_ First of all, could you introduce yourself?
We are Copyright/Reserved from Bandung, Indonesia. We call ourselves an "experimental design studio" because experimentation is the foundation of our approach to creating products and collaborating with clients. The two of us (Hilmy and Putri) come from a fine art background, so the "studio" format translates our identity best when we first conceptualized this "business." However, it was actually a very organic process. We didn’t dwell too much on beautiful reasons; instead, we discovered ourselves along the way—meeting our team (and parting ways with some, too)—who share the same ideals as us. We've learned a lot from them (our team) and our clients, and vice versa. Over these six years, we've realized that our ideas and creations work best when we engage in discussions and are given the freedom to exercise our creativity. Fortunately, we’ve encountered several clients who granted us the freedom to do what we love, allowing us to create beautiful things.
The motivation behind launching our own publication line (Extensive Publishing) stemmed from a desire to explore new creative avenues beyond client work, as we wanted to spread our wings beyond the limits of formal visions. Over the past two years, we’ve acquired a Risograph printer, collaborated with 30+ contributors, produced six independent books, and participated in ten international book fairs—all while balancing our studio life with client projects.
Initially, we created zines and other printed products as part of the studio’s output. While our day jobs are often filled with commercial projects, we use the evenings to channel our creativity into personal endeavors—essentially "ranting" through our work and producing something we truly love amid the hustle and bustle. We encourage everyone in the studio to make zines, and it has been a rewarding and empowering experience. In the years ahead, this tradition won’t change. Several of our books and zines will continue to be created by our team, serving as the studio’s output while providing a safe space where everyone can express themselves freely.
We have a passion for collaboration, thriving in a creative and organic environment. We extend an open invitation to artists, musicians, and collectives—anyone who needs support in creating tangible works or publishing their projects. Our establishment is open for everyone to visit and discuss ideas. We invite people we admire, as well as those who approach us, to explore possibilities together. Since we don’t follow a formal curation process, we select projects based on personal preferences: we value honest, artistic, passionate, and well-crafted works. We admire seeing years of dedication reflected in an artwork and enjoy the challenge of merging various creative disciplines into a single project. Our collaborative spirit drives us, and we’re always excited about the new books and zines we’ll bring to life.
Long story short, it’s the people we truly want to get to know better!
_ Thank you very much for your kind answer. It is very interesting to hear that you are exploring new creative avenues through collaborations!
I'd love to hear more about your works with the people you've collaborated with later, but before we do that, can you tell us a bit more about your background in fine art? What exactly were you working on before you set up Copyright/Reserved? And are you both still working on your own personal work?
Previously, Hilmy and I focused on our own separate artwork. Hilmy worked primarily with painting and objects, while I created photography books and stained glass pieces.
Currently, we're taking a break from creating artwork (I think the last time we made something was in 2021 or 2022), but we’re planning to start again next year/ explore it again soon.
【Hilmy Works】
【Putri Works】
_ Oh, I see. It's because of the work that you two have done as artists in your own right that all of the work in Copyright/Reserved today is of such high quality and original expression. I have had the opportunity to see both of your works. You two have both produced some really cool work, albeit in different ways.
And the people you have collaborated with seem to be very unique.
Punk band ‘DONGKER’.
Graffiti artist ‘HIKIGUYS’.
Digital typeface designs ‘Tokotype’.
Design studio ‘NOUV°’.
These are all people who create really great works on a regular basis. How did you collaborate with them?
Regarding our collaborators, most of them are friends or people we’ve met through mutual circles here in Bandung, Indonesia. Bandung has a tight-knit creative community where everyone is open to collaboration, making it easy to connect and discuss ideas for future projects. I honestly can’t remember who approached whom first for some of these projects—it’s always a two-way street!
I wanted to share a bit about why we work with contributors from diverse backgrounds. When we started C/R, we felt like fish out of water. As fine art graduates trying to navigate the creative industry, we had some experience, but our true aim was to live off our passion and talent—not just be part of the corporate grind. We didn’t want to bow down to the system without a fight. Fast forward to today, and we’ve built a design studio working with clients who truly believe in us. Looking back, we often think about how much further we might have gone if we’d had more opportunities, platforms, and supporters early on.
Living in Indonesia often feels like playing life on hard mode. Between high taxes, a corrupt system that frequently overlooks creatives, and the ever-present threat of bootleggers, it’s a constant battle. C/R Extensive Publishing was born out of the desire to support others who face similar challenges.
