Inside knowledge can be some of the most invaluable. With this in mind we have conducted interviews with some of the most renowned publishers in the business today. These insights serve to contextualise the Blow Photobook Programme and provide an overview of the entailed process for applicants.

Max Pinckers ©

Max Pinckers is a Belgian photographer. He has self-published his books The Fourth Wall (2012) and Will They Sing Like Raindrops or Leave Me Thirsty (2014), Lotus (2016), and Margins of excess and Red Ink, both released in 2018. He founded his publishing house, Lyre Press, in 2015. He won international awards, including the M. Hans Vossen Prize, a Photographic Museum of Humanity grant, the Edward Steichen Award Laureate and the Leica Oskar Barnack Award.


I made my first book in 2011: Lotus. l was still a student at the Academy, in my bachelor year. I made a kind of a dummy, but of 40 copies. The subject of the work is transgenders in Thailand, also known as ladyboys. I did it together with Quinten De Bruyn, another photographer, as a collaboration. We wanted to think about aesthetics applied in documentary photography, we wanted to over aestheticize documentary pictures, and we brought a combination of our photographs with the photographs the ladyboys themselves took, which are very amateuristic, and it’s about bringing these two types of aesthetics together, with we hope it can reflect the construction of the images that the photographer tries to produce.


Working on the project, we already knew we wanted to make a book, because it’s a way to create a kind of narrative – I don’t like to use the word narrative so much because it became a kind of anti-term – but it’s a way that you can build up a series of images compiled at the same time. So it’s final, everything is there, and you can also bring these two registers that we have together. So, for example, for the pictures of the ladyboys, we put them in flaps that were hidden in the book, so that you first only see the photographer’s point of view, and then you get revealed that there is another sight, another aesthetic, to approach in the book. The book allows this kind of way of working. I didn’t had any experience of making books, so it was also really into going and learning as we go along, we didn’t completely knew what we were doing, back then.

We did 40 books because I sent an email to all the people that I knew appreciated my work. I said I’m making a dummy book, but I need money to print it because it’s still expensive. Then I thought, instead of printing five copies, why don’t I just ask everybody that would like a copy to pay up front, so kind of pre ordering but not really, in a way that the book can’t be distributed. It was quite expensive. A book costed 60 euros or something because it was digitally printed in a very low edition run, and everybody just paid the price of the production of the book and then got one, we didn’t made any profits. We just had a production of maybe 10 copies for ourselves and the everybody else got a book. So that was it, very basic, and then our plan was to send the ten copies that we had to publishers and then ask if anybody was interested. I did contact some people maybe I didn’t put enough effort into it but, at a certain moment, i didn’t get any response, nobody was really interested, so I kind of put it on the shelf; and we thought ok, maybe one day we can publish it and then, I made my second book, one year after, The fourth wall, which I self published and made one thousand copies, and Lotus actually stayed on the shelf until 2016 and then I remade that book in a bigger edition.


When we did Lotus, crowdfunding didn’t existed yet, and we did it for the Fourth Wall. It was also from a practical point of view: the whole book is designed to be printed on newspaper, but the dummy couldn’t be printed on newspaper because you need a minimum of a thousand books to even turn on the offset machine. So the dummy was on normal paper, which was a bit weird because the design was adapted to newsprint. Because it had to be on newspaper print, I had to make one thousand books so I thought I have to make a crowdfund to get the money I need, but I had no distribution plan or whatsoever, so when the book was made, maybe 150 or 200 books were on the crowdfunding platform then I had 800 books in my living room that had to be distributed.


I just took a book, walked to the shop, showed it to them if they are interested. First thing I did was send a copy to all my favourite photographers, and curators, and people that interest me in the art world, and then, little by little, I started getting emails from online bookstores, I started getting people that ask if they could write about it, and kind of step by step, you learn the process. There was one moment that was kind of a push through moment : Martin Parr chose The Fourth Wall as one of his best books of the year on a list, I was not even so familiar with these lists, but, all of a sudden, the next day, most of the books were distributed, and you get so much exposure out of nowhere, and that really lifted up the interest in the world. And since then I’m now on my 5th book. I work together with my wife, we deal the distribution, we built up our own system, our own way of sending them, we work with a lot of very loyal people that support us, that always buy our books. Self Publishing really became part of my own practice as an artist, it became part of the work, and I really enjoy that. That doesn’t mean that I’ll never publish with a publisher, I would be of course interested in doing it.


