DDB NY’s new Hertz posters
They look like they might have been inspired by the work of Edward McKnight Kauffer. Illustrator Chris Gray and DDB New York executive creative director Menno Kluin tell us about the agency’s new campaign for Hertz…
They look like they might have been inspired by the work of Edward McKnight Kauffer. Illustrator Chris Gray and DDB New York executive creative director Menno Kluin tell us about the agency’s new campaign for Hertz…
Filmmaker David Lynch has directed the video for his track Crazy Clown Time from his similarly titled debut album, and describes it as “an intense psychotic backyard craziness, fuelled by beer”…
We start the week with some more great new music packaging, this time for the debut album of Willis Earl Beal, who recently signed to XL after recording this album at home under his own steam.
After 13 years at Wolff Olins, Marina Willer is to become Pentagram London’s first female partner. The Brazilian-born designer and film-maker talks about the challenge ahead and the lack of women in senior design positions
When distressed and wildly experimental typography were all the rage, Chris Ashworth made his name as an emerging UK print designer. These days, however, he is leading the creation of the Microsoft Windows Phone brand. Patrick Burgoyne reports on his new role and its connection to the introduction of a radical new design philosophy that Microsoft is adopting across its products
The rise of digital media has seen subtlety replace shock in charity advertising, as agencies employ more personal approaches to engage potential donors
In 1991 , the emergence of new digital technologies was opening up the design of typefaces to a generation keen to push the limits of language and the very definition of what a font could be. Fuse, the experimental publication launched that year by Jon Wozencroft and Neville Brody, gave such designers a platform. As a new book brings together its 18 issues in one volume, Mark Sinclair reviews Fuse’s important, perhaps overlooked, contribution to graphic design
In the late 1960s, paperback books became vehicles for graphic experimentation, as a new survey of the time reveals
Clients want work that shifts products; creatives want to win awards. The agency’s job is to try and reconcile the two
The growth of crowdsourcing websites like 99designs could mean an uncertain future for the graphic design profession
From Ocado to Occupy, a good magazine starts out with a clear idea of its aims and readership. Otherwise, what’s the point?