Issue 79

Opinion

Editorial, the editor , John L. Walters

Kiki in graphic detail
Critique, Rick Poynor

Catel’s quick-fire sketches illustrate the life of the young model who became a Surrealist icon and Man…

Monitor, Jack Yan

Jack Yan examines the future of webfonts and the digital marketplace

Features

Modern method
Kerry William Purcell

As the Design Museum launches a retrospective of Wim Crouwel’s work, Kerry William Purcell interviews…

In the thick of it
John L. Walters

Morag Myerscough puts an eclectic graphic sensibility into public spaces, with colour, pattern and big…

Reputations: Kris Sowersby
Mark Thomson

‘New Zealand is a young country and hasn’t had the time, or resources to develop a typeface culture. I…

Allan Fleming: The man who branded a nation
Martha Fleming

At a pivotal moment in Canada’s history, Allan Fleming’s typographic designs for stamps, books…

Beyond Blackletter
Steven Heller

The lettering on the covers of Germany’s most popular film magazine expressed plot and tone with…

Food, type, art director and client
Dominic Hofstede

Les Mason art-directed The Epicurean, Australia’s first food and wine magazine, as an expressive gallery…

Raise the bar
Adrian Shaughnessy

Uncompromising posters for the Théâtre Nanterre-Amandiers in Paris

Mr Mistral
Sébastien Morlighem

New discoveries about Roger Excoffon’s virtuoso typefaces for Fonderie Olive prompt a fresh look at the…

Men behaving stylishly
John L. Walters

Who would dare to launch a glossy men’s magazine during an economic crisis? The team behind Port discuss…

Port: Prêt á porter
John L. Walters

Jeremy Leslie, Port’s iPad app designer, explains his methods

Buying time
Steve Rigley

With shorter, more commercially driven degrees under serious consideration, Steve Rigley argues that…