Midsommar: Designing the nightmare
Ari Aster's folk-horror masterpiece features some of the most consequential graphic design in recent film history. Here's how they did it.
Takashi Murakami and the cure for restlessness
On restlessness, materials, collaborations and cannibals with the Japanese fine-artist.
Watch: VW, AKQA, Uber and more discuss what drives design
A framework for automative innovation in the future.
Watch: Semi Permanent x Dropbox 'Game Changers'
Discussing the future of collaboration with Ace Hotel's Kelly Sawdon, The Unlisted Collection's Loh Lik Peng and Paradigm Talent Agency's Tom Windish.
Behind the scenes of a Chemical Brothers live show
Explore one of dance music's most hallucinogenic live shows with directors Adam Smith and Marcus Lyall.
Hazel Baird and Heidi Berg
Heidi Berg and Hazel Baird share something more than initials, and that’s a love for crafting evocative and meaningful title sequences for documentaries, films and television.
Speaking of fictions – a conversation with Erik Brandt
Erik Brandt is the proprietor of a small Minneapolis graphic design studio called Typografika – Visual Communication und Konditorei (more on that later).
Seeing the invisible: a conversation with Refik Anadol
We’ve had a timing mix-up (iCal time-zone fails). While nominally I’m a day ahead, when Anadol starts describing his work I begin to think I’m living in the past; or, more likely, that he’s occupying a point in future. Maybe he’s been sent back in time to save the planet from machine overlords (that old trope)? No, he seems too nice. Anyone who signs off from an interview by saying, “I hope I haven’t been too dreamy”, has not come back in time to prevent humankind’s destruction.