The order of the day
Swiss artist Ursus Wehrli likes things just so. Books, alphabet soup, car parks, even the night sky
Swiss artist Ursus Wehrli likes things just so. Books, alphabet soup, car parks, even the night sky
It was on screen for just a second. But there it was in red on white. During the coverage of space tourist Dennis Tito’s announcement to take a ship to Mars and back, the above graphic leapt out at me. Could the NASA ‘worm’ be coming back into service?
Wieden + Kennedy’s London office has conjured up a dancing, moonwalking Shetland pony to demonstrate that mobile network Three understand that “silly stuff” is important to its users…
Illustrator Christoph Niemann has created a charming app in which 21 animals come to life at the touch, tap and swipe of a finger
Over the next month, environmental charity Do the Green Thing is set to release 23 posters encouraging people to take action, designed by a range of creatives from Patrick Cox, Pete Fowler and Sophie Thomas, to several designers from Pentagram’s UK and US offices
Designing the identity for a John Lewis range of clothing for all the family involves debates around colour, type and whether dots can be too ‘umlaut-y’
The history of the tube is also the history of the poster: a new London Transport Museum exhibition selects 150 key pieces from the archives
From licensing to merchandise, TfL makes millions from its brands each year. Transport Museum head of trading Michael Walton talks to Patrick Burgoyne
The history of the London Underground is the history of visual communications. As it celebrates its 150th anniversary, we look at the past and future of design on the network and, here, Mark Sinclair introduces a new book on its achievements
If Harry Beck’s classic tube map was redesigned, would it look like this? Mark Sinclair asks Beck authority Ken Garland what he makes of a new concept by Mark Noad
The Underground lends itself to large-scale public art and design projects – a commitment it maintains to this day. Mark Sinclair looks at the history of platform art
They may have logos but can terrorist organisations really be thought of as brands?