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Jon Wozencroft's designs make your eyes feel like remote sensors. His work decorates the sleeves of many of the CDs on the Touch, Ash International [R.I.P], R&S, Sub Rosa and Swim labels; and he has pretty much claimed the use of the remarkably beautiful DIN Mittelschrift font as his own territory. Unlike the mannered virtuosity of the Designer's Republic or tomato, or the much feted Vaughan Oliver's filigree and shadow designs for the 4AD label, which often window-dressed some fairly naked examples of third rate indie rock, Wozencroft's clinical, cool (in the best sense) image making produced material of considerable substance. Whether using one of his stilled, hushed photographs of a contemporary modernist architectural interior, a found print of trainee Chinese riflewomen, or a plane of smeared lettering, his layouts make you feel like you should be looking harder &endash; and by extension listening deeper. Touch and Fuse is a 'best of' monograph anthologising Wozencroft's CD sleeves, posters (including unused sketches) and writings over the past decade &endash; from Hafler Trio manifestos to Mika Vainio digipacs. Working as he does alongside a largely wordless musical medium, it becomes extra important for the package to speak its mind through the clothes it wears. Wozencroft is outspoken about the waymedia and advertising often reduce design packaging to "colourful foam", and he sets out to redess the problem.
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