Feature: Typography

 

Why Helvetica?

Despite the changes provoked by the digital ‘revolution’, designing a typeface for serious reading…

 
A design (to sign roads by)

A design (to sign roads by)

As an exemplary rational design programme, the road signs of Jock Kinneir and Margaret Calvert demand…

 

The image as evidence

The career of Germano Facetti is exceptional in its range. As art director of Penguin Book covers in the…

 

Mr Roughcut

or: how graphic designer Pablo Ferro learned to split the screen, cut the crap and tell the story (in the…

 

Maps and dreams

No printing method is too basic for Jake Tilson. Created with photocopiers, his books, magazines and…

 

The work must be read

Lawrence Weiner’s art is a kind of sculpture made of language, free from excess or embellishment and…

 

A New York state of mind

The design of The New Yorker has nearly always taken the approach that ‘if it ain’t broke, don’t fix…

 
Malcolm, Peter … and Keith

Malcolm, Peter … and Keith

The British New Wave was born at a boys’ school near Manchester

 

Face lift: new cuts at The Times

When technological developments at The Times demanded a change in the newspaper’s typography, a brand…

 
Day-Glo mind blow

Day-Glo mind blow

Psychedelia hit late 1960s London in an explosion of silk-screen colour

 
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