The main problem in self publishing is the distribution, because you can’t only go so far. I’m sure there are publishers that you can work with and be free to do what you wanna do, who trust you. There is a mutual trust. For the last book, our print run was 15000 books, now Red Ink is 8500, those are kind of the same edition sizes that a big publisher would do, and we can distribute the same amount of books a bigger publisher would. But, of course, a publisher has a distribution network that your book is in every museum store around the world and every book store has it. In self publishing, it’s still limited to very specialized places. So, if I work with a big publisher, I would be interested in doing a very high print run and getting it out as far as possible, so that it reaches a public that I cannot reach myself.


Yes, and the deal they offered me wasn’t financially interesting. It’s a very tricky business. If you publish a book with a big publisher, most of the time, it’s at the same time as a big exhibition in a museum or something like that, or you have partners that pay for the production of the book, or some kind of collaboration between different publishers that carry the cost and so on. When I was approached, there was no partnership with anything else, it was just one to one. Then the construction gets very tricky financially. It’s never been the case where I say “Hum, that’s something I couldn’t do myself”. I’ve always thought about “Can I do it myself, and if I can I stick with my own things?”

(The punk philosophy is you don’t need to wait to get knowledge to do something you get the knowledge doing the thing)

Exactly! And that’s the only way you get to know how it works. A lot of people ask me “Should I self publish?” First thing, I say of course is : “Go for it, but it’s a lot of work, and you have to learn step by step, and not sit down for an hour, and learn how it works from talking to people, getting the business side of it, dealing with the percentages and commissions.


One of the really difficult things is the amount of copies. So we’ve overshot, we made a book with way too many copies. There are books that we made too few copies, that sold out so quickly that they never were even seen at books fairs. And when you start making pre sales of the book, a lot of the books are already done before the distribution. Things like timing: when you release a book it has to coincide with festivals or exhibitions. These are also things that I learned when I went along, so most of the time, the practical things.


Pricing and paper are also something you learn as you go along. After making a couple of books, or collaborating with designers, or having a close relationship with the printers that make the book or the binders, you realize that there are ways to economize on production prices. For example, if you use a certain size of the page, it exactly fits an offset sheet, which is 70×100 cm, and you can use that one sheet with maximum capability, then if you go one centimeter bigger you might only use half of the sheet, and the price of the book doubles. and these are all little tricks. So when you’re making a book, you’re thinking maybe we should use this size or that size, or maybe we shouldn’t, and we should just go for unique size, and then it’s more expensive, here but we can economize on some other choice, but that’s all a part of the process, and it’s part of working with the designer. Until now, we’ve never had to make a compromise that I would myself have felt to be a compromise. It’s always been exactly what we wanted it to be.


Probably it would be different, but I also like that it’s been done this way, and that it’s kind of part of that time and artistic process, it has its place.


Here on the boat (Polycopies, November 2018 in Paris), everybody knows each other, everybody’s friends, everybody support each other, that’s also a beautiful part of it. That’s nice, I don’t want to use the term underground publishing scene but it does kind of pose an alternative to the mainstream, more popular work that is out there at Paris Photo. The most beautiful things are here. The downside of it is it also creates a self sustaining bubble or a kind of hermetic place where sometimes I feel it’s a bit too disconnected from the things that happen outside. It also creates a space for a lot of things to be created, and not everything might be as qualitative or as good, but that’s not bad, the more things are made the better, so fantastic things comes out. But, on the other hand, when you go to a fair you can’t see anymore between all the things that are being published, and one of the roles of a publisher is to curate, what is a good work, and what should be published and what shouldn’t. That is a critique, you could say, that everybody gets free rein.


No, there is no recipe. For me, a good book is a book that translates the concept of the work in the best possible way. It’s not a particular form, it depends on what the artist wants to say, on what the works want to say, and if the book complements the concept or the intention. Then it’s a good book.


I’m very happy myself with how the process went so I don’t have so much. Maybe be extremely critical about the choices you make, take your time, think about what you do, reflect on the world and always make sure that your own intentions and you own work is respected the most. That it’s done in a way that you want to work. Create some kind of independence for yourself and stick with that, and be very critical about the conditions in which you work, about how you work. Of course talk with as many people as possible, make as many relationships as possible and try to get your work out there, that’s the most important thing.

