Interview by John L. Walters
Recent articles by Interview by John L. Walters
Mark Holt: Games, set and dispatch
Issue 101, Summer 2021
The title page credit for Munich ’72: The Visual Output of Otl Aicher’s Dept XI reads ‘Researched, written, edited, designed and published by Mark Holt.’ Interview by John L. Walters
Conversation with John Burn-Murdoch
Issue 101, Summer 2021
As Covid-19 spread across the globe, it became clear that data visualisation would become ‘the language of the pandemic’.
Richard Turley: Mag-man ad-man
Issue 100, Summer 2020
‘There is rarely any doubt in advertising or branding. The default setting is “amazing”. Whereas in editorial, the core tenet is doubt.’ [EXTRACT]
Sophie Thomas: Campaigner
Issue 100, Summer 2020
‘You need a creative or design-oriented brain to figure out what the system is and how to shift it. Designers are good at this.’ [EXTRACT]
Liza Enebeis: Curious creative director
Issue 100, Summer 2020
‘Since the outbreak of Covid-19, the world feels more united. This may be a trigger in the future for how we can be more unified and achieve results as a world collective.’
Jessica Walsh: The influencer
Issue 100, Summer 2020
‘We can’t be like artists, who can stick to one style and never adapt what they do based on what’s going on in the world. This doesn’t bother me, it excites me.’ [EXTRACT]
Moross: The hands-on boss
Issue 100, Summer 2020
‘We work in the entertainment world where there are always a lot of time pressures. It’s a priority to manage stress and make sure people are fulfilled.’
Michael Bierut: The designer’s designer
Issue 100, Summer 2020
‘Online, everything arrives with equal weight … everything can have a logo, everything can have an identity, everyone can do it in an untutored way.’ [EXTRACT]
Bobby C. Martin Jr: Design Champion
Issue 100, Summer 2020
‘We’ve come so far we’re not stopping now. Design has infused every part of our lives because of designers pushing to have a seat at the table.’
Fraser Muggeridge: The improviser
Issue 100, Summer 2020
‘The role of printed matter has shifted from what it communicates literally to what it communicates subconsciously.’