Aisling Farinella, Adrian Shaughnessy, I Love Dust, Jon Burgerman, Richard Turley, Marian Bantjes, Jeff Greenspan and Chris Judge. Pam Bowman concludes her coverage of the Dublin Offset conference
The third and final day of the Offset conference began with Dublin-based stylist Aisling Farinella on the main stage, writes Pam Bowman.
Martina Bacigalupo discovers a new source of human stories at Uganda’s Gulu Real Art Studio
In early 2011, the Italian photojournalist Martina Bacigalupo left her small hotel in Gulu, northern Uganda, and asked a local boda-boda driver to take her to a nearby photographic studio, writes Wayne Ford.
Bjørn Rune Lie, Sarah Illenberger, Hingston, Brody, Glaser and Maser. Pam Bowman continues her coverage of the Dublin Offset conference.
Speaker Bjørn Rune Lie began Saturday’s line-up presenting to a surprisingly full theatre, given that the delegates party was the night before, writes Pam Bowman.
‘Lettering: Objects, Examples, Practice’ is the first exhibition of its kind at Central Saint Martins’ Kings’s Cross premises
The ‘Lettering: Objects, Examples, Practice’ exhibition, at Central Saint Martins’ Lethaby Gallery, displays traces of lettering history and the traces former students and faculty have left on the college and its student body, writes Sarah Snaith.
Sarah Mazzetti, Golden Wolf, Marina Willer, Mike Perry, Detail, Serge Seidlitz, Jessica Walsh and Mother take the stage. Pam Bowman reports from the Dublin conference.
This year was the fifth anniversary of Offset, with 24 speakers across three days. Again, in the Bord Gáis Energy Theatre, Dublin, with around 2000 delegates, writes Pam Bowman.
In the run-up to the Turkish elections, designers satirise the actions of prime minister Recep Tayyip Erdoğan. Report by Gülizar Çepoğlu.
A deluge of satirical poster designs and artworks have become a powerful form of protest for Turkish people, writes Gülizar Çepoğlu.
What can we learn from Paul Peter Piech? Fraser Muggeridge hails an overlooked but highly original graphic artist
As a second-year undergraduate student at Reading in the early 1990s, I was shown the linocut posters and prints of Paul Peter Piech as inspiration for a project, writes Fraser Muggeridge. I hated them.