Cory Schmitz. Graphic Designer for PlayStation, Oculus, Indie Games, and More

A picture might be worth a thousand words but a good logo is a promise. Graphic design should be functional, in an accessible form....

Ilya Ruderman on Cyrillic typefaces

For sev­er­al years, we’ve been see­ing in­creased de­mand of Cyril­lic typefaces from in­ter­na­tion­al type foundries. Russian type designer Ilya Ruderman speaks about designing Cyrillic typefaces and their specific characteristics.

The Glass Ceiling

International Women’s Day is a worldwide event that celebrates women’s achievements – from politics to social matters to cultural issues. March the 8th is...

Jennifer Sterling Finally Gets the Last Word

Having lived and worked on both coasts, Jennifer Sterling knows a thing or two about cultural and political discourse in design. Her illustrative typographic renderings have produced praise and ignited loathsome critiques from her peers.

Gemma O’Brien. The Future of Typography is Human

Technological innovations will continue to wow and delight, but they’ll also come and go. In the creative world there is no replacement for the human touch, as Australian calligrapher Gemma O’Brien shows us.

Emily Cohen. Deconstructing the Creative Brief

Sometimes, we all need some help. Emily Ruth Cohen consults with small to mid-size creative firms and in-house corporate design departments. This breadth of experience gives her insight into a wide range of issues that face creative businesses.

Andrew Blauvelt. Can Graphic Design Save Itself?

Can graphic design save itself? What exactly do we need to save ourselves from? Questions like these plagued me after reading Andrew Blauvelt’s essay in Emigre #64 Towards Critical Autonomy or Can Graphic Design Save Itself? This wasn’t the first time Blauvelt’s writing had incited me. Building Bridges: A Research Agenda for Education and Practice called for a refinement of graduate study and practice in graphic design. We should push beyond the limits already experienced. And that’s where his Emigre article put a bigger fire under me. Change what we do, not how we do it. It’s more about point of view than visualizing your point, with a great opportunity for revolutionary work. Obvious? For me it wasn’t.

Jean Francois Porchez. The more restrictions I have, the more creative...

You’ll see his typefaces on the Paris Métro, gracing the pages of France’s premier newspaper, Le Monde, in magazines and books; even Beyoncé uses them. He was awarded the Prix Charles Peignot for excellence in type design, was president of ATypI, designed one of the best modern-day type revivals, and…. Well, there’s so much more that can be said by way of introducing this great talent of type, but I think John D. Berry sums him up best when he writes, he is one hell of a type designer. Interview with I Love Typography.

Typeface as Programme. The Nature of Type Design in the Digital...

Designer and programmer Jürg Lehni analyses the evolution of typographic technology and the nature of digital fonts. An essay complemented by interviews with Peter Biľak, Erik Spiekermann and Dimitri Bruni (NORM).

Roman Cieslewicz. ‘Posters belong to another age’

Roman Cieslewicz was born in Lwow, Poland in 1930. A professional militant, Cieslewicz avoids the groups that are active and influential in France: the admen, the Swiss school, the ‘politicos’. Yet it was he who introduced the Polish poster to the country, unleashing all those influences which continue even now to determine French poster design, particularly in the political, social and cultural fields.

Tomato. Letting something grow

Tomato… A house hold name in our industry. This multi-disciplinary collective tackles almost anything creative. Among the mediums most noted would include; typography, graphic design, architecture, filmmaking, and the music of Underworld. We caught up with Graham Wood, Steve Baker, and Jason Kedgely and were able to get these kind gentlemen to 'speak up’.

Claude Garamond promotes his Old Style Typefaces

Type design cannot be completed by anyone. It takes a rare breed to sit tirelessly in front of drawings of counters, bridges, shoulders, and punctuation. The complete system of ABC and 123 amounts to a visual communication that is at onetime complex, but when utilized taken for granted. Typographers make language visible. Form is content. Here, Claude Garamond shares some of his ideals, passions, and excitement. Funny stuff!

Sheila Levrant de Bretteville. Dirty Design and Fuzzy Theory

In 1990 Sheila Levrant de Bretteville became the new director of studies in graphic design at Yale University School of Art. Since the late 1950s, the Yale program had been a bastion of modernist theory, a conduit between designers in the U.S. and the program in graphic design at the Kunstgewerbeschule in Basle, directed by Armin Hoffmann. For over thirty years, graduates of these distinguished programs have profoundly influenced American design through their professional work and their teaching.

Massimo Vignelli vs. Ed Benguiat (Sort Of)

'Print had brought Vignelli and Benguiat together because they looked like oil and water on paper. But rather than debate one another they surprised us by ganging up on Emigre magazine (1984–2009) as a symbol of the computer's destructive influence on contemporary typography. What follows is an almost complete rerun of the 9,000-word original published version. Parts that have been skimmed away are indicated by ellipses (...).'

Thomas Sipp. Safari Typo!

French filmmaker Thomas Sipp loves typography. In 2014 he made ‘Sacrés Caractères’, a series of 12 short films about different typefaces. Recently he completed...