Soft migraine by the lake
Category
2025
Book
Awarded
Designer / Designers / Design Studio / Agency
Client
Year
Andrei Șendrea, Mălin Neamțu
Galeria Posibilă
2024
Printing House
Print Run
Number of Pages
Format (W × H)
Publisher
ISBN
Master Print Super Offset
500
56
150 × 210 mm
—
978-973-0-40141-7
Other Credits
Authors: Cristian Alistar, Mihaela Cîrjan; Translation: Cristian Alistar, Samuel Onn, Mihaela Cîrjan; Editor: Matei Câlția; Proofreading: Bianca Dragne; Reproductions: Florin Ghenade; Răzvan Andrei Șumila; Pre-press: Eugen Vasile, Square Media
Short description
Long description
Soft migraine by the lake” showcases Miruna Radovici’s solo exhibition, exploring blurred boundaries between architectural and natural spaces. Her intimate works evoke personal memories and invite introspection, creating a layered dialogue between viewer, space, and inner landscape.
The book measures 210 x 150 mm and serves as an exhibition catalogue for artist Miruna Radovici’s solo show, held in Bucharest as part of the major Romanian art fair RAD—one of the country’s most important events alongside Hot Lagoon Fair.
This publication is conceptually rooted in the artist’s practice and aesthetic explorations. Following an in-depth conversation with the artist, it was concluded that the catalogue should take on the visual language of a school notebook. As a result, the cover is a softcover made from synthetic paper that mimics the texture of laminated board. The corners are rounded, and as a deliberate design gesture to emphasize the physicality of the binding, omega staples were used.
The booklet was printed in 2024, in a limited edition of 500 copies. Offset printed, it uses standard CMYK process colors, supplemented by two custom spot colors for enhanced visual expression.









Foto: Mihai Ciobanu
Jury Notes
Process Notes: Studio Shentzu
This book captivated us with its precision and freedom. The images are laid out on a gray background in a way that enhances their energy, balancing softness with vibrancy. Every page feels like a small surprise, encouraging the reader to move from beginning to end. The cover is particularly strong, with the cropped image wrapping around and the simple, well-placed typography. The hard-edged typeface contrasts beautifully with the soft, tactile illustrations. The design and content work seamlessly together, with artworks and typography supporting each other perfectly.
ML: This is my favorite. I love this. I love the way it feels. I love the way the images are laid out. It's very precise, but it's also free, and I love the way the images are projected onto the gray background because it brings out the energy of them because they're quite soft, but at the same time, they're really vibrant. Every single page is like a little, little surprise, and I want to go through it from beginning to end.
JG: I think the cover is one of the strongest, for how the image is cropped on the front and how the image wraps around it. The position of the type on the cover is simple, it works perfectly. The overall texture of the type and the image complement each other really well. The typeface is super clean, hard edged, and then the illustration is very soft, rough, extra tactile, so it's a nice contrast.
PV: The design works well with the content. Great artworks and precise typography that go hand in hand well.
Thinking about the journey from initial idea to the finished piece, which moments had the deepest impact on the project and what made you realise those changes had to happen?
Starting with the initial idea that reflects the dialog with the client, the main challenge is scaling down to reasonable production and materialisation costs. During the process, the moment with the deepest impact on the outcome can sometimes be adjusting the production cost within the client’s budget.
Collaboration is built on trust and dialogue — within that process, which part of the project feels most authentically yours, and which unexpected voices pushed you beyond your comfort zone?
Trust and dialogue within collaborations is key. During our process, every time we start by reevaluating our skills and what could be valuable for the project. This means we can push our technical and conceptual boundaries every time, delivering fresh graphic and conceptual results. The level of complexity that comes with some projects can push us beyond our comfort zone, but simple and playful projects can do that too.
In what ways do you believe awards like LDA shape (or should shape) the design landscape locally? And is there a responsibility attached to being an awarded designer within that ecosystem?
Initiatives like LDA help the local design scene by empowering the desire for improvement and growth for established and upcoming designers. Being awarded at LDA, only makes us want to push our practice further by keeping the quality of design as high as possible and strengthening the bonds within our local design community.
When designing for a book as an object, what were the material or tactile decisions (paper stock, binding structure, format) that made the difference between something “nice” and something you believe will last?
Designing the Soft Migraine by The Lake book mainly consisted in choosing materials and binding methods to reflect a classic school notebook and Miruna Radovici’s artistic practice. The overall aesthetic and feel of the book carries the nostalgic yet fresh view of the artist upon her world.
How did you balance the informal elements and the visual impact? Which one led the process and why?
The visual impact is the informal factor in the design language used in the publication. All the design decisions were directly inspired by Miruna’s artistic practice and the selection of works that are present in the book. The rounded corners together with the pale pink and omega staples are expressing the soft universe the artist creates through her work.
Books carry production constraints (print run, budget, distribution). How did those practical limits influence the design — were there compromises that became strengths?
The only “constraint” that we had since the beginning is the school note pad format, which later on became very beloved and practical also used in future publications with Miruna’s work.
The Local Design Awards is a national competition held in Romania, dedicated to celebrating and honoring remarkable achievements in the field of graphic design. Its primary goal is to acknowledge and exhibit the most groundbreaking and imaginative work produced by designers across the country.
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