpected teacher. I think that collective dynamic clearly shaped both the working process and the final publication.

One aspect I think is the sensitivity to the context. I think for me being a graphic designer is very close to being a translator and it’s a matter of paying attention and understanding what needs to be communicated and how, so it’s a matter of being sensitive to the context. I would like to carry further this care with me.

A constant in my work since I first began studying graphic design has been  attention to type, working with it, looking at it, and experimenting with it. That interest is present in this project as well.

A second area that feels like the beginning of something important for me is the materiality of the final object. I’m starting to feel more confident with production decisions, in terms of printing, paper choices, and the physical qualities of the book. It’s an aspect that used to intimidate me because of my limited experience, but this project helped me overcome some of that anxiety. Going forward, I want to be more rigorous and intentional in how I approach the material side of design.