Opinion
Rick Poynor
The Guardian’s new Eyewitness page uses single images on a central spread for maximum impact. Critique by Rick Poynor
Design history,
Graphic design,
Typography,
Inspiration,
Simon Esterson
Designer Simon Esterson finds inspiration in Ken Briggs’s National Theatre programmes from the 1960s
Features
Alice Twemlow
Spurned and marginalised for more than a century, decoration is enjoying a guilt-free renaissance
Alice Twemlow
Karen Hsu and Alice Chung of Omnivore use ornament to add meaning to a client brief
Alice Twemlow
The Dutch design duo see decoration as a way to convey messages that are not direct statements
Alice Twemlow
For Denise Gonzales Crisp, typography has the deepest tradition of the decorative within graphic design
Alice Twemlow
For Marian Bantjes the most powerful ornament comes out of obsession and long hours of intense labour
Jessica Jenkins
The renovation of Paris’ oldest métro line reveals traces of a century of billboard advertising
The work of one of France’s most original graphic voices bristles with contradictions
Anthony Oliver
Paper replicas of consumer objects are burnt as offerings to the dead at Ching Ming
Steven Heller
Jürgen Holstein’s volume of rare Weimar-era jackets and covers is an extraordinary labour of love
Catherine Dixon, Phil Baines
Three new typefaces for local institutions draw on Sheffield’s cultural and typographic history
Rupert Bassett
Basel School of Design's First Summer Program was a life-changing experience
Daniel Nadel
For George Hardie, illustration is a problem-solving process: collecting looking and drawing with exactitude