5.375 × 8.25 inches, 400 pages, softcover
ISBN 978-1-941753-71-2

Design by IN-FO.CO

Available for Pre-order
Shipping October 2025

“Visual communication encompasses drawing, photography, three-dimensional modeling, and film; abstract and realistic forms, static and moving images, simple and complex ones as well. It extends to questions of visual perception such as the relationship between figure and ground, camouflage, moiré patterns, optical illusions, illusory motion, mirages, the persistence of vision, and afterimages. It includes every aspect of graphics, from the design of typographical fonts to newspaper page layouts, from exploration of the limits of word legibility to the techniques that facilitate the reading of texts. All these facets of visual communication share something in common: objectivity.”
—Bruno Munari

Design and Visual Communication—the first-ever English translation of Bruno Munari’s extraordinary Design e Comunicazione Visiva (1968)—remains an important guide to bridging design education and everyday life. Published after Munari served as visiting professor at Harvard’s Carpenter Center, Design and Visual Communication takes over fifty lessons, class materials, and even letters home in which he describes life in America, and transforms them into a book about the future of art, architecture, and design. Conceived as a living volume, the book was written as inspiration to current and future designers to push beyond the past, however recent, and develop new tools to see and understand tomorrow’s world.

The facsimile reprint is accompanied by new contextual annotations by Munari scholar and design historian Jeffrey Schnapp. These micro-interventions highlight the innovations that make this work as relevant today as when originally published.

4.5 × 7 inches, 240 pages, softcover
ISBN 978-1-941753-70-5

Design by IN-FO.CO

“But isn’t imagination also fantasy? And can’t fantastic images also assume the form of sounds? Musicians speak of sonic images, sound objects. How does one invent a fish tale, an air-cooled engine, a new plastic?… fantasy, invention, creativity think; imagination sees.”
—Bruno Munari

Never-before translated into English, Bruno Munari’s Fantasy (Fantasia, 1977), invites the reader to explore their own imagination, creativity, and fantasy through a journey in Munari’s mind and work experience. His theory of creativity, developed in conversation with the Reggio Emilia approach and the work of Jean Piaget, foregrounds the book’s journey through Munari’s own design processes, and his work for clients and with children.

By turning life and work into a classroom, Munari unlocks a path through imagination in order to access his, and in turn our, deepest sense of play. The facsimile reprint is accompanied by new contextual annotations by Munari scholar and design historian Jeffrey Schnapp. These micro-interventions highlight the innovations that make this work as relevant today as when originally published.

6 × 9 inches, 120 pages, softcover
ISBN 978-1-941753-79-8

Design by IN-FO.CO
Co-published by Inventory Press & Library Stack

Available for Pre-order
Shipping September 2025

"This book skillfully and lovingly re-conceives of typography as a prime vessel for smuggling, as an instrument for remembering and imagining, and as both a type keeper and time traveler."
—Tauba Auerbach

"Yes, yes and more yes! This is the book everyone's mothers brothers cousins uncle and then some have been waiting for. It's all that and a bag of percolated barbecue truffle potato chips. If thats not enough, and you may think it isn't, one gets as a bonus the glorious G. B. Jones being interviewed in poetic depth–sublime."
—Vaginal Davis

"The word "erasure" makes me think of erasers. This book is a pencil. Write with it."
—Ellen Lupton

A Queer Year of Love Letters: Alphabets Against Erasure is a toolkit for writing and remembering queer and trans histories. Expanding on Nat Pyper’s series of fonts whose letterforms derive from the life stories and printed traces of countercultural queers of the last several decades, this new book showcases overlooked biographies alongside previously unseen archival materials, as well as Pyper’s unique approach to designing fonts as containers for memory.

The book debuts a new essay by Pyper, and includes contributions from Paul Soulellis, Claire Star Finch, Silas Munro, Lukaza Branfman-Verissimo, Rosen Eveleigh, and G. B. Jones that offer vital perspectives on queer archival practices, language lineages, design as protest, and love as the basis for research. Part reader, part type specimen, part love letter, these fonts foreground the politics of queer memory while opening up new avenues for writers, designers, and curious readers.

