Phil Baines

Recent articles by Phil Baines

Max’s life is all mapped out

Issue 101, Summer 2021


This book is about far more than Leslie MacDonald Gill (better known as Max) and can…

The wrong browsers

Issue 62, Winter 2006


It gives me no pleasure to say that this is a truly dreadful book that…

Letter rich Lisbon

Issue 54, Winter 2004


Nicolete Gray’s 1960s snaps inspire a re-examination of the capital’s streetscape

Pieced together in Ambleside

Issue 81, Autumn 2011


I’m sure that most designers will know about some aspect of Kurt Schwitters’ work, probably…

Sense of place

Issue 58, Winter 2005


Three new typefaces for local institutions draw on Sheffield’s cultural and typographic history

Looking this way and that

Issue 39, Spring 2001


In his introductory essay to Ed Fella’s book Lewis Blackwell writes: “America, unlike Europe, for…

Central Lettering Record

Issue 15, Winter 1994


Central Saint Martins' collection of historical letterforms and type samples is an invaluable resource

Reading the news

Issue 44, Summer 2002


In an-depth pictorial essay Phil Baines examines the ways major UK newspapers, tabloid and broadsheet, presented the events of September 11

A cast of thousands

Issue 45, Autumn 2002


The future of type design

Sculptured letters and public poetry

Issue 37, Autumn 2000


Sculptor Josep Maria Subirachs and poet Joan Brossa had little in common but a fierce pride in the city and culture of Barcelona, where their open-air letterforms grace the streets, squares and parks

A design (to sign roads by)

Issue 34, Winter 1999


As an exemplary rational design programme, the road signs of Jock Kinneir and Margaret Calvert demand careful study. Despite poor application, inconsistent additions and muddle over the past four decades, their robust, flexible system – with its humane typeface and quirky pictograms – still functions throughout the length and breadth of Britain

Face lift: new cuts at The Times

Issue 40, Summer 2001


When technological developments at The Times demanded a change in the newspaper’s typography, a brand new typeface was commissioned, prompting a new analysis of the font’s long and complex history

The end of typography: slow death by default

Issue 51, Spring 2004


Designing for the partially sighted: misguided guidlines

Type paintings of a digital artist

Issue 14, Autumn 1994


‘For the past five years, Neville Brody and his studio have embraced the computer as…


Issue 7, Summer 1992


Modernism tried to break with the past; traditionalists embrace it. But any kind of ism is fated to become an anachronism