Extraordinary Anywhere, edited by Ingrid Horrocks and Cherie Lacey and published by VUP, re-imagines the idea of place. The design process was a collaboration between designers and writer/editors.
The book offers glimpses into where we are now and how that feels, and opens up the range and kinds of stories we can conceive of telling about living here.
The development of this book was an evolving collaboration between the editors and designers. Jo Bailey and I took the nostalgic process of sifting through ephemera to locate, repurpose and evolve old illustrations to give them new meaning. The inside cover acts as a 'map' to the book enclosed within — an illustrated table of contents, using the happenstance placement of the essays on a page number grid to determine the assemblage in the same way geography defines a map.
As designers, we also contributed a design colophon essay to the book, which lives in the dust jacket as a key, of sorts, to the book's design.
'We choose two typefaces by New Zealand typographic designer Kris Sowersby: Tiempos and Calibre. As designers we say it’s important that if the words are from here, the typefaces should be too—but this is partly post-rationalisation. Tiempos, our serif font, is based on a typeface for a Spanish newspaper. Calibre, our sans serif, is inspired by street signage, and though this wayfinding lineage feels pertinent, it is happenstance. We choose it because it is a consistent favourite of ours — like a typographic version of our own handwriting. It’s the other way with Tiempos; the chance to explore something familiar but different. Later we add Domaine, also by Sowersby. It is elegantly curvaceous, “Latin detailing on a Scotch skeleton”.