Words by Susan Merritt
Published onDecember 18th, 2015
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For Vanessa Newman, building communities is like second nature. Their most recent one, Design to Divest, is on a mission…
Walking through the world, we leave a trail of bits and bytes in our wake. People generate an astonishing amount…
Name: “Shizzle” (Unofficially, that is. The typeface doesn’t technically have a name, but this is what TwoPoints.Net cofounder Martin Lorenz…
When the animated short film Wade opens to the stillness of a Kolkata ravaged by the forces of climate change,…
The visual design of television news has remained as busy as ever during coverage of the pandemic and protests over…
Last year, we interviewed Milton Glaser for the “Gossip” issue of Eye on Design magazine, during which he revealed family…
Like many mid-century design pioneers, George Him forged his career through the application of European modernist and avant-garde artistic ideas…
This is the third in our series Under The Covers, in which we shine a spotlight on a significant album…
Name: F37 Beckett Foundry: F37 Designer: Rick Banks Release Date: April 2020 Back Story: It’s not the most usual of beginnings for…
In the most iconic scene of The Devil Wears Prada, Andy (Anne Hathaway) nonchalantly dismisses two nearly identical blue belts…
For years I have been observing and writing about the rise of our digital identities—the increasing fidelity of them, along…
“Everything is in progress” was the curiously open-ended statement that heralded the launch of Future Fonts back in 2018. The…
Wolfgang Weingart, Q, design alternatives for the cover of the magazine Design Quarterly, 1995, Xerography.
“Xerox and MacPaint Collages” Weingart used the photocopier beginning in the 1970s and MacPaint software on the Macintosh computer by the 1990s “to produce patterns and illustrations, which he then combined with other techniques” to create collages. (Weingart Typographie)
Museum of Design Zurich, Graphics Collection, © Zurich University of the Arts.