6 × 8.75 inches, 288 pages, softcover
ISBN 978-1-941753-80-4

Design by Anežka Minaříková and Marek Nedelka

Now shipping!

Clara Istlerová: A Life Among Letters is the first publication in the United States to delve into the design landscape of the former Czechoslovakia through the lens of Czech designer Clara Istlerová (born 1944). A trailblazer in her field, Istlerová was one of the few women in the male-dominated field of Czech typography. This publication introduces readers to Istlerová’s renowned book designs, particularly highlighting the analog processes she utilized to create one of the most influential books on Czech architecture, Švácha, Rostislav. From Modernity to Functionalism (Odeon, 1985).

The publication features an intimate interview with Istlerová conducted by editor Anežka Minaříková, accompanied by work from Istlerová’s personal archive alongside discussions detailing her creative process. Offering a vivid portrayal of an era where design was a tangible, labor-intensive endeavor carried out in close collaboration with typesetters and printers, the publication unveils the Czech design narrative of the twentieth century to English-speaking readers, highlighting Istlerová’s lasting impact and central role.

6 × 9 inches, 256 pages, softcover
ISBN 978-1-941753-72-9

Design by IN-FO.CO

Now shipping!

“Over the years, David has shown me that design isn’t just about aesthetics or function—it’s about collaboration, experimentation, and constantly questioning what design can be. A *Co-* Program for Graphic Design is a fundamental exploration into the history of design, how it has shaped our society and reveals the often overlooked power that design holds in shaping our future.”
—Martine Syms, Artist and filmmaker

“'All together now,' as The Beatles sang in 1967. Those three simple words seem to be at the core of David Reinfurt’s argument, as he convincingly shows that graphic design, as a living practice, exists exactly in the intersection of multiplicity (‘All’), collectivity (‘Together’), and modernity (‘Now’).”
—Experimental Jetset, Graphic design studio

From ancient Rome to outer space, A *Co-* Program for Graphic Design features contributions by Danielle Aubert, Tauba Auerbach, Barbara Glauber, Shannon Harvey, Adam Michaels, Philip Ording, and Adam Pendleton. This collectively driven text expands David Reinfurt’s pragmatic and experimental approach to pedagogy into a collaborative project that weaves together a multiplicity of voices to present a polyphonic approach to design history and teaching.

This book extends Reinfurt’s highly acclaimed A *New* Program for Graphic Design to include material from three new Princeton University courses (Circulation, Multiplicity, and Research) expressly designed for online teaching.

These courses present a *co-*llaborative and *co-*operative way of telling and teaching design history, taking on subjects from the Detroit Printing Co-op, Corita Kent, and Charles and Ray Eames, to Marshall McLuhan, Sylvia Harris, and Virgil Abloh. Through a series of in-depth historical case studies and assignments that progressively build in complexity, the book serves as a practical guide to visually understanding the history—and shaping the future—of our designed world.

6 × 9 inches, 256 pages, softcover
ISBN 978-1-941753-21-7

Foreword by Adam Michaels
Introduction by Ellen Lupton

Design by IN-FO.CO
Co-published by
Distributed Art Publishers / D.A.P

ePub edition also available via O-R-G
and Apple Books and Kindle

Free teaching guide available here

“At a moment of tremendous technological and cultural change, David Reinfurt makes the case that graphic design is not merely a craft, but a fundamental way to understand and engage with the world. Discursive, expansive, and inspiring, this book redefines its subject and provides an indispensable guide to how it might be practiced.”
—Michael Bierut (Partner, Pentagram New York)

“David Reinfurt's new book provides … in-depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice. This book is a reminder of Walt Whitman’s call for "a force infusion of intellect" to confront the future.”
—Sheila Levrant de Bretteville (Director, Yale University Graduate Program in Graphic Design)

A *New* Program for Graphic Design is the first Communication Design text book expressly of and for the 21st century. Synthesizing the pragmatic with the experimental, A *New* Program for Graphic Design builds upon mid- to late-20th-century pedagogical models to convey advanced principles in an understandable form for students of all levels.

