Over-indulging on food has always been a symbol of wealth and status. But today, it’s not the produce that counts – it’s the packaging
It can be hard for clients to visualise the different effects created by fonts and the paper they’re printed on, says Fontarte. Enter Type&Paper: a handy Pantone-esque sampler for text design
The city’s long-awaited second underground line is a riot of colour, with psychedelic signage by the father of Polish abstract art, Wojciech Fangor
Liaquat Ahamed's journey to the heart of contemporary finance finds that, ultimately, there is nothing much to see. By Sukhdev Sandhu
A book at the heart of the D&AD Award-winning rebrand of the paper brand reflects a trend for smaller, higher quality print runs
The oracle is beginning to look as jaded as a stack of encyclopaedias. It's time to dust it off with improvements to readability and navigation, says Warriors Studio
An exhibition featuring works by Max Gill and Jean Jullien is a precursor to the Kemistry Gallery's plans to establish a public institution for graphic design
In graphic designer Sarah Hyndman's book, a series of games reveals the complex way in which we interact with everyday typography, says Icon's art director Anja Wohlstrom
In the decades since it was first released, Thomas Knoll's digital darkroom has become a brand, a verb and a defining symbol of our image-led culture, says Sam Jacob
The designer's films offer a glimpse into a nightmarish sci-fi future in which every surface, appliance and inch of peripheral vision fizzes with data – an onslaught that might be just a couple of years away. Designers, he says, must shape this world – or be shaped by it
The rural rulebook is rarely seen these days. But with the right rebrand, it might even add to our enjoyment of nature, says Design Project
The way that corporations styled themselves in the 1960s and 70s was ruled by big books full of the smallest details, says Steve Parnell
Henryk Tomaszewski's posters make him one of the pre eminent figures of post-war graphic design, says Agata Pyzik
The Londoner’s passport has been updated for the smartphone era, with a bold graphic treatment that conveys the city’s status as a centre for cutting-edge design.
Visual Editions, the graphically-inclined publishers (Icon 122) commissioned 16 writers and artists to sketch out in words or pictures their ideas for a map close to their lives. Here is a collection of pieces, both fictional and essayistic, presented in the mode of "visual writing" – the synchrony of form and content that characterises the publisher's output.
Where You Are is not a book in the conventional sense, but a brick-sized box of pamphlets to be navigated or to become lost in. Each paper pamphlet is pleated and stapled to its own idiosyncratic design (by Bibliothèque), which often requires the dexterity of a frequent fondler of Ordnance Surveys to fold away.
A website complements the physical version, (www.where-you-are.com, designed by The Workers), a flat but spacious counterpart that despite its online situation feels enclosed and communal; readers are made aware of who else is reading their page. Some tales are integrated with Google Maps, while others explore how technology aids our mapping, such as James Bridle's piece on the Global Positioning System with diagrams that represent the satellites' first configurations.Visual Editions' collection of fictional and essayistic musings on maps excels when it moves to the margins, says Hannah Gregory.
Using the European standard shapes for warnings, Calvert designed the pictorial instructions for road users, referencing what was familiar to her – a cow for livestock crossing, modelled after Patience, her favourite heifer on the family farm; children crossing the road, inspired by her upbringing and including a subtle self-portrait.When Calvert began her career, graphic design didn’t exist as a profession. Six decades later, her work is all around us – from the signs on Britain’s roads to the website for the UK government