Feature: Typography

 
Marked by time

Marked by time

Two catalogues reveal much about stencil-making in Germany and the US in the mid-twentieth century, while…

 

Why Helvetica?

Despite the changes provoked by the digital ‘revolution’, designing a typeface for serious reading…

 
Penguin crime

Penguin crime

Romek Marber’s 1960s paperback identity is a landmark of independent British design

 

The image as evidence

The career of Germano Facetti is exceptional in its range. As art director of Penguin Book covers in the…

 

Mr Roughcut

or: how graphic designer Pablo Ferro learned to split the screen, cut the crap and tell the story (in the…

 

Maps and dreams

No printing method is too basic for Jake Tilson. Created with photocopiers, his books, magazines and…

 

The work must be read

Lawrence Weiner’s art is a kind of sculpture made of language, free from excess or embellishment and…

 

A New York state of mind

The design of The New Yorker has nearly always taken the approach that ‘if it ain’t broke, don’t fix…

 

Face lift: new cuts at The Times

When technological developments at The Times demanded a change in the newspaper’s typography, a brand…

 
Up close and tight

Up close and tight

The legendary Herb Lubalin brought humour, sensuality and a contemporary flourish to complex typographic…

 
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