More than 35 years after the seminal art book Ways of Seeing was published, Peter Biľak looks closely at its continuing relevance.

This article is intended for an audience of contemporary designers and students who are at least one step removed from mid-century British typographic culture; it is a critique of the Gill Sans typeface and the idiosyncrasies of its creation from a contemporary perspective. The central argument is that an earlier typeface by Eric Gill’s mentor, Edward Johnston, is a superior piece of type design.

L'Art Director di Collins descrive il procedimento seguito per il progetto di una nuova serie di dizionari, dal punto di vista storico, del layout e della scelta dei caratteri. Data la scala alla quale il contenuto del dizionario viene espresso, e il modo particolare in cui viene letto, le decisioni microtipografiche hanno un effetto amplificato.

The art director of Collins describes the process of designing the new set of dictionaries, their history, layout and choice of type. Due to the scale at which a dictionary’s content is expressed and the particular way in which the content is read, microtypographic decisions have an unusually large effect.

The abstract for Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.

Patrick Fry is an independent graphic designer and art director from London, UK, running a publishing house CentreCentre....

Sascha Lobe is a graphic designer working at the intersection of architecture and graphic design, he joined Pentagram as a partner in June 2018....

Jonny Pinhorn received his M.A. in type design at the University of Reading where he graduated in 2009. After his studies he joint the Indian Type Fou...

Richard Hollis (born 1934) is one of the most influential figures in British graphic design. Hollis has worked as a printer, a magazine editor, a prin...

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