Ania Nalecka © Marek Szczepanski

Ania Nalecka is is a graphic designer, art director and book designer. She has designed, among others, “Swell” by Mateusz Sarelo, “Distant Place” by Sputnik Photos, “Karczeby”, by Adam Panczuk, “Boiko”, by Jan Brykczynski and “The first march of gentlemen”, by Rafal Milach. The books she designed have been awarded at the POYi – The Best Photography Book Award, Bratislava Photomonth, ParisPhoto/Aperture Foundation Photobook Award, The New York Photofestival, Photography Book Now, Art Books Wanted International Award, and Publication of the Year, Fotofestiwal in Lodz. She has also co-curated Sputnik Photos’ exhibitions Stand By and Distant Place, Photo-eye for Best Books of 2012 (best books by Sputnik Photos) and the Curated Bookshelf with Foam Museum in Amsterdam.

  • Rafal Milach.Nearly Every rose...
  • Distant Place
  • Mark Power.Die Mauer ist weg!


I start publishing for good in 2008, although I designed my first book in 2002 : “The love book. The best of my dreams” by Slawomir Rumiak, 2002. It was graduation year in academy of fine arts, at printmaking and graphic design faculty. I was doing my master about concept of open form in art (interactive art), still something drew me towards books.


I think i am very classical designer. I believe that being honest counts. Also, that context and form reduction works.


Not having absolute control over production process – I am control-freak, and dealing with contradictory expectations of artist, sometimes their self-handicapping strategy. We all have issues


I think it goes both ways – we select each other. However, I am looking for mature collaboration, for the partner.


All above. However sometimes working on an almost ready dummy can be more time and effort consuming than starting from edit and sequencing. What I have learnt so far is, that there is no such thing as ”easy project”.


I talk, find out about the story, analyse the formal solutions, if they follow the story. If yes and there is no need to change, I don’t.


Sometimes we talk from the beginning what the story is about, what should be in the texts. There are times I do edit and sequencing, but I prefer to work with the third person – additional point of view always helps. It doesn’t mean that chronologically always sequencing determines design. Can be opposite – we ask for the edit and sequencing that follows the book structure, because the structure already tells the story.


I try to build longer relations – I have two printing houses in Warsaw I work with since 2007. I helps to work out standards and work-flow – to some extent.


I am always at the press for final printing, as if it’s possible an artists is there too – sometimes the cost of travel is too big (from USA or Australia). I also strongly recommend investing in wet test print (print test on final press machine on final paper). It save lots of stress, but can save money as well. I am also present during the book binding process.


She or he is the author, so it should be dominant in terms of what the story is about. I am there to help to translate it into the form of the book. If someone has such a clear vision, that it dictates the design of the book and it makes sense – there is no need for me to interfere, only cross check and guide. Photographers with experience in making books usually have a strong overall vision – like my husband Rafal Milach for example.


In my opinion, successful book consists mostly a good story – visually (it’s visual language after all) and the way it’s told (edit and sequencing). Then, if all elements of the book (both conceptual and formal) follow and underline it, with no irrelevant ones, it is a success. Book design is really like a jenga tower.


For me:
Pros: illusion that you can have some overview
Cons: it is illusion

For the publisher:
Pros: exposure, sale
Cons: there are too many books

For the book:
Pros: exposure, sale
Cons: there are too many books


Same old thing as with anything else : independence vs responsibility. It is not for everyone.


Be honest. First, with yourself – if you really want to make a book out of this particular story. Second, with the viewers – don’t waste their time, don’t underestimate their skills in understanding.


Do it, but not as visit card. It’s not about you. Do it as a record of the story that matters – this is the original purpose of the book I think.


Money is very subjective. Maybe as much she/he can afford, having in mind that probably sale won’t balance the costs. And as much it’s needed to make the book she/he likes at the end. Saving 100 euros and then looking at 500 copies of  ”compromised” version may not be worth the spare.

interview by Carine Dolek

International Book Design Conference, 2015, Vilnius, Lithuania. Photo by Mantas Puida

Dewi Lewis © Caroline Warhurst

Dewi Lewis Publishing is one of the leading photographic publishers in the world. The company is run by Dewi Lewis and Caroline Warhurst and publishes around 20 new titles each year of leading British and international photographers such as William Klein, Martin Parr, Simon Norfolk, Fay Godwin, Tom Wood, Sergio Larrain, Frank Horvat, John Blakemore, Paolo Pelegrin, Laia Abril, Dougie Wallace and Bruce Gilden. Dewi Lewis aims to bring to the attention of a wider public, accessible but challenging contemporary photography by both established and lesser known practitioners.

