Loes Verstappen pursues an interdisciplinary graphic design practice between
Brussels and Rotterdam. Joint efforts result in printed, digital and audible outcomes.
Graphic design co-exists with research, writing and radio. Contact her here.

We cough up broiled quotes in oozy flux, a mauve joke, 2020. Letter, designed for
     Art Rendez Vous Breda.
Kunstinstituut Melly, Cecilia Vicuna, a retrospective exhibition, 2019. Educational worksheet.
     Folder, 297 x 420 mm. Offset.
Jacob Dwyer, O Fortuna, 2020. Published by Flat i. 110 x 160 mm, 144 pp. Offset.
     Photo's (middle and bottom) Marlike Marks.
Loes Verstappen, Affecting Knowledge: Severo Sarduy's 'Simulation' and the potential
     of the affective dimension for theory
, 2019. Thesis MA Media Studies, Cultural Analysis:
     Literature and Theory. Universiteit Leiden. 210 x 297 mm. 68 pp. Laser print.
     Photo's Marlike Marks.
Body of Art / Annemijn Rijk, logo, 2021 Kunststichting Sint-Oedenrode, Terugwandelen door het
     Roois Landschap
, 2020.
     165 x 230 mm, 200 pp. Offset.
Kunstinstituut Melly, Educational worksheets, Who the Bear (Simon Fujiwara),
      84 STEPS (Afra Eisma), a solo exhibition (Sasha Huber), 2021. pdf.
Metropolis M, 2013-2016 (75B). Magazine. 220 x 293 mm, 96 pg. Offset druk.
     Photo (middle) Marlike Marks.
Michiel Huijben, House with Doors and Windows, 2014. 150 x 240 mm, 40 pp.
     Inside risograph, cover zeefdruk, handbound.
Thomasine Barnekow, Rendez-Vous, 2016. Publication. 170 x 240 mm, 176 pp. Offset.
PrintRoom, Printroom's Pick from the New York Art Book Fair, 2015.
     folder. 148 mm x 210 mm. Risograph.
Hedwig Houben, For the Hand, the Eye, It and the Foot, 2017.
     Published by Flat i. 169,5 x 240 mm, 112 pp. Inside offset, cover laser print, handbound.
     Photo's (middle and bottom) Marlike Marks.