"Type, in my view, has this incredible power to shape meaning and evoke emotional responses - just as effectively as a photograph or illustration. In a sense, the type becomes a character, moving across the page in ways that enhance or amplify the message. The page is a performance."

The quiet influence of the Guardian has been felt across UK culture and beyond since 1821. The name is synonymous with the masthead. That calm, authoritative blue. A curation and hierarchy of storytelling. Pops of wayfinding colour. That unmistakable font. It’s all part of an editorial design language spearheaded by Creative Director Chris Clarke. A multidisciplinary graphic artist and musician, Chris has led major branding developments at the Guardian for the past decade, including the 2018 tabloid redesign and the Weekly magazine rethink a year later.

He runs RoomFifty, an affordable art gallery, and is a typographic artist of some repute, specialising in the tricksy balance between understated craft and playful expression. A fellow dropped pin on the creative intersection where Uskees sits. This is his Five Good Things.

Let’s start by talking about the Uskees you’re wearing. You’ve opted for our new Herringbone overshirt and pants, which you look good in by the way. Is this a typical type of outfit you’d wear day to day? What about the work you do - does it tend to dictate the garments you wear?

Thank you! I usually gravitate toward clothes that blend functionality with subtle details, which is kind of how I approach design: something that’s restrained yet thoughtfully put together. As for whether my work influences my wardrobe, I’d say there’s definitely a connection. The way I approach design — thinking about balance, texture, layers — carries into how I dress. With two small children and a demanding, ever-changing job, I prefer clothing that's comfortable for long hours at my desk but still feels put-together when I need to step out for meetings or for drinks in the evening.

There’s also something about wearing well-crafted pieces that aligns with the value I place on craftsmanship and integrity in design. This Uskees pairing is the perfect synthesis of that. I appreciate the thought and intention that goes into materials and construction. So while I might not wear something that’s overly bold or flashy, I do enjoy wearing garments that have a quiet, refined confidence, and are from an ethical and sustainable source.

To dive into your design style, a recurring theme seems to have arisen over the years: playful typography that artfully conveys a subject or theme. This approach is really evident in the layouts and covers a The Guardian Weekly, and it’s a hallmark of your print shop. You have a gift for using type to evoke emotions and highlight clever wordplay, manipulating characters in thoughtful, dynamic ways. It’s an ability to communicate through typography alone. When did this style begin to emerge? Who or what inspired you, and would you say it’s shaped your path and brought you to where you are today?

Typography has always been a deeply personal, meaningful part of design for me. I think this style began to emerge organically, though with a strong foundation in curiosity and experimentation. I’ve always been fascinated by how type can transcend communication and become an art form in itself. In my early years as a designer, I was drawn to the idea that typography isn’t just a passive medium that serves content — it can ‘become’ the content. Type, in my view, has this incredible power to shape meaning and evoke emotional responses - just as effectively as a photograph or illustration.

Looking back, I’d say my design journey was shaped by a mix of influences — both conceptual and technical. On the one hand, I was deeply inspired by the Swiss International Style, particularly its use of clean lines, grids, and simplicity. At the same time, I was drawn to the more expressive, experimental aspects of 20th-century design. The work of designers like David Carson, Neville Brody, and Paula Scher, as well as politically engaged artists like Lawrence Weiner, Barbara Kruger, and Jenny Holzer. They encouraged me to see typography as a versatile, dynamic medium that can convey personality, humour, narrative, and, crucially, societal and political beliefs.

A turning point was when I started working with editorial design and magazine covers — places where the marriage of type and image is often at its most dynamic. I found that typography could be used to not only inform but also to enrichthe visual storytelling. In a sense, the type becomes a character, moving across the page in ways that enhance or amplify the message. The page is a performance.

Ultimately, I think my style has evolved into something that’s both thoughtful and dynamic, as you mentioned. It's about finding that balance between artistry and functionality—where form and meaning are inextricably linked. Typography is a powerful tool for communication. It's akin to music — defined by rhythm, harmony and pacing, but with a unique set of instruments. It can be at its most effective when all the elements work in unison; other times when they play off each other; oftentimes when they play over each other. It’s all about balance, being playful and challenging expectations.

The ability to communicate through typography alone is something that continually excites me. Every decision has the potential to evoke something deeper than just words alone.

Ultimately, my style blends artistry and functionality, where form and meaning are inseparable. I think what’s most important to me is that the designs feel alive — an invitation to engage and interact beyond surface appearances. 

The Guardian’s 2018 redesign was a significant shift. What were the biggest challenges in the process, and how did you navigate potential pushback from more traditional readers? Having worked within the new design system now for a good few years, have you altered or evolved it in any way?

In print, the major challenge was simplifying the design into a smaller format whilst maintaining the complexity of the content, elevating the dynamism and flow with fewer supplements. The new system moved away from the dense, highly structured layouts of previous years, opting instead for more open, flexible spaces, a modular grid and an updated, custom typeface. This meant reducing the visual clutter — making space so the words and photography could breathe. The trick was finding ways to modernise without losing the distinct character of the publication, and without making the design feel fleeting. We spent considerable time in the archives, making sure we incorporated historical details, crashing them into contemporary design to give a new perspective that has legacies of the Guardian’s rich tradition.

To navigate pushback, we kept the focus on The Guardian’s journalistic mission and values. The design needed to serve the content, not dominate, and we worked closely with editorial teams to make sure we were staying true to the integrity of the paper. