Publication as Process, the title of issue 3 of Uncanny Magazine, is divided into two sections:
1) a reproduction of a publication produced as part of the image-making process for
a design commission from the English Touring Opera, in its original size and form;
2) a selection of 11 of the 23 publications produced whilst making illustrations
for the aforementioned design project.

The idea of making several publications during the illustration/ design process is a way
of creating a platform for critical awareness. Not only does it generate space for discussion
with other people, but promotes a big variety of solutions and alternatives to the work
being produced, thus increasing the possibility of making a more considered
and reflected decision through the act of publishing. The aim of this issue is
to document and archive an essentially visual account of ‘publication as process’.

Dimensions: 29.7 x 21 cm, 52p.
Numbered edition of 100. Buy here

Uncanny Editions held the launch of issue 3 of Uncanny Magazine – Publication as Process
and a talk by Karen Lacroix, on the 30th September 2011.

The event took place at X Marks the Bökship in Bethnal Green, London.
During the month of October, Uncanny Editions is ‘Publisher of the Month’,
with all its edited publications on display, including sold out Ugly 0 and Uncanny 1,
and unique/ original publications produced during several commissions.
A workshop on ‘publication as process’ will be held at the end of the month.

www.uncannyeditions.com

Illustration and design of the Autumn 2011 booklet for English Touring Opera. A5, 16pp.
Uncanny Magazine no. 3 will explore how publication was used as a process during the design of the illustrations for this booklet.
Illustrations by Karen Lacroix. Design by Francisco Laranjo. More information soon.

The making of publications and the exploration of different printing processes are used in order to inform
the process of designing an illustration.

Publication forces a confrontation of the imagery collected during the research process and can have an
important impact during the process of ‘illustrating’. Control is often lost while using different printing
methods (offset, digital, photocopy). By using, obliterating and composing different paper sizes and paper
stocks, the images collected for an ongoing illustration commission, reveal new contexts and relations,
creating space for an enriched design process.

A selection of spreads shown here will also be published in issue 3 of Uncanny Magazine.
More news soon at www.uncannyeditions.com

The publications presented here are the result of an exploration of ‘publication as process’.
Uncanny no. 3 will trace these processes used in ongoing illustration commissions. More news soon at www.uncannyeditions.com

This issue explores the relationship the Surrealist authors André Breton and Paul Eluard had with religion, particularly
with Catholicism. It approaches the subject using the book The Immaculate Conception (1930), questioning the authors’
anti-religious orientation through a new series of handmade collages.

Uncanny Magazine is the visual output of Karen Lacroix’s ongoing research on Surrealism.

Dimensions: 29.7 x 21 cm, 24p. Numbered edition of 100. Buy at www.uncannyeditions.com

Illustrations for the latest albums “Flux” and ”These Visions” by the Lunar Saxophone Quartet, released by Signum Classics. Design by Francisco Laranjo.

Two limited edition riso prints.
Dimensions: A3, 2 colours, 200 gsm cream paper, signed edition of 15. Available now!
Buy at www.uncannyeditions.com

Collage/ illustration and design for Four Corners film’s “Digital Futures” training scheme.

Uncanny Magazine is the visual output of Karen Lacroix’s ongoing research on Surrealism and its methods of production. All illustrations are hand-made collages.
Dimensions: 29.5 x 20.5 cm, 20 pages. Numbered edition of 60 Buy at www.uncannyeditions.com

I was commissioned by advertising agency Dentsu to propose a creative interpretation of the words ‘Making Future Magic!’.

The collage work I do is grounded on its historical roots, Dadaism and Surrealism.
However, I’m particularly interested on the role of the illustrator as an editor.
I continuously collect scavenged material from varied periods.
This allows me to build images that while conveying an obvious message,
they propose different – sometimes contradictory – interpretations and points of view.
This particular typographic collage was no exception.
It is a dense combination of letterforms that both clash and cohabit with the meaning of the words.