1. Glazer-list

    Fresh off the press trail from Under The Skin, Jonathan Glazer has just finished work on an intensely physical advert for Canon. The spot, called Gladiator Football, focusses on the annual Florentine game of Calcio Storico a brutal combination of cage fighting and football that sees two teams pitted against each other in a sandy ring, beating the crap out of each other in order to win a cow.

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    Want to know a surprising secret about self-proclaimed “book obsessive” and Dazed & Confused editor Isabella Burley? She can’t stand big coffee-table-sized fashion books. “I’ve always taken my references from art, pop culture, photography and sex zines rather than fashion,” she told us. “That’s really come to shape the way I approach our fashion content within Dazed.”

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    Edwin Smith’s England is a faraway place, and yet a familiar one. It’s a land inhabited by long-skirted ladies with perms, where brass cash registers are used on high streets fronted by butchers and bakers and grocers. No surprise then that the people’s poet Sir John Betjeman dubbed Smith a “genius at photography” because he has, in his vast collection of photographs of city and countryside, inside and outside, captured the essence of the now-distant England portrayed in the writer’s verse.

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    Lotta Nieminen is one of those graphic designers who is able to creating a lasting impression with her work in spite of it often being incredibly subtle in its approach. In my opinion this goes above and beyond her colour palettes, though they often combine pastel shades with serene muted tones; rather her projects seem to be finished with a kind of nuanced subtlety that resonates long after you first see it.

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    Imagine for a moment that the shoebox under your bed was filled not with photos of your Great Aunt June snoozing on the sofa last Christmas, but with photographs taken in space by astronauts on Apollo 14. For a lucky few at NASA this is (almost) true, and fortunately they’re more than happy to share their treasures with us proles in the form of a new exhibition at London’s BREESE Little Gallery.

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    Eike König and his HORT studio are celebrating 20 years of genre-blurring graphic design work with a show at London’s KK Outlet at the moment, and we felt this was a milestone well worth marking. So we’re excited and delighted to unveil three specially-commissioned t-shirts on which we have worked with Eike’s brilliant team.

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    For the Autumn issue of Printed Pages we sent Liv Siddall out into the field to investigate the extraordinary world of niche magazines. She trawled the expansive shelves of London’s largest WHSmith to seek out the most weird and wonderful titles that mainstream publishers have to offer, returning to the studio with a bumper haul of titles for us to pore over. They had names like Military Modelling, The Searcher: The Informed Voice of Metal Detecting, Practical Sheep, Goats and Alpacas and Today’s Railways. We got pretty hooked!

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    I think we can all agree that in the past few years food photography has pretty much reigned the internet as far as image-porn blogging is concerned. And yes, photographing tangerines on bright blue backgrounds does always look nice, we get it. But among the thousands of people documenting food in order to gain online notoriety there are some photographers who are known in the industry as the ones who can really, really shoot food.

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    I have no idea who Mr G.G.Hines is. And yet I am standing surrounded by junk staring at his black leather passport holder. I am transfixed by it; lost in reveries about who he was, where he travelled to and what his handwriting – neat, confident but not fussy – says about him. I am also wondering how his passport came to be here, and the answer to that begins with Dan Tobin Smith.

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    Not much makes us as happy as a brilliant studio churning out spectacular work, but to find out each member is a fantastic designer in their own right is even better. Diogo Potes just got in touch to show us some of his personal work away from his day-to-day collaborative venture, Portuguese design studio Alva Alva. Diogo’s solo work boasts all of the vibrancy, sense of humour and love of hand-drawn elements that Alva Alva has, but also contains a good dollop of personal style. For me, I think his work is strongest when he incorporates photography into his designs – something about choosing off-the-wall shots and enveloping them in rich colours and bold typography is very, very pleasing. Nice work Diogo, keep it up!

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    Once again we’ve got to the end of the production process and a brand new issue of Printed Pages is sat proudly on all of our desks. As ever, getting our new cover just right took a lot of time, energy, late nights, early mornings and a massive barrel of ink with some juggling balls chucked in. This time round we worked with Bonsoir Paris – a French design studio with serious pedigree when it comes to the world of high-end production and set design – whose work for the likes of Selfridges, COS, Galleries Lafayette and Hermés has long had us drooling at their skills.

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    Like their counterparts over at Unit Editions, the Viction:ary team has an unerring eye for putting together graphic design books that are a cut above the competition. This stems from their ability to select a theme that is relevant and interesting and (crucially) identify the right creatives to showcase in exploring that subject.

  13. Lalistallenby

    Several years ago, Luke Archer came across an antique camera in his mum’s shed. It was in amongst heaps of equipment from his grandfather’s studio, who was also a photographer, and originally belonged to Alexander Bassano, a Victorian society photographer. Out of this discovery, Inheritance was born; a project about the hereditary peers whose ancestors were pictured by Bassano but also about the portraitist tradition itself.

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    When Mexican designer Ricardo Casas talks about his role in the Heineken Pop Up City Lounge, one word crops up more than any other – behaviour. This gives us a clue that his underlying design philosophy is very focused on how people interact with a space rather than overarching principles into which the project should be shoehorned. To put it another way; he’s a designer who makes work with real people in mind rather than other designers.