Bajki od rzeczy

Bajki od rzeczy

Project goals

We aimed at composing each page of the book in such a way, that the text is harmonious with the visual narrative. Our inspiration came from picture books and graphic novels, where the story and the imagery is composed into a scrupulously directed sequence.

Bajki od rzeczy is a collection of stories, in which, unlike in a picture book, the text is the lead narration, that is every image in the book results from the deep analysis of the content. We also decided to introduce explicit typographic solutions. While working on the illustrations, we arrived at a broad selection of means of expression. From hyper-realistic representation in an unobvious selection of colour palette to very simple illustrations where only lettering was used, for example onomatopoeias providing sound with typography. Some illustrations needed scientific consultation, some play with the architecture of the book. This diversification of means serves many purposes. Once it builds tension, at other times it forces the shift in perception. It may also be the surprise element, or highlight the context of a problem that is of special importance to us.

who Idalia Smyczyńska, Paweł Szarzyński, Robert Zając
book 230×219 mm, 60 pages, paper Cocoon Offset 160 g/m², hardcover, Geltex Seda 115 g/m²
fonts Officina Serif, Telerysm Mono 2
when 2018
published by “Grodzka Gate – NN Theatre” Centre
printed & bound by Petit

Illustration technique

Some of the objects used to create the illustrations were created with scanning or 3D modeling technique. They helped us acquire hyper-realistic virtual models of chosen objects – the protagonists of the stories.

Using this technique to work on the images resembles a movie plan rather than traditional illustration techniques. We generate a number of variants of one representation, adjusting the lighting, perspective or frame. We compare the results and chose those that fulfill the criteria of interests to us.


The typeface of the main text is Officina Serif (design: Erik Spiekermann), whereas on the cover and title pages we used Telerysm Mono 2 (design: Jack Usine). Both fonts are inspired by a typewriter, but in radically different ways. Officina deletes the shortcomings of the typewriter lettering and, as a result, we get an original and super-functional book face.

Jack Usine deliberately emphasizes those shortcomings in order to achieve sophisticated solutions to be used in titles (the font is available for free). Applying the styles referring to the lettering of the typewriters seemed fitting to the content of the stories. Officina supports perfecting of reading skills. Additionally, due to the even spaces between letters and identical width of the title font letters, we were able to compose the opening pages of every tale in such a way, that the spine of the book does not cut the letters in half.


The text block was printed in an offset technique on a hi-class recycled paper. It seems especially important in the context of the book’s message. It takes up the issue of daily objects and their overproduction in the real world, a serious civilization problem we are facing.

With the use of the recycled paper the negative influence on the environment was diminished by 414 kg less waste, 61 kg less greenhouse gases, 12096 liters unused water, 711 kWh unused energy; 672 kg unused wood, 612 km shorter travel by a medium European class car.

(Sources : Carbon footprint assessed by Labelia Conseil with the use of Bilan Carbone® methodology. The calculations were based on comparing the pulp paper according to the recently updated European data BREF for pulp paper. The results achieved according to technical information are subject to change).

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