Issue 37, Autumn 2000
To launch Tate Modern and Tate Britain, the organisation Tate (an appellation which, however much…
Issue 74, Winter 2009
Earlier this year I was researching past issues of Emigre magazine for an exhibition project…
Issue 32, Summer 1999
The freewheeling global agenda of Müller+Hess both destroys and revives the typographic traditions of their home town.
Issue 38, Winter 2000
imply two separate worlds, yet artists who use text employ the techniques of graphic design. And so for the pharmaceutical type pastiches in \'The Last Supper\', a series of screenprints, Damien Hirst employed designer Jon Barnbrook.
Issue 40, Summer 2001
The sound and fury of ‘radical’ typeface design associated with the early days of PostScript have quietened into a purposeful, prolific hum. There’s a new order of craft and and invention, driven by corporate culture, nostalgia and the demands of the screen.
Issue 25, Summer 1997
With a CD-ROM based on its legendary lettering archive, Central Saint Martins has created a new tool and resource
Issue 44, Summer 2002
Pearce Marchbank’s covers added an editorial edge to a listings magazine
Issue 34, Winter 1999
Pictures of non-places, the grubby and eroded gaps between the real spaces of the urban realm, make a spectacle of the unspectacular
Issue 23, Winter 1996
Just about every approach to describing typefaces has been put to the test. Now font names…