Issue 107, Winter 2025
Feature
Its ethical problems may be nothing new, but as ‘AI’ invades graphic designers’ workspaces, its excessive energy consumption, resource extraction and exploitation of creative labour need tackling head on. By J. P. Hartnett
Issue 105, Autumn 2023
Review
The result of a decade spent ‘formulating a stronger ecological theory for design’, Joanna Boehnert’s…
Issue 102, Autumn 2021
Review
Editors Tony Fry and Adam Nocek present Design in Crisis as part of an ‘ongoing conversation that aims to challenge how designers engage with the planetary crises …
Issue 101, Summer 2021
Review
Art and design pedagogy is generally agreed today on the imperative for educators to facilitate independent…
Issue 100, Summer 2020
Feature
Kiel Mutschelknaus’s constantly evolving Space Type Generator has the power to hypnotise
Issue 100, Summer 2020
Feature
Brooklyn-based Chloe Scheffe designs books by groundbreaking thinkers and tackles magazines with a similarly radical approach
Issue 100, Summer 2020
Feature
The work of this prolific young French studio is founded on practicality and systems, while transcending such prosaic methods
Issue 99, Autumn 2019
Review
The Design Observer (DO) blog was launched in 2003 by William Drenttel, Jessica Helfand, Michael…
Issue 99, Autumn 2019
Review
‘What would it take to construct a non-Eurocentric design imagination?’ This is the stark question…
Issue 97, Autumn 2018
Review
We live in an ‘extraordinarily turbulent, often perilous time when we face changes of unprecedented…
Issue 96, Spring 2018
Review
The publication of Muriel Cooper will be a cause for celebration among many readers of…
Issue 94, Summer 2017
Feature
Industry-standard tools – Apple computers, Adobe software – have created astonishing new possibilities for graphic designers. But is this liberation, or a new kind of imprisonment?
Issue 92, Summer 2016
Review
There are few high-profile ‘traditional’ graphic design studios whose members discuss their work in such…
Issue 91, Spring 2016
Feature
Swissted’s typographic homages turn Modernist design history into hollow commodities for a new ‘blank generation’