#theo inglis

[garadinervi]

Theo Inglis, The Typography of Protest, Batsford Books, London, 2026

[drawdownbooks]

Mid-Century Modern Graphic Design by @theoinglis www.draw-down.com

The distinctive aesthetic of #midcenturydesign captured the post-war zeitgeist of energy and progress, and remains hugely popular today. In Mid-Century Modern #Graphic Design design writer and graphic designer Theo Inglis takes an in-depth look at the innovative graphics of the period, writing about the work of artists and designers from all over the world. From book covers, record covers, and #posters to advertising, typography, and illustration, the designs feature eye-popping color palettes, experimental type, and prints that buzz with kinetic energy.

The book features artworks from a wide selection of international designers and illustrators whose work continues to inspire and influence today, including Ray Eames, #Paul Rand, Alex Steinweiss, Joseph Low, #Alvin Lustig, #Elaine Lustig Cohen, Leo Lionni, Rudolph de Harak, Abram Games, Tom Eckersley, Ivan Chermayeff, #Josef Albers, #Corita Kent, Jim Flora, Ben Shahn, Herbert Bayer and Helen Borten.

[garadinervi]

PROTOTYPE 7, Edited by Jess Chandler, Prototype Publishing, London, 2025

Contributors: Fatema Abdoolcarim, Hawwa Alam, Astrid Alben, George Ayres, Rowland Bagnall, Priya Bains trans. Alex Mepham, Micha Bandini, Supriya Kaur Dhaliwal, Laura Elliott, Aisha Farr, Federico Federici, Sammi Gale, Philip Hancock, Adrien Howard, Hannah Hutchings-Georgiou, Rowe Irvin, Joshua Jones, Benjamin J Larner, Fran Lock, Nasim Luczaj, David McGrath, Timothy Mathews, Ned Carter Miles, Helen Quah, Flo Ray, Leonie Rushforth, Peter Scalpello, Ross Simonini, Laura Surynt, Shane Tivenan, Aled Turner, Laurine Verweijen trans. Astrid Alben, Nadia de Vries, Callan Waldron-Hall and Oliver Zarandi

Design: Theo Inglis Artwork: Jacqueline Rose

[designinspooo]

Record sleeves from Theo Inglis’ Mid-Century Modern Graphic Design. A wonderful book with loads of examples of mid-century modern graphic design. The book is split up into sections like books, poster, etc. 

[jarrettfuller]

Theo Inglis is a freelance graphic designer and writer based in London. He is a recent graduate of the Critical Writing in Art and Design MA at The Royal College of Art and currently writes for Grafik...

On this week's episode of Scratching the Surface, my podcast about design criticism and practice, I talk to the London-based freelance designer and writer Theo Inglis. He is a recent graduate of the Critical Writing in Art and Design MA at The Royal College of Art and currently writes for Grafik and Monotype. In this episode, Theo and I talk about his recent MA thesis An Absurd Machine: Branding, Design, and the City, how he got started writing while he was working as a designer, the types of design writing we want to see more of, and the differences between design criticism, theory, and journalism. I'm a big fan of Theo's writing and he's one of my favorite newer design writers working today so it was a pleasure to chat with him about our experiences as grad students and being designers interested in writing. Enjoy!

[jarrettfuller]

Theo Inglis on the recent tall-type trend, for Grapik:

I’m not sure if tall typography is a bit of a guilty pleasure for me, since in my own design work I often have to fight off the slightly amateurish instinct to make everything as big as possible and to fill all the white space. But I don’t think I’m alone in finding an occasional appeal in the unsubtlety. Perhaps I’m just noticing it more, but I can’t help but think tall typography has had a bit of a moment in recent years. Druk, the popular typeface designed in 2014/15 by Berton Hasebe for Commercial Type has some extremely condensed fonts within the family. Stefan Kjartansson designed Cinderblock in 2015, calling it “the World’s Tallest Typeface.”, its 400 weight being about as extreme as you could possibly want to go. While this summer the New York Times Magazine ran a ‘High Life’ issue celebrating the height of the city, turning the magazine portrait and using a custom and very vertical typeface by Matt Willey.

[whataboutzana]

You could easily send so much time reading well-meaning online advice for designers that you never manage to do any work at all. Online, a consensus is rare, contradictions abound and one designer’s ‘wish I'd done that’ is another's clichéd worst nightmare. … The same goes for job and internship advice: be yourself but fit into the ‘studio culture’; make the tea but don't look like a suck-up; make an impression but your work needs to speak for itself; don't work for free but do an internship for less than minimum wage and work just as late as everyone else. Always ‘Work Hard and Be Nice To People’ but in a system that might not be nice back. With the amount of conflicting advice on offer it’s easy to get into a rut of anxiety and uncertainty.

Theo Inglis on how the internet has complicated graphic design, from the latest issue of Shellsuit Zombie.

[theoinglis]

Im back at university on Monday starting my final year, I've been sorting out my old work before I start and it occurred to me that I never blogged about my book cover project.

I chose to redesign the covers of the Rough Guides to different genres of film, im a bit of a cinema lover so I had some fun with it. I tried to typographically capture the essence of each different genre, cue lots of research into movie title stills.

Took some better photos of the dummy books yesterday and updated my behance entry for the project, www.behance.net/gallery/Rough-Guide-to-film-book-covers/1299713

I havent blogged about my work in a long time! If you want to see more have a look at my website; www.theoinglis.co.uk/