
by Michael Bierut
The logo we designed for Hillary Clinton wasn’t clever or artful. I didn’t care about that. I wanted something that you didn’t need a software tutorial to create, something as simple as a peace sign or a smiley face. I wanted a logo that a five-year-old could make with construction paper and kindergarten scissors.

by Juliette Cezzar
A look at how our roles as designers are ever evolving.

by Jessica Helfand
The idea of book design rendered as a global free-for-all likens the act of cover design to a giant bake-off. But books are not brownies, and design, like literature, is not a sweet shop.

by Brian LaRossa
Writers, editors, and designers speak the same language.

by Steven Heller
Ten questions to determine your level of old fogey-hood.

by Christopher Simmons
On the eve of Donald Trump’s inauguration, it’s useful to consider how the poster that helped propel Obama to the presidency laid the framework for Trump’s ascendancy as well.

by Maya P. Lim
It could have been Never Use Comic Sans. Or Never Use Arial. Or—dare I write it?—Never Use Helvetica. Instead, Douglas Thomas chose Futura.

by Cheryl Heller
Through corporate success, betrayal, and reinvention, Cheryl Heller found a new sense of strength in the face of uncertainty—and an understanding of what you just shouldn’t stomach anymore.

by John Caserta
Just because you’re getting a degree in Graphic Design doesn’t mean you’re required to get a job as a graphic designer—or that you have to do it for the rest of your life.

by Sean Adams
Historic design work, linked to the cultural standards of its time, is often unacceptable now. Does that make it bad? Should the creator be vilified? Should the offending design work be eliminated from a classroom or book?