Ask any designers (even retired ones like me) who were around in the sixties to name five well-designed and influential magazines and I bet twen keeps popping up. The first issue I bought was number nine from October 1960 and I was hooked. There was nothing else like it thanks to the way Art Editor (and Editor) Willy Fleckhaus used photos, illustrations and white space.  It was the treatment of the black and white photos that made twen standout. As big on the page as possible especially if they had a lot of black. Spreads would have one huge photo a much smaller one and some text with a dollop of white space, simplicity worked and nothing was to detract from the images. Color was introduced in the early sixties but twen remained essentially a mono magazine. A large page size helped: just over 13 by 10.5 inches. The first issue was undated but I think it was April 1959, this was followed by bi-monthly issues and monthly in 1962. All the covers were black, unusual in itself for a consumer title, with a photo of a pretty female twenty-something. Actually, the last five covers were white with a black logo, the final issue was June 1971. The issue below was one of two with just type on the cover. Another unique feature was the headline use of Schmalfette Grotesk (left) a beautiful condensed sans designed by Walter Hattenschweiler in 1954. Fleckhaus used it in all sorts of permutations and sizes, always with tight spacing and caps only. The issue below is complete except for a few pages that had text and ads but for future posts, I'll just show what I think are the most interesting spreads from each issue.  Eagle-eyed typographers will notice different lower case 'e's on the cover. A bit of Helvetica Medium mixed with Standard Medium.

This May, a Berlin art book fair that smartly goes by the name Miss Read celebrated its 10th year with the release of an anthology called Publishing Manifestos. On the one hand, the book is a comprehensive guide—complete with a section entitled ‘WHO IS WHO of publishers, as they showed up in 10 year

Graphic designer Moonsick Gang (real name Moonsik Kang) hails from Seoul in Korea, but he studied at Gerrit Rietveld Academie in Amsterdam before crossing the Atlantic to study his MFA at Yale, a veritable training ground for some of the most interesting young designers holding our gaze at the moment. The New York-based designer explains that “I can't say exact my style but I like these words: ‘Unexpected Abstraction’”. Scrolling through his portfolio, we revelled in the (doubtless Yale-honed) experimental side to Moonsik’s approach, effectively blended with a paired back simplicity explored through a refined use of colour and type.

Learn all about the design principles and philosophies behind minimalism with these excellent examples of how to get the most out of a minimalist design.

Allan Yu has felt creatively and aesthetically driven his entire life. But it wasn't until he had gone well down the path of predictability—an education and early career in accounting—that he found the courage to finally break away from the identity his parents, and culture, had prescribed. With a client portfolio that includes the likes of Google and The Line, the Brooklyn-based designer has also observed a daily sketch practice over the past two years in order to confront his fears and to continue pushing himself in new, riskier directions. We caught up with him recently to talk about how failure initially fed that daily practice, Mars Maiers; about straddling the line between stability and predictability as a freelancer; and why self-forgiveness and coming to terms with his identity are two of the hardest things he’s had to tackle as a creative.

Poster for Crime Department’s show in London

I could sit down and slurp up a just a bowl of this broth on its own, but the addition of beans, potato, pasta, and kale are equally as great because the flavors soak up into each piece, each grain, each bite.

21k turbo soundsystems, bubble machines, lung burn-out ... and free ice poles. Here’s the finest (and the funniest) flyer artwork from the heady days of £5 warehouse parties. This is legal and cannot be stopped!

If there is a message in the Whitney’s large gathering of the work of Stuart Davis, it may be simply that time hasn’t dented the power of the painter’s work. While some of the pictures breathe merely a period air, a great many continue to give pleasure, and, as an added attraction—as the artist with his love for everyday turns of phrase might have said—it isn’t easy to say why.

Stuart Davis, 1955

Kunterbunt oder ganz reduziert, leuchtend, abwaschbar, in Prägedruck oder einfach selbst gestempelt: Wir zeigen die kreativsten, schönsten und interessantesten Visitenkarten. Zeig mir deine Visitenkarte und ich sage dir, wer du bist! Was nach einem Treffen bleibt, sind erste Eindrücke – und vor allem auch die Visitenkarte, die nicht nur Kontaktinfo, sondern vor...

Erinnert an alte Kulturen: der Freefont MD Maya vom Münchner Designstudio Moby Digg. Ein Schwerpunkt des Münchner Designstudios Moby Digg liegt im kulturellen Bereich. Für das Branding des Panama Plus Musik und Kunstfestivals entwickelten die Kreativen auch eine Schrift – MD Maya. Das Festival versuchte eine...

Explore Montague Projects' 4272 photos on Flickr!

Bob Dylan mischt wieder im Filmgeschäft mit Bob Dylan und der Film ist eigentlich die Geschichte einer unglücklichen Liebe. Kaum einer ist so verliebt in dieses Medium, und ambitioniert, und scheit…