I can't say I think of Planters' Mr. Peanut as a source of historical data, but this colorful little "Paint Book" from 1935 would seem to indicate otherwise.
The year was 1993 and using a computer for graphic design was, well, uncommon. See what Carlos Segura had to say about his digital design of the HOW Design Conference brochure that gave the design industry something big to talk about.
In December 1961, Claes Oldenburg opened an enticing exhibition space called The Store in a Lower East Side storefront at 107 East Second Street. The district was a few years away from being christened The East Village, but The Store was certainly one of the landmarks of this enduring bohemian realm. I stumbled across...
I recently interviewed interactive designer Jonathan Harris about his work for the October issue of Print, which is focused on storytelling through design. During the interview, Harris referenced an essay by David Foster Wallace (“A Supposedly Fun Thing I’ll Never Do Again”) in which DFW explains the difference between art and advertising: This is...
Steven Heller points out the graphic design details on road signs found along the Autostrada of Italy. Buckle up, and come along for the ride.
Angelini Design, which produces Italian Ways, is a wellspring of icons that are key to the cultural and commercial heritage of Italy.
Isotypes distill human experiences into pictorial forms. They are everywhere. One of the most famous isotypes, the International Symbol of Access, is revamped.
Daydreams & Nightschemes is a self-initiated, real-time journey of 52 weeks focused on the creation of 52 new projects by Jon Newman.
Within a 1955 insert of Print, there was an insert written and designed by Will Burtin titled "A Program in Print: Upjohn and Design" seamlessly folded into the magazine.
In 1936, the former speakeasy and NYC restaurant-club, Jack & Charlie's "21" (what we now know as The 21 Club) published, "The Iron Gate" as a self-promotional tool.