Slow Fire

Most publications about a phenomenon describe it. Slow Fire is partly made of it. The thesis was locked before a single spread existed — oxidation is combustion slowed past noticing, and every corroded surface records its own history — and every decision after was tested against that sentence.

Ignition, Burn, Ash

The chemistry supplied the narrative: three acts, one modular grid, two typographic tiers, one photographic tone. The cover is written by the phenomenon itself — oxidation debris sprinkled through a cut stencil, the final letter dissolving at the page’s edge.

What changed

Critique said too much variation; the answer was subtraction. Twenty spreads became fifteen, every cut documented, until the system read as one voice. The publication closes on its thesis: every corroded surface is an autobiography.