Steven Heller takes a look at the redesign of The New Republic.
In the early 1920s American products were either nondescript or laden with ornament to camouflage a mass-market look. Although mass production was the foundation on which the modern American economy was built, many cultural critics felt that items coming off the assembly line lacked good taste. American industrialists, who could easily afford to aesthetically...
Ellen Shapiro reports from Abbott Miller's TypoGraphics conference session: Type often has a story to tell—it becomes part of the context, style, strategy, or truth of a client's message.
On the way to achieving first-class citizenship, women became first-class tobacco consumers. Steven Heller examines vintage cigarette ads.
In the 1930s—an era before marketing committees—European book jacket designers were free to play and experiment.
In the late ’80s and early ’90s, the Jeffries Banknote Company of Los Angeles commissioned LA designers to contribute to its “Evolution” series of conceptual booklets. I don’t know how many issues were produced, but Number 1, conceived and designed by Advertising Designers, Inc., under the creative direction of Carl Seltzer, was produced in seven...
Jaymie McAmmond's recent career move has taken her from developing branding stories for Starbucks design to working on packaging design at an NYC studio.
Michael Dooley looks at the albums, posters and other promotional materials featured in the visual music culture exhibition Revolutions 2: The Art of Music.
Design legend Milton Glaser reflects on his dear friend Massimo Vignelli.
Dooley talks with pop culture archaeologist Warren Dotz, author of books on design artifacts such as packaging labels for firecrackers... and Elephant Love.