Massimo Vignelli

Recent articles about Massimo Vignelli

Glorious transit

Issue 85, Spring 2013


Let’s face it, graphic design is short of real drama. There are no good…

Reputations: Massimo Vignelli

Issue 83, 2012


‘I was always seeking to affect the lives of millions of people – not through politics or…

Recalling the Vignelli experience

Issue 54, Winter 2004


‘In the early 1950s,’ begins Massimo Vignelli in the first chapter of this visual…

Mining the graphic mother-lode


Rochester Institute of Technology opens its American design archive to the online world. Critique…

The Vignellis: a thoroughly Modernist marriage

Issue 60, Summer 2006


Lella and Massimo Vignelli talk to Eye’s
John L. Walters and Simon Esterson

Read me! Literacy in graphic design

Issue 37, Autumn 2000


Graphic designers are responsible for the communication of ideas through words, signs and…

A grid for all occasions

Issue 2, Winter 1991


Lella and Massimo Vignelli design by the grid, but they also live and work by the…

Recent blog posts by Massimo Vignelli

Mission America

3 March 2015

New York was Lella and Massimo Vignelli’s kind of town. They were New York’s kind of designers. A profile from the 1980s by Rick Poynor
Entering the New York offices of Massimo and Lella Vignelli is like crossing the threshold of a church, writes Rick Poynor.

Timeless: Massimo Vignelli

20 February 2015

Fellow designers celebrate the life and work of Massimo Vignelli at an exhibition in San Sebastián
A new exhibition at the Okendo Cultural Centre in San Sebastián, Spain, celebrates the life and work of Massimo Vignelli.

Noted #48

21 January 2013

Illustration, music, life and death.
Here are a few links to exhibitions, illustrations and events that caught our attention in recent weeks.

Giants of the visual imagination

29 October 2012

While others struggle with ‘personal expression’, the Vignellis prove that a simple approach and focus makes great design, writes Quentin Newark.
   Quentin Newark writes:   As I was designing the catalogue for the Tate Modern exhibition ‘Albers and Moholy-Nagy’ (2006), a book hefty with designs for adverts, glass paintings, books, chairs, exhibitions, logos, films and colour studies, I thought: we don’t make them like that any more. Creative minds that can flit between disciplines without inhibition.