We love seeing hard work come to life and watching new talent emerge. It’s heartbreaking when talented, passionate friends are forced to take corporate jobs just to make ends meet. Through our work, we aim to offer exposure and a safe space for creativity. Our books may seem diverse, but they’re a reflection of who we are—a profitable collective supporting the creative community and amplifying the incredible and diverse work of others.
_ I am very much in agreement with what you have said. Japan has also been in a very bad economy for the last few years, and it has been in a serious state ever since COVID-19 caused a major downturn in the economy. And despite the fact that Japan's population is decreasing, the country's tax revenues are increasing. I am sure there are many other factors, but it seems that the burden on the people is very high in Japan today. What about Indonesia, where you are based? I would like to hear a bit more about the current situation you and your friends are in.
We’re based in Bandung, Indonesia, about a 3–4 hour drive from Jakarta, the capital. Bandung is often called a “student city” because of its many universities. Another label, “creative city,” is one we like to joke about—it’s a cliché coined by the government to attract visitors. Still, there’s some truth to it. Bandung does have a vibrant creative scene, especially in studios, whether team-driven or individual. What’s great is the sense of openness—people are usually eager to chat, collaborate, or just hang out. For artists and creatives, this organic environment feels welcoming. If your work is good and your intentions genuine, it’s relatively easy to find your footing here.
That said, there are significant challenges, mostly due to systemic and governmental issues. The minimum wage is very low, and taxes are set to rise to 12% next year. There’s a glaring disparity between income and expenses, forcing many of us to juggle two, three, or even four jobs to make ends meet. Even big corporations are struggling, with layoffs becoming increasingly common. This economic pressure has a noticeable impact on the creative ecosystem. Design, art, and similar outputs are often seen as disposable rather than valued for their originality. Take the design industry, for instance—many rely on tools like Canva or free software to create work without foundational skills, offering their services at incredibly low rates. While this benefits clients financially, it devalues professional design and discourages originality. Copying Pinterest boards or existing designs has become the norm because it’s quicker, and clients often don’t mind since it costs less. I don’t mean to point fingers, but I believe good branding and design should be intentional and unique. Unfortunately, the current environment makes it hard for creatives to thrive. The government’s failure to raise the minimum wage only reinforces the cycle of undervaluing creative work, making it harder for professionals to get fair compensation. A healthy creative environment should empower people to produce original work and feel inspired by others without resorting to imitation. We want to create meaningful, authentic work and be paid fairly for it, but these two goals rarely align. It’s frustrating and, honestly, often makes us daydream about trying our luck in another country (lol).
_ So far, your story has reminded me of a sentence from a book by anthropologist and anarchist David Graeber. The sentence is as follows.
Slaves have no family, no kinship, no community, no ability to make commitments or establish lasting connections with other human beings. This is why the English word ‘free’ is derived from the word ‘friend’. Slaves could not have friend because they could not make promises to others. This is because they were completely subject to someone else's authority, and their only duty was to carry out their master's orders correctly.’
If we consider this statement paradoxically in a slightly more forceful way, we can take it to mean that ‘to have friend is to be free’. I felt that by collaborating, you were gaining more ‘freedom’. So I would like to ask you, what specific effects do you think collaboration is having? And what do you personally gain from collaborating?Have they influenced your future work?
I believe that through collaboration, we gain exposure to different perspectives and the years of hard work behind them—empowering and enriching our creative journeys. Most of our collaborators approach their art and careers in the creative field with a positive mindset. They create thoughtfully, not out of obligation, but from genuine consideration—for themselves, the environment, and the future. A well-crafted piece speaks for itself, often requiring little explanation. Personally, I find that collaborating brings new insights and stories to the table. Creating something new together is a rewarding process, as we both gain from the experience. It truly works both ways.
_ By viewing and experiencing the collaborative work you are doing, we felt empowered by it. And the new insights and stories you have created take us on a new journey. There is one thing that has been on my mind when I look at your work. I feel that your works send the message that you are ‘fighting against the social system’. For example, your work ‘Course Kit vol. 1 - Theo Frids Edition Workshop set’, which uses colonial photographs, or your collaboration with Tokotype on the theme of speciesism ‘Not Not A Shooting Target Practice’. And then there's the Punk Band ‘DONGKER’ and the Graffiti artist ‘HIKIGUYS’, who I think are also artists fighting the social system. And above all, I could feel this from what you have said to me so far. I felt that facing the social system is inseparable from your expression.
And you have participated in international book fairs around the world with your works. How have you found the reactions in different places? And what do you feel in each place?
