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Infinite is a typographic accordion book that takes Kurt Vonnegut's Slaughterhouse-Five as both subject and method. The novel's refusal to move through time in any predictable direction becomes the organizing logic of the book itself. Quotes were selected for their relationship to time and arranged so that each spread reads as a complete, self-contained meditation while also contributing to a larger narrative about fatalism, recurrence, and the impossibility of escape. The book has 18 panels plus cover and back cover and is designed to be entered at any point — there is no correct order. The accordion format was chosen deliberately: a structure that folds back on itself and never truly closes felt like the right form for a project about time that loops.
Each spread was built around a quote selected for its relationship to time, but also for how it could connect to the spreads around it. The quotes are complete on their own and legible in isolation, but arranged across the accordion they form a loose narrative about fatalism, recurrence, and the impossibility of escape.
Typography does the work of both communicating the quote and performing its meaning. Letters are scattered across a grid, words repeat until they become texture, and phrases are set so large they can only be read in fragments.
The palette of black, red, and yellow was drawn directly from the cover of Slaughterhouse-Five, pulling the novel's own visual identity into the project.
The colors are blunt and graphic, which felt appropriate given the novel's subject matter. White functions as negative space throughout, giving the more dense typographic moments room to breathe.
Typography does the work of both communicating the quote and performing its meaning. Letters are scattered across a grid, words repeat until they become texture, and phrases are set so large they can only be read in fragments.
The palette of black, red, and yellow was drawn directly from the cover of Slaughterhouse-Five, pulling the novel's own visual identity into the project.
The colors are blunt and graphic, which felt appropriate given the novel's subject matter. White functions as negative space throughout, giving the more dense typographic moments room to breathe.
The book uses two typefaces throughout: Transducer and Corpulent, with occasional hand-crafted letterforms.
Transducer carries the informational and structural weight of the system, clean and mechanical, grounded in the present. Corpulent handles the more expressive moments, rounded and almost absurdly full, which suits Vonnegut's dark humor and the novel's strange tenderness. The two rarely feel like they belong to the same visual language, and that tension is intentional. Time in the novel doesn't hold together neatly either.
Transducer carries the informational and structural weight of the system, clean and mechanical, grounded in the present. Corpulent handles the more expressive moments, rounded and almost absurdly full, which suits Vonnegut's dark humor and the novel's strange tenderness. The two rarely feel like they belong to the same visual language, and that tension is intentional. Time in the novel doesn't hold together neatly either.
FULL-LENGTH BOOK