David Reinfurt, a graphic designer, writer, and educator, has developed a design curriculum at Princeton University in which three courses provide a broad and comprehensive introduction to the field for students coming from a range of other disciplines. These courses—Typography, Gestalt, and Interface—are the foundation of this book.

Through a series of in-depth historical case studies and assignments that progressively build in complexity, the book serves as a practical guide to visually understanding and shaping the increasingly networked world of information and design.


David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

A free PDF teaching guide is available as a resource for using the book in an introductory graphic design class, geared for students with no previous background in the subject.

6 × 9 inches, 176 pages, hardcover with 12.5 × 18 inch poster
ISBN 978-1-941753-69-9

Design by Omnivore
Co-published by Inventory Press & ONE Archives at the USC Libraries

LOW STOCK / Exempt from promotions

“Wrapped in luxe maroon cloth and stamped golden cover art, Sci-fi, Magick, Queer LA as an object is as sumptuous and sensual as its contents.” —Jasmine Weber, Hyperallergic

“Much of the show’s visual matter—mystical paintings, ritual costumes, sexology journals, sci-fi fanzines—has been off practically everyone’s radar for decades. Altogether it makes for a trippy package.” —Holland Cotter, the New York Times

Alien worlds, alter-egos, and Pleasure Domes–Sci-fi, Magick, Queer L.A.: Sexual Science and the Imagi-Nation explores the overlooked importance of science-fiction fandom and the occult to U.S. queer history.

Science fiction and occult communities helped pave the way for the LGBTQ+ movement by providing a place for individuals to meet, imagine, and create a life less restricted by societal norms. Focusing on Los Angeles from the late 1930s through the 1950s, this reader follows the lives of artists, writers, publishers, early sci-fi enthusiasts, and progressive communities, from Kenneth Anger, Lisa Ben, and Jack Parsons to the L.A. Science Fantasy Society (LASFS) and Ordo Templi Orientis at the Agape Lodge (O.T.O.).

Spanning sci-fi fandom, aerospace, queer history, and the occult, Sci-fi, Magick, Queer L.A. reveals how visionary artists, filmmakers, scientists, science-fiction writers and fans worked together to build a world of their own making. Featuring copious illustrations of salacious pulps, ritual paintings, and archival materials, authors Joseph Hawkins, Joan Lubin, Alexis Bard Johnson, Ben Miller, Judith Noble, Kelly Filreis, and Susan Aberth tell the interconnected stories behind the underground communities of early Los Angeles. This publication is made possible with support from Getty through its PST ART: Art & Science Collide initiative.

6.75 × 9.5 inches, 608 pages
ISBN 978-1-941753-51-4

Design by Laura Coombs

“This invaluable research tool will hugely expand, update, and perhaps even revolutionize the feminist discourse. It might even be considered a work of conceptual art in itself."
—Lucy R. Lippard, author of Six Years: The Dematerialization of the Art Object from 1966 to 1972

“This book served as my doorway to cyberfeminism and I now see what an energetic continent awaits me. Anywhere I stepped it burned my hair off, it’s that brilliantly intense."
—Kevin Kelly, founding editor Wired magazine

In Cyberfeminism Index, hackers, scholars, artists, and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology. When learning about internet history, we are taught to focus on engineering, the military-industrial complex, and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers, and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it, and pushes it into plain sight. Edited by designer, professor, and researcher Mindy Seu, it includes more than 700 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, and bio-hacktivism; and depictions of feminist net art and new media art.

Both a vital introduction for laypeople and a robust resource guide for educators, Cyberfeminism Index—an anti-canon, of sorts—celebrates the multiplicity of practices that fall under this imperfect categorization and makes visible cyberfeminism’s long-ignored origins and its expansive legacy.

