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The Oxford rule sounds like article of law, but in reality it is something more mundane: a thick and thin line that sits side by side.
The copyright restrictions for Adolf Hitler’s incendiary Mein Kampf, the rant that foretold the Holocaust, were lifted this year.
In the 1980s, April Greiman, Deborah Sussman, Saul Bass and the rest of the design community regularly congregated in West Hollywood’s Pacific Design Center and nearby areas for all sorts of star-studded events.
Michael Kusek, Take magazine’s founder and publisher, worked in two different sides of media—at and alt-weekly newspaper and as a publicist primarily for artists, creative businesses and cultural organizations.
Studio On Fire earned Best in Show for this project in the Midwest category of the 2015 Regional Design Annual—the most prestigious design competition in the USA.
Klaus Wittkugel was the most significant East German graphic designer during the ’50s and ’60s, but until now he was unknown in the West.
Rob Saunders, a former children’s book publisher, is the founder and curator of the Letterform Archive in San Francisco.
Graphic designers tend to be a tactile bunch. As we spend ever more of our workdays interfacing with plastic screens, the experience of caressing textured, letterpressed, and embossed papers becomes even more precious and valuable.
While rummaging through my old, forgotten type history files, I came across a cache of American Printing History Association newsletters.
Register for How Design Live 2016 before February 5th for the best savings yet and to hold your spot for sessions by incredible keynote speakers like Chip Kidd, Stefan Sagmeister, Debbie Millman and more.
De Gemeenschap (The Community), a Dutch monthly avant garde magazine for Catholic Reconstruction, was founded in 1925 and ran until 1941, with exceptional covers by the likes of Paul Schuitma and Gerrit Rietveld, among others.
AM Cassandre, the master of French art deco posters, made some icons for L’Étoile du Nord, Le Transatlantique, Dubo-Dubon-Dubonnet and dozens of other companies and campaigns.
Lately I’ve been inspired by some of the extraordinary design work from the 2015 Regional Design Annual—particularly some of the epic package designs I’ve seen.
One of the best parts about recruiting judges for the Regional Design Annual: Getting a chance to browse their brilliant archives.
How many of you still have your old Rolodex? The Center for Land Use Interpretation and Blast Books found an unusual cache of them from the Los Alamos National Lab, ground zero of A-Bomb research in World War II.
It’s been almost two months since Pantone shocked us with not one, but two colors of the year for 2016.
Editor’s Note: This article originally appeared in Print’s 2015 Regional Design Annual. The 2016 RDA is currently open for submissions.
A few months ago, George and Luke Lois were approached by SOMA founded by Lei Guo and Oliver Hayen, a successful communications app for smartphones (and the fastest growing app in China, the Mid-East, North Africa and Latin America) to advertise their launch in the U.S.
School of Visual Arts’ Impact! Design for Social Change, directed by Program Chair Mark Randall of Design Ignites Change, explores the many roles creative professionals can play when executing socially minded work and focuses on two critical areas: social entrepreneurship and community engagement.
By PaperSpecs.com “I don’t mean this in a creepy or unpleasant way,” says Aslan Graphics Owner Dayala Levenson with a conspiratorial laugh, “but it reminds me quite a bit of skin.” The “it” in question is the diffused-finish 50 lb.