In May 2013, Gary Hustwit spent a day photographing legendary designers Massimo and Lella Vignelli in their home studio. Vignelli: Photographs is a book that documents that day and celebrates their lives and work. Hustwit was originally not certain what to do with the images. “But I wanted to try to capture the feeling of being in that place, with the two of them, at that point in their lives.” Massimo passed away in 2014. “I took over 400 photographs that day, and didn’t rea

PRINT is back. And soon, we’ll be relaunching with an all-new look, all-new content and a fresh outlook for the future. Stay tuned. Last week, Debbie Millman’s podcast Design Matters turned 15, and to ring in the occasion, we’re looking back on 15 years of episodes to spotlight some of our favorites. Within the archive, there are the legends of graphic design—think Massimo Vignelli, Paula Scher, Louise Fili—some of whom appeared on the show in its earliest days when it was br

Jesse Reed and Hamish Smyth at Pentagram recently obtained exclusive permission from the NYC Metropolitan Transit Authority (MTA) to reissue the 1967 loose-leaf Subway System Standards Manual as a hardcover book, the one that ’twas born of the collaboration of Massimo Vignelli and Bob Noorda. There was one condition: the reissue will only be available during the length of a 30-day Kickstarter campaign, which launched today. I usually don’t promote Kickstarters (because I’d be

Long lost, the DH has just uncovered (thanks to Mark Randall of World Studio) rare images of the Vignelli Bunny, who in 1987 was briefly a fixture around the legendary Vignelli studio. Devised by designers Randall and Sarah Riegelmann, the Bunny, which began as a distraction to pass the time during slow work periods, developed into a studio production that involved the master Massimo Vignelli himself with a cameo from a young Michael Bierut, before he hopped over to Pentagram

Massimo Vignelli died this week after a long illness. He left a legacy of icons and promoted the belief that everything could be designed better, including newspapers. In the 1960s most newspapers adhered to the same basic formats, maintained by heavy-handed make-up editors with little interest in the fine points of design. Massimo’s format in 1968 for a new weekly broadsheet, The Herald, was a revolution in type and image. So unique was The Herald it out-shined the few well