“You can use it as a reference, follow a thread, or just access it at random and it delivers wit and wisdom from over three decades of one of the most politically and intellectually challenging movements of our era. What happens between sexed flesh and gendered tech? More than ever we all need to know."
—McKenzie Wark, author of A Hacker Manifesto

“This is an archive perfectly suited to its material: at ease with impermanence, richly appreciative of contradiction, and expansive in scope. Mindy Seu and her cohort of collaborators celebrate the polyrhythmic chorus of voices that have made cyberfeminist thought so delightfully difficult to define—and invite new, kaleidoscopic reinterpretations of our last three decades of life online."
—Claire L. Evans, author of Broad Band: The Untold Story of the Women Who Made the Internet

“The Cyberfeminism Index celebrates, troubles, and critiques the histories and futures of struggle against networked patriarchy—from its first libidinous eruptions to tenacious tactical disruptions and mutations. For theorists and hegemony hackers alike the Index offers an inspirational and educational resource for the urgent work of glitching and decolonizing intersectional internets now."
—Ruth Catlow, founder of Furtherfield

Us
4 1/4 × 7 inches, 208 pages, softcover
ISBN 978-1-941753-33-0

Get Out

4 1/4 × 7 inches, 208 pages, softcover
ISBN 978-1-941753-28-6

Design by IN-FO.CO

A limited-edition two-volume set that includes the two complete annotated screenplays by Jordan Peele: Us (2024) and Get Out (2019).

Jordan Peele (born 1979) is an American writer, director and producer. Peele’s directorial debut, Get Out (2017), earned him an Academy Award for Best Original Screenplay as well as nominations for Best Picture and Best Director. In 2012, Peele founded Monkeypaw Productions, which amplifies traditionally underrepresented voices and unpacks contemporary social issues, while cultivating artistic, thought-provoking projects across film, television and digital platforms, including the critically acclaimed horror epics, Us (2019), and Nope (2022).

6 1/2 × 9 1/2, 240 pages, softcover
ISBN 978-1-941753-25-5

Design by Danielle Aubert

Epub coming Fall 2025!!
The introduction is freely downloadable here

"Danielle Aubert’s history of the Detroit Printing Co-op offers a refreshing example of graphic design as it was practiced in the most alternative of ways—not only outside of the mainstream design profession, but also against the prevailing capitalist economy premised on private ownership. For enthusiasts of graphic design, Fredy Perlman’s unexpected visually inventive designs for politically salient works offer a much needed example of how self-publishing and DIY printing, so in vogue today, can be used to not just make something, but to also say something." —Andrew Blauvelt, Director, Cranbrook Museum of Art

In 1969, shortly after moving to Detroit, Lorraine and Fredy Perlman and a group of kindred spirits purchased a printing press from a defunct militant printer and the Detroit Printing Co-op was born. The Co-op would print the first English translation of Guy Debord’s Society of the Spectacle and journals like Radical America, formed by the Students for a Democratic Society; books such as The Political Thought of James Forman printed by the League of Revolutionary Black Workers; and the occasional broadsheet, such as Judy Campbell’s stirring indictment, “Open letter from ‘white bitch’ to the black youths who beat up on me and my friend.”

Fredy Perlman was not a printer or a designer by training, but was deeply engaged in ideas, issues, processes, and the materiality of printing. His exploration of overprinting, collage techniques, varied paper stocks, and other experiments underscores the pride of craft behind these calls to action and class consciousness.

Building on in-depth research conducted by Danielle Aubert, a Detroit-based designer, educator, and the author of Thank you for the view, Mr. Mies, this book explores the history, output and legacy of the Perlmans and the Co-op in a highly illustrated testament to the power of printing, publishing, design, and distribution.

7 7/8 × 10 5/8 inch slipcase containing
two 7 5/8 × 10 1/8 inch softcover books
and three 45 × 37 1/4 inch posters
ISBN 978-1-941753-09-5

Design by Marshall Henrichs (original materials)
and Project Projects (new materials)

"Perhaps one of the most extraordinary books ever issued by an American commercial publisher.” —Richard Kostelanetz

Blueprint for Counter Education is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published in 1970 and integrated into the design of the Critical Studies curriculum at CalArts, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the avant-gardes to postmodernism—with Marcuse and McLuhan serving as points of anchorage.

Accompanying this new facsimile edition of the book, posters, and slipcase is a 80-page book featuring a conversation with the original Blueprint authors Maurice Stein, Larry Miller, and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin, and notes on the design by Adam Michaels of Project Projects.