Here Design’s new identity for the Electric Coffee Company came from the founder’s desire to light up the world of coffee. The team took inspiration from old electrical circuit designs – with their electrons, conductors and resistors – the result is a singular idea that drips down from the logotype into every application effortlessly. Joined up thinking.

This special issue of the New York Times magazine is all about life in high places. The magazine rotates to accommodate dramatic photographs of skyscrapers and the life that revolves around them.

Art Direction by Matt Willey
Photography by Jack Davison

A lesson in how craft can turn what could have easily been a clichéd application of a well known landmark into a wonderful piece of design. The hero of the new identity by Graphéine for the Paris Convention and Visitors Bureau is a striking, minimalist typogram that in application, is used as ‘window on Paris’ to hold lovely Parisian illustrations by Séverin Millet. Magnifique!

The original paste up of this brilliant book that has inspired so many graphic designers. Watching Words Move was originally produced in 1959 as a handmade typographic notebook of pasted-up words and done in one day in the Composing Room in New York. Imagine how many days a book like this would take to design now! View the new website of Brownjohn’s iconic work here.

I work in an art department with some brilliant designers. These feature openers are designed by Jason Sfetko (1-3), Frank Augugliaro (4-6), Ben Grandgenett (7-9) and Chloe Scheffe (10-12)

Design Director: Gail Bichler / Art Director: Matt Willey / Deputy Art Director: Jason Sfetko

I love this recent moving / Christmas card by Garbett Design for Sydney printing company Digital Press. The story goes that the client asked for a moving card and designer Paul Garbett realised that the time of year presented an opportunity to combine that brief with the need for a company Christmas card. A beautifully simple idea, perfectly executed.

Shakespeare Lives is an international programme of events to celebrate Shakespeare’s life and work, on the 400th anniversary of his death. The ‘Shakespeare Lives’, logo is activated with the word ’in’ to create a flexible system to communicate the myriad of places where Shakespeare still ‘lives’ today. Typography is anchored to the name in a series of blocks that are a homage to the historical print process of hot metal typesetting that typified the posters and programmes of Shakespearian times.

A bedtime book for children (and adults) where hidden images magically appear by torchlight. Illustrated by Rebecca Sutherland.