That's a nice point of view! I had never thought about myself or our studio's modes of work that way before. But looking back, I think so. Yeah, I think what we’re trying to say is this: borrowing from existentialism, the world is fundamentally irrational. The recognition of this absurdity is not about denying fear or despair. It’s about having the courage to face them head-on.
Fears could be anything—personal, political, or societal—and that’s precisely what makes the world so irrational. You and I have both shared our own encounters with 'irrationality' within the context of our country. That, too, creates fear, a quiet sort of chaos that can feel overwhelming. But for us, standing up to that irrationality and embracing the fear without being consumed by it is what gives our work its meaning. It’s a kind of defiance, a small rebellion against the absurd.
To put it simply, the collaborations and Copyright/Reserved work is always simple: Just a cry from the heart to survive.
Book fairs are unique in how different places respond to them.
From our past experiences at art book fairs, we’ve noticed that our community and audience often include:
1.Design enthusiasts: Reflecting our roots as a design studio, they are drawn to our editorial perspective.
2.Students: Our visually engaging and accessible book collection resonates well with early adopters and student readers.
3.Multi-disciplinary individuals: Our organic and diverse approach naturally attracts people with varied interests across fields.
Interestingly, we hadn’t really thought about who our niche audience might be or who our peers were before these events. But after meeting new people and reflecting on the connections, we’ve come to understand ourselves better—and that’s been quite special (and honestly, a bit fun to realize!).
Each book fair we attend, no matter the country or city, holds a special place in our hearts. It’s strange but comforting how they always feel like home. Books are truly an amazing medium—they connect strangers and offer a sense of shelter in an ever-changing world. Every time I return from a book fair, I’m reminded of how hopeful the world can be: more knowledge being shared, more people reading books.
It feels like we’re moving toward a beautiful future, and it’s such a joy to be part of something so meaningful.
_ Thank you for speaking so many amazing words so far! I am so courageous and empowered by your words, and I relate to them so much.
‘Just a cry from the heart to survive.’ I am so moved by your words. I think you are a great studio and true artists.
I have also exhibited at several book fairs in Japan. And like your words, they hold a special place in my heart and I feel equally at home and comfortable. I would like to ask you a few more questions about these words. Why do you think you feel that way, even when you are new to a place?
I’m not entirely sure, but I think it’s because people at book fairs tend to be free-spirited and open-minded. They’re unafraid to exchange ideas and genuinely open to connecting with others. It’s not just because we’re there to sell things and need to be welcoming (haha), but in my opinion it’s more about a shared curiosity. We all want to learn about and respect each other’s work.
Meeting new people and experiencing new places enriches us with knowledge and inspiration before we start creating our next pieces. We put so much effort into making artwork, creating books, or collecting them, and these events give us a chance to present our work with pride.
What makes book fairs so special is that everyone shares the same respect and curiosity for one another, creating a friendly atmosphere—even when we’re strangers.
_ Now, the last question. Please can you give any advice or message to people who want to create, express themselves or design in the future?
I believe one of the most important and challenging parts—aside from creating—is the waiting game. Resilience and consistency are key to making a lasting impact in the industry. It’s about sustaining your art and creativity over the years. Be confident in your vision, even if others don’t fully see it yet. Stay disciplined and always give your best, even when no one is watching. The journey may feel lonely at first, but eventually, you’ll meet people who share your values, and it will all be worth it.
Collaboration is another great way to nurture creative expression. Being open to working with others and building connections is essential. Creativity thrives when it’s organic, supportive, and focused on cultivating a healthy ecosystem. Keep your mind open to exploration and interaction, and you’ll find your path.
_ Ttahk you so much!
Copyright/Reserved ,Extensive Publishing
Extensive Publishing is an initiative to explore new creative avenues, focusing on books, zines, and objects under the helm of Copyright/Reserved, an experimental design studio based in Bandung, Indonesia. This publication line stems from our desire to transcend the boundaries of client-driven projects, enabling us to pursue broader creative possibilities and reimagine the presentation and layout of “books” and “objects” as powerful mediums of expression.
The Copyright/ Reserved Extensive Object and Publishing bureau was created because what inspired us the most are that when different disciplines or people collide and experiment, the result can be extraordinary. It could mean nothing or everything; it could be enlightening or boring, archaic or momentous-whatever. Nobody assessed the legacy, so why should we? We know that some lucky people burn their passion through books where readers can clearly see tension, sensibility, preferences and emotion. And those people don't cater to the crowd.
Those are one lucky people.