The Toronto Symphony Orchestra’s ‘listening guides’ make use of symbols and morse code-like notation to aid the experience of a live performance. We talked to their creator, Hannah Chan-Hartley, about how she is helping the TSO to visualise its repertoire
The June issue of Creative Review launches a comprehensive redesign of the printed magazine, complete with new sections, typography and grid designed by CR’s Art Director Paul Pensom and editorial expert Stephen Petch. Here, we explain the redesign and how it complements our new direction
Yes, we’ve had a redesign, with a new look, new sections and a new focus on what it takes to be a creative leader
The fashion designer’s new book charts the history of his infatuation with the sport of cycling and includes a lovely photo series documenting his collection of old jerseys – simple, stylish designs that continue to inspire him.
At its AGM today the Co-op unveiled a new logo – and it’s one that will already be familiar to millions across the UK. Forgoing designing a completely new identity, studio North have reunited the company with its classic logotype of the 1960s.
From a New Order album cover to cigar packaging by Paul Rand, a new exhibition from paper company Fedrigoni showcases some outstanding uses of Italian typeface Bodoni. Designs are also featured in an accompanying catalogue by SEA…
Are we witnessing a new wave of minimalism in graphic design? In his book, Min, art director Stuart Tolley sets out to map the apparent desire for simplification and paring back – and explore why this is happening
Faber has revisited a selection of its poetry titles to bring the work of six writers together under its ‘Nature Poets’ banner – each with a new cover by one of the country’s leading printmakers
The UK recording artist’s latest album, The Colour in Anything, was released earlier this morning complete with a cover by world-famous illustrator – and namesake – Sir Quentin
US designer and illustrator Seymour Chwast brought wit, skill and vision to a series of commissions for Herman Miller, as the company’s recent post on the work reveals. Steven Heller begins the story in the late 1960s – with an optimistic, picturebook-style poster