Find out why today the inverted 'B' has become a symbol of the horrors endured under Nazi insanity.
Polish design historian Dr. Piotr Rypson conceived a project that commemorates the 100th anniversary of the first Polish avant-garde exhibition of Polish Formists-Expressionists. The result? Four postage stamps with illustrative and typographic work represented by Poland's leading progressive artists.
Mark Holt and Hamish Muir conceived one of the most progressive type journals of the mid- to late 1980s: Octavo. Unit Editions has published a complete reprint of the issues as well as reproductions of the handmade mechanicals and proofs. Here, Heller talks with Holt and Muir about the magazine.
J.J. Sedelmaier partners with Peter Paeth to bring you this extensively researched article about commercial artist Louis Paeth, whose career serves as a wonderful example of how many illustrators and designers navigated the world of commercial art during much of the 20th century.
Paul Shaw reviews Retype's Guyot, a modern interpretation of François Guyot's type, designed by Retype's Ramiro Espinoza. Find out why this serif typeface is a welcome addition to the increasingly crowded ranks of typefaces.
Heller gives us a look into two museums he recently visited in Warsaw, a city with a long legacy as a capital of design innovation.
Heller talks with Chris Lowery, CEO and chief strategist at Chase Design Group, about memorial exhibition "Margo Chase: Chasing the Bright Light," which explores Margo’s insatiable curiosity and love of design before her untimely passing in an aviation accident in July 2017.
Heller talks with Bill Moran, who with his brother Jim—the director of the Hamilton Wood Type & Printing Museum—is a major force behind this amazing repository of past and present type, typography and printing.
MoMA New York has acquired eight of The New York Times Op-Ed pages designed and art directed by Mirko Ilic for their collection created from 1992 to 1993.
That so many people like to wear the jerseys and hats of their favorite teams has little to do with aesthetics, and as Todd Random points out in his book, Winning Ugly: A Visual History of the Most Bizarre Baseball Uniforms Ever Worn (Skyhorse Press), sports uniforms were always a bit odd.