Issue 63


John L. Walters

Monitor, Lucienne Roberts

When designers start to question what words such as ‘good’ and ‘bad’ and ‘soul’ really mean…

Letter to the editor

Letter from Tom Newman, Still Waters Run Deep

Letter to the editor, Rian Hughes

Letter from Rian Hughes, Devicefonts

Letter to the editor

Letter from Clyde McConnell

Letter to the editor, Jeremy Hall

Letter from Jeremy Hall

Letter to the editor

Letter from Robin Dodd

Letter to the editor

Letter from Chris Powell, Chairman, NESTA, UK

Agenda, Steven Heller

In a world of brand specialists and information architects, is it enough to call ourselves ‘graphic…

Out of the ordinary
Critique / Photography, Rick Poynor

Banal, amateur snapshots become almost poetic in these books by Fiona Tan


Mason Wells

Only the year on the cover reminds us that this Olympic sports schedule is 35 years old

Mike Kippenhan

Water-slide decals from the 1960s to the 1980s

John L. Walters

Can design for contemporary jazz, world and experimental music have a meaningful partnership with the…

Martin Majoor

It may be the world’s most popular sans, but Helvetica has many deficiencies – not least its lack of…

Verónica Devalle, César Sesio

Argentina’s dialogue with the European pioneers of postwar Modernism gave rise to a graphic design…

Alex Coles

Artist Ellsworth Kelly’s links to design are demonstrated graphically by two projects

Dark tools of desire
Rick Poynor

Surrealism’s relationship with graphic design is still strangely unfulfilled. By Rick Poynor

Jason A. Tselentis

Strong design, right-on ‘Projects’ and lashings of information porn make Good a title that aims high