Here is how it started

In 1985 I had set up Cornerhouse, a major Film and Visual Arts Centre in Manchester (since renamed Home). I was director there and we ran an extensive exhibition programme covering all the contemporary visual arts. As part of that we regularly published catalogues. For a variety of reasons I decided that we should start a publishing programme, I felt that this should focus on photography as it seemed to me to be most underrepresented artform in publishing at the time.

Then the first book

In 1987, I published my first book: ‘A Green And Pleasant Land’ by John Davies, but the first book I published through my own company was ‘Children of Bombay’ by Dario Mitidieri, in 1994.

In the last few months before I left Cornerhouse I had helped set up The European Publishers Award for Photography with four other European publishers. Cornerhouse decided against continuing their involvement and agreed that I could participate instead. Dario Mitidieri was the first winner and so his book was my first. Because there were five publishers involved and the print run quite large, the costs were less than they would have been had I been the sole publisher. 

I went independent in 1994. As I was setting up the company I also earned an income through arts consultancy work and it was through that, and a small overdraft, that I was able to put together enough money to publish the first book. If it had failed I wouldn’t have been able to continue and I would also have been paying off debts for some time.  

On Press with Mimi-Mollica


The biggest challenge

Producing a book is almost always a fascinating and thoroughly enjoyable experience – trying to then sell it is very different, and very difficult. Ultimately the biggest challenge is to be willing to take risk after risk. Nothing is ever certain to be successful and so you have to have continual optimism BUT it must be balanced by a clear sense of realism.

How to select a project

Each year I see many hundreds, if not thousands, of projects. Some through open submission, some through portfolio reviews or from being on juries, others in exhibitions or published in magazines or online. I have no fixed idea of what I am looking for but when I see it I usually know pretty quickly. For me it is about a project that feels new and fresh, a project that holds together, has something to say, and deserves the enormous effort and expenditure that is needed to make a good book. 

Dummy or not dummy, that is the question

I don’t really like to work on a finished project that allows minimal input for me. The interesting elements of being a publisher are about the process of putting the book together. Consequently, I am usually involved in every aspect of development from reviewing the initial ideas, working on the edit, then the design and through to the final marketing of the book. 

Ideally, I want to be in a position to have a significant impact in helping to form the final work, but it depends on the project. My starting point is always to tell a photographer that they must submit their work in a completed, sequenced form. It doesn’t need to be a finished dummy, but it does need to be a set of images organized in the way that the photographer believes will best tell their “story”. If they do that, then it helps me to understand what they are trying to say. If they were to give me a hundred or so images to select from and edit then the “story” would be mine, not theirs. My role should be different, it should be to help them say what they want to, not what I want to. But I should be challenging their ideas. Ultimately, I’m aiming to help them understand how to most effectively use their visual material.    

I almost always tend to change the original dummy. Dummies are handmade objects and often they just don’t work once you move into the industrial process of print production. Sometimes this is because of the economic reality, sometimes because things can’t be physically done in the same way by machine. But, of course, there are other reasons such as the failure of a sequence, too much repetition, unnecessary or inappropriate text etc. etc. 

Instead of a dummy, I prefer simply to just see a set of images – laser print outs or whatever – put together in a sequence. If I don’t like the design of a dummy then it can sometimes be hard to see beyond that.

On Press with John Blakemore


I design the majority of our books – at least 80% of them. But I am also happy to work with other designers. We tend to work with an external designer for a specific project or for a specific reason. We have worked with a few designers a number of times but often that’s because the original project has come to us via them.

Press check, with or without the photographer

I still go on press for almost every project (99% of them). I also try to encourage the photographer to attend. The printing process inevitably involves compromises and my view is that I prefer to make those decisions rather than leave it to the guys on press, however good they are. I think that my presence adds a few percentage points to the final quality of a book. As for the photographer I think that it’s important to go on press so that they understand the process and are fully engaged. I want them to be fully involved and to have a real sense of ownership of the final book.

interview by Carine Dolek

Deadline: 15 February 2019
Interview: March 2019
Duration: 3 months

Application Guidelines:
– PDF format, 10mb max.
– Project Statement
– Artist Biography
– Maximum of 30 images
– Website and/or social media links
– Scan of student ID where applicable

Terms and Conditions:

