Issue 28

Opinion

Editorial, Max Bruinsma

To communicate more than mere messages for a client, designers must adopt an editorial point of view

Graphic Design, Visual Culture, Judith Williamson
The self-contratulatory message of a show about UK creativity was little more than…
Screen, Jessica Helfand

Design, technology and psychology conspire to find new ways of teasing and fraying the passive viewer’s…

Features

Chin-Lein Chen, Chris Vermaas

The modern Maoist versions of traditional Chinese characters introduced ambiguity and confusion by…

Steven Heller


Richard Saul Wurman, FAIA, is an architect, cartographer and the author and designer of more than 60…

Chris Vermaas, Chin-Lein Chen

Travelling graphic designers supply a personal vision, in words and pictures, of professional and…

James Souttar

A sprinkling of icons may make for a pretty interface, but many of them are opaque and meaningless

Victor Margolin

This little red book is a capitalist keepsake – a testament to the corporate culture of a chair company…

Will Novosedlik

Factors of scale ensured a glittering take-off for two corporate identities. But what do they actually…

Richard Hollis

The Architectural Review is a landmark in the history of graphic design, for over a century the most…

Rob Schroder

Screens from a documentary about graphic design in four cities: New York, San Franscisco, London and…

Susan Sellers, Michael Rock

The exhibits are the entire contents of a swathe of blocks on downtown New York. A proposal and manifesto…

Max Bruinsma

Working in the crash-prone pre-history of multimedia, Post Tool has a brand of graphic design that is…

Russell Holmes

Before the home video revolution, Fotonovels provided a graphic way to re-live the experience of Hollywood…

Steven Heller

‘We wanted to avoid the unspoken design taboo: Good design = subtle, tasteful, elegant, restrained. My…

James Souttar
It is probably unfair to criticise Netscape Navigator’s use of icons, since it…