For nearly 20 years between the two world wars, E. McKnight Kauffer, an American, was the most celebrated graphic designer in England.
An exhibition of student and faculty posters from the California Institute of the Arts (CalArts) sparks a larger conversation around inclusion and representation in design.
Awazu rebuked modernist design ideals in his graphic art and instead engaged with indigenous culture, popular symbols, and untidy visuals.
As if things weren’t bad enough, the new logo for Melania Trump’s initiative was reportedly designed by the FLOTUS herself.
The renowned font designer will be remembered in an online project created Cooper Union, his alma mater, highlighting various objects for a 100-day run.
Japanese design often stands apart from design in other countries because it seems to follow its own path.
Susan Pack’s Film Posters of the Russian Avant-Garde celebrates the experimental film posters from the pre-Stalin Soviet Union.
The Brooklyn-based publishing company, Standards Manual, has produced a series of meticulously crafted facsimiles of design manuals, from the New York City Subway to NASA.
The Illustrated Dust Jacket, 1920-1970 chronicles the rise of the book dust jacket from disposable object to a creative platform for publishing design.
Selections from a frequent visitor’s personal collection highlight a “golden age” of North Korean graphic design.
Graphic designer Louise Fili photographed the distinctive signage of Barcelona, as a design inspiration, and argument for preservation.
In a new book, Phaidon considers the unexpected and deliberate connections between 500 of our most recognizable images.