I read about Signal: A Journal of International Political Graphics & Culture, when Rick Poynor reviewed issue 02 for Design Observer recently, and his is a much better critique of this journal than I could give here, so I’ll keep this brief. Published in the United States, issue 01 came out in 2010, and went totally under my radar. Now, in 2012, the second edition has been released, I snapped up both as soon as I could. If you are at all interested in political/agitational graphic design, then they come highly recommended. However, I couldn’t promote one over the other as both are as packed with diverse and inspirational content as each other.
I don’t know whether people still produce fanzines or not, but Kek-W is so tired of writing online that he has decided to produce one. Or rather, as he calls it, an analogue blog.
Titled Kid Shirt, this is basically a physically constructed fanzine involving actual cut and paste, which has then been scanned as a PDF for anyone to download. He sets out his rationale in the first pages:
Yesterday, Lucienne Roberts and Rebecca Wright of GraphicDesign& put a call out for people to record everyday occurrences of graphic design in the context within which they found them. In a pop-up lab at the Design Museum, they received tweets of photographs of graphic design to go towards a research project titled Everything, which endeavours to prove how interconnected graphic design is with, well, everything.
There is much talk about The Lost Tapes by Can at the moment, and with good reason. For those reading this that know nothing about the band, or the context within which they emerged, then there is an excellent essay on Quietus by Taylor Parkes that comes with a Dubdog recommendation. However, the point of this post isn’t to talk about Can, or the fact that these lost tapes were only rediscovered recently, or the importance of the band and their music, but to discuss the artwork and packaging.