Julia Thrift

Recent articles by Julia Thrift

The Swastika as symbol

Issue 16, Spring 1995


Littered with phrases such as ‘hypertrophied singularity’, and drawing deeply on semantic theory and philosophy…

Techno craft

Issue 23, Winter 1996


David James is a typographer with an exacting eye, who blurs the boundaries between graphic design and art direction


Issue 26, Autumn 1997


Activists were not interested in design sophistication, but their publishing tools imposed their own urgent aesthetics

Type fashion fusion

Issue 22, Autumn 1996


A stylist, a photographer and a typographer celebrate the look and feel of exceptional clothes

Sweet smell of excess

Issue 13, Summer 1994


Perfume packaging must evoke the indescribable. It has its own designers, conventions and codes.

8vo: type and structure

Issue 37, Autumn 2000


For fifteen years this UK practice has given typography a central place in graphic design

Marks on paper

Issue 15, Winter 1994


Letterpress’s eclipse by digital typesetting has been a liberation for typographer Alan Kitching

Reputations: Rudy VanderLans

Issue 7, Summer 1992


‘The thing we have never done at Emigre is to second guess what the audience would like or be able to comprehend’

Signs of trouble

Issue 19, Winter 1995


British designer David Crow uses his personal projects to question the authority of the graphic image. By Julia Thrift

Why a nifty logo is no longer enough

Issue 14, Autumn 1994


Corporate identity’s success may also be its undoing. The fear of making mistakes has led to a bland sameness in corporate design

How they lost the paper war

Issue 11, Winter 1993


When Mary Blake, the paper expert at Greenpeace’s London office, stood up to ask a question…

In search of Barney Bubbles

Issue 6, Spring 1992


He was a pioneer of British graphics, but he refused to sign his own work

Typo Photo

Issue 4, Summer 1991


London’s most progressive designers are working with a small group of photographers highly sympathetic to their aims

Reasons to recycle

Issue 3, Spring 1991


It is an uncomfortable fact, but most of what graphic designers help to create ends up…