  1. This opportunity is open to any photographer or artist using the medium of photography who is looking to develop their work in the form of a book. Applicants should have a photographic project that is at an advanced state. It’s not necessary for the project to be completed, but it must be at a stage where the process of publishing can be set in motion with our team.
  2. Applicants must be available for an three 3 to 5 days long trip to Dublin between the beginning
    of April and mid June. Dates to be agreed on individual basis.
  3. First visit in Dublin will depend on the Read That image workshop schedule. It will take place
    within the first or second week of April.
  4. Blow Photo covers accommodation at a D-Light Studios apartment for 2-3 visits to Dublin. Maximum stay is 5 days. Additional days must be paid for by the artist, a reduced rate will apply.
  5. Applicants must be available for an interview (Skype call optional) within the first week of March 2019.
  6. Projects must not have been published as a photo book before.
  7. The Program is open internationally.

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We are delighted to be in collaboration with several industry experts. Our mentors offered to be part of Fuse because of a strong sense of synergy, a shared vision, and faith in a collaboration that aims to bring meaningful assistance to the selected artist and truly help them to accomplish their dream. Blow Photo and all of our Partners are offering their resources to make Fuse a high-quality production.

A creative multimedia art space in the heart of Dublin city, D-Light is an important member of the art community in Europe and a beacon of creativity and support for artists in Dublin and further afield.

Founded in 2010 Blow Photo was created to promote and support photography through publications, talks, workshops, exhibitions and education events. Over the years Blow Photo have been discovering and sharing fine art photography in Blow Photo magazine publication. Blow has published 17 issues, showcasing almost 300 photographers, exhibited Irish work at the European month of photography in Berlin, collaborated with southeast museum of photography in Florida and most recently with Hamburg Trienniale.

Founded in 1994, its photography list has an international reputation and has included books by leading British and international photographers such as William Klein, Martin Parr, Simon Norfolk, Fay Godwin, Tom Wood, Sergio Larrain, Frank Horvat, John Blakemore, Paolo Pelegrin and Bruce Gilden. The aim of the company is to bring to the attention of a wider public, accessible but challenging contemporary photography by both established and lesser known practitioners. The company has a worldwide distribution network and is recognised as one of the leading photographic publishers in the world. It publishes around 20 new titles each year.
 Dewi Lewis Publishing also works in close collaboration with a number of European publishers and was a founding member of The European Publishers Award for Photography, which ran from 1994 to 2016. In 2014 Dewi Lewis Publishing received the PHotoEspana’s prize for Outstanding Publishing House of the Year.

A creative design studio, Unthink are respected for the craft they bring to modern design. Bringing an intelligence to design and branding, their output is unique and a high level of discipline and attention to detail is always evident. With clients both at home and abroad, Unthink are one of Ireland’s most talented design studios.

Read That Image is an award-winning photobook collective based in Dublin, Ireland. We are a collaborative group of photographers and designers committed to exploring the endless possibilities of photobook-making and self-publishing. Through a year-round programme of workshops in photobook design, bookmaking and bookbinding, as well as our bespoke services in book design and production management, we provide a space for image-makers and book-lovers to come together to share ideas and create work.

A multi-award-winning printing house, Plus Print are known for their expertise and passion for print. Embracing the latest technologies and with great respect for their practice, they create outstanding results for a range of clients from the corporate to the arts and culture world.


We have assembled a diverse panel of judges with a wealth of experience in both the fields of photography and curation. Many of these judges have appeared on similar panels, having their say on the state of contemporary photography globally. Therefore have deep insights into what is required to make a great photobook. This depth of knowledge is invaluable for anyone thinking of approaching a publishing house.

Peggy Sue Amison © peggy sue amison

Peggy is a curator, producer, author and strategist for emerging and established photographers. In addition to her position as Artistic Director of East Wing, Peggy is also a board member for the Belfast Photography Festival in Northern Ireland and consults for Picture Berlin, a summer residency programme developed for artists working in contemporary art and photography. Originally from America, Peggy moved to Ireland in 2000. Prior to taking the position with East Wing, Peggy was Artistic Director of Sirius Arts Centre in Ireland from 2001 – 2014. She has curated exhibitions in Berlin, China and Poland. She has also written for photographic journals in Europe and America.

Yumi Goto © masaru goto

Yumi Goto is an independent photography curator, editor, researcher, consultant, educator and publisher who focuses on the development of cultural exchanges that transcend borders.
She collaborates with local and international artists who live and work in areas affected by conflict, natural disasters, current social problems, human rights abuses and women’s issues. She often works with human rights advocates, international and local NGOs, humanitarian organizations and as well as being involved as a nominator and juror for the international photographic organizations, festivals and events.

She is now based in Tokyo and also a co-funder and curator for the Reminders Photography Stronghold which is curated membership gallery space in Tokyo enabling a wide range of photographic activities.

Daria Tuminas © Alexey Kurbatov

Daria is a researcher, photographer and curator based in Amsterdam. She studied at St. Petersburg State University majoring in Russian Literature and Folklore, and obtained an MA in Film and Photographic Studies at Leiden University. From 2012 to 2014, she co-organised the Dutch Photography Experience project in St Petersburg consisting of annual workshops as well as Undercover, a group exhibition on Dutch photobooks. She was the guest editor of The Photobook Review #12 published by Aperture in spring 2017. The issue focused on the relations between cinema and photobooks connected to a public event she co-curated at the Stedelijk Museum Amsterdam. Recently, she has contributed a chapter on photobooks by female artists from Eastern Europe to the project and book How We See: Photobooks by Women by 10 x 10 Photobooks.  Starting from 2017, Tuminas works as the head of Unseen Book Market and Dummy Award at Unseen Amsterdam.


Daniel Boetker-Smith ©

Daniel is the Founder of the Asia-Pacific Photo Book Archive, and is the Higher Education Course Director at Photography Studies College (Melbourne). Daniel is a regular contributor to the British Journal of Photography, Voices of Photography, Vault, Photoeye, Paper Journal, Heavy, Source, and other Australian and international publications. Daniel was previously the Managing Editor of Australia’s oldest photography magazine ‘Photofile’.

Daniel is on the Curatorial Advisory Board for the Perth Centre for Photography. He has been a judge at numerous international and national photographic competitions. He is also a nominator for the Prix Pictet Prize, World Press Photo, the Mack First Book Award and other international competitions. He has curated numerous national and international photo book events. 

He has been a lecturer for the past 15 years, and has previously taught and guest lectured at the University of Chester (UK), University of Gloucestershire (UK), University of New South Wales (AU), University of Melbourne (AU), National Art School (AU), Deakin University (AU), & La Trobe University (AU).

Dieter Neubert ©

Dieter Neubert has studied visual communication at the University of Arts in Kassel, Germany and is Founder and Director of the Kassel Fotobookfestival and Founder of the Kassel Photobook and Dummy Awards. He is also chief editor of the quarterly publication PHOTOPAPER. He published several books like the Daido Moriyama anthology ON DAIDO and the artist book KASSEL MENU by Martin Parr. Dieter Neubert is also a member of the Academy and Jury of Nominators for the Deutsche Börse Foundation Photography Prize.

Agata Stoinska ©

Agata is an architect turned photographer and entrepreneur. Originally from Poland Agata moved to Dublin in 2003. In 2008 opened D-Light Studios, the multimedia space in Dublin, which promotes art, culture and community projects and supports artists through residency programmes. In 2010 she has founded BLOW Photo, a platform promoting fine art photography through talks, exhibitions and publications. She is an editor for the Lucie Award nominated BLOW Photo Magazine.

Do you have a story to tell? Are you working on a project that you would love to publish one day? Then maybe the time has come to get your work on paper and in front of the photo publishing industry.

Fuse is a new Photo Book Programme aimed at mentoring an artist through the process of publishing a photo book.

By bringing together the collective knowledge of an editor, publisher, designer, and printer, Fuse gives you the opportunity to work with some of the industry’s best people while gaining a deep insight into the process of making your own photo book. The 3-month programme will result in your work being presented to international publishers as a professionally edited, designed and printed Dummy.

Through this collaboration, you will explore your options, from the selection of images and typography, to whether your book is hand-made or uses print-on-demand technology or traditional printing and binding technology, as well as choosing the size, paper type and binding of your book.

What’s Involved?

  • Collaborative dummy bookmaking workshops with 
  • Editing with
  • Personal guidelines from the publisher
  • One to one workshop with the director of
  • Designed artwork by designers
  • Dummy printed by
  • Presentation of the work and dummy to major publishers
  • Accommodation
  • Access to facilities

The program will run from April 2019 until July 2019. It will require a minimum of 2-3 visits to Dublin. Within those visits, you will receive accommodation from D-Light Studios. The awardee must cover their own transport costs.