Opinion

Modern lovers

Modern lovers

Design history, Graphic design, Magazines

Rick Poynor

Manchester’s The Modernist champions mid-century design and architecture. Critique by Rick Poynor
Editorial Eye 110

Editorial Eye 110

Graphic design, Typography, Visual culture, Editorial

John L. Walters

Andy Altmann’s enthusiasms live on: in his books ... and literally written in stone …
Groop dynamics

Groop dynamics

Graphic design, Illustration, Music design

Rick Poynor

Stereolab’s reliably wayward approach to music graphics is back for the cover of the Anglo-French band’s latest album. Critique by Rick Poynor
Editorial Eye 109

Editorial Eye 109

Photography, Technology, Visual culture, Editorial

John L. Walters

We are all subject to the dominant technologies of our age, consciously or otherwise.
Voice at the table

Voice at the table

Brand madness, Critical path, Food design, Agenda

Nigel Ball

Will we one day view junk food ads the way we look back on tobacco advertising? Nigel Ball challenges designers to query the relationship between branding and UPF (ultra-processed food)

Ugliness is in the eye of the beholder

Steven Heller’s essay, ‘Cult of the ugly’, was greeted by a storm of protest. Who said what, and what conclusions can be drawn?
Editorial Eye 108

Editorial Eye 108

John L. Walters

What may appear like ‘branding’ and ‘marketing’ often has the more compelling dynamic of editorial design …
The first brand mag?

The first brand mag?

Design history, Typography, Visual culture

Andy Altmann

The chance discovery of a set of bound volumes revealed a treasure trove of trade marks. By Andy Altmann
Going off the grid

Going off the grid

Critical path, Graphic design, Magazines

Rick Poynor

Plastikcomb magazine looks back to 1990s graphics with stylish aplomb … and a focus on contemporary collage-makers.
Michael Wolff, seagull

Michael Wolff, seagull

Book design, Brand madness, Front matter

Simon Esterson

He recruited birds and foxes into branding. Now his close collaborators have made a book of his work. By Simon Esterson
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