Paint it black

Klaus Thomas Edelmann

No one ran pictures bigger, cropped them tighter or had a darker vision than Willy Fleckhaus, the art…


Overtures and psychotic symphonies

Joel Karamath

Title sequences of the 1950s and ’60s grabbed moviegoers with psychological insights, orchestral…


A New York state of mind

Chris Vermaas

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


A designer and a one-man band

Rick Poynor

Cranbrook’s song and dance man goes back to college with a bang



Eye editors

Eduardo Paolozzi’s collage ‘novel’ Kex, made in 1966, has renewed resonance in the 1990s


Bards of the balance sheet

Will Novosedlik

How corporate designers turn routine annual reports into epic narratives of business triumph


Reputations: Katherine McCoy

Rick Poynor

After Cranbrook: Katherine McCoy on the way ahead


Clarity and contradiction

Liz Farrelly

Irma Boom’s work is lucid yet challenging. It upsets her colleagues, while pleasing her clients.



Judith Williamson

The bleak reality of sexism, however 1970s, or ‘cool’, demands a critique

The digital wave

The digital wave

Robin Kinross

The old manufacturing companies that dominated typeface production through most of this century have…

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