We’re excited to announce the full Awards shortlist below. Stay tuned later in the month for our Winners Showcase, which will be revealed on the site as part of a
News, interviews and features on all things editorial including book and magazine launches, book cover design and editorial rebrands.
The intricacies of creative projects often pose access challenges for those who struggle to read – how can designers reconcile creativity with accessibility?
Peter Blake: Collage incorporates around 30 typefaces – many bespoke or customised – in an attempt to create a playful approach to the artist’s work.
The online publication will explore a range of issues through a unique typographic system that aligns subject matter with specific fonts.
From swimming tigers, to “more-than-human” forests, these projects from the likes of Matt Willey, Kate Moross, Superflux and Mucho are our favourites of the month.
You now have an extra three weeks to get your entries over before the deadline on 1 April and find out everything you need to know here.
Some of our favourite projects from the month included a cinematic identity for the Glasgow film festival and an interactive literary journal.
The platform is using cultural exploits like photography, film, illustration and music to “elevate women’s sport and carve out more space for female voices”.
The start of a new year brought us an identity for a Covid-adapted restaurant, calligraphic coffee branding and a new series of lockdown posters.
This year winning work will be given a bigger platform than ever before, we are assembling our biggest ever judging panel and categories have been tweaked for maximum relevance.
Another month spent in lockdown had some designers yearning for nightclubs and events gone by, while others are revisiting old projects or pushing new boundaries.
The new twice-annual journal of film and visual culture takes some aesthetic cues from academia, while flipping others completely, according to its designer.
Eddie Opara and his team have created a typographic identity for the New York-based liberal journal and its accompanying website.
The Barcelona-born graphic designer and his “playful” editorial portfolio is the subject of a new Counter-Print book.
The illustrator-turned-writer is self-publishing his new book, which features 21 illustrated stories inspired by everyday objects found on British streets.
The former Penguin in-house designer talks typographic tips, avoiding apologetic design and why authors care so much about how their books look today.
Designers have a pop-up garden, a deep dive into British logos, the Beazley Designs of the Year exhibition and more to see them into the autumn months.
The 14th edition of the competition saw more than 2,000 entries from students designing covers for The Night Manager, A Short History of Nearly Everything and Goodnight Mister Tom.
The Parisian illustrator is well-known for her playfully proportioned women and colourful characters — but where does this style come from?
Two of this year’s top prizes were design awards, including the first ever Black Pencil for a typography entry from a London-based foundry.
The “untraditional” new look, created by its in-house design team, includes bigger page dimensions, updated Pantones and “unapologetic” typography.
Some 25 years on from its first launch, the series dedicated to great thinkers and philosophers is being updated with 20 more titles.
The visual refresh hopes to make the data-heavy environmental and energy resources magazine stand out from its competitors.
As part of our series looking at in-house design teams, we speak to Penguin Creative creative director Tim Lane about keeping the publisher looking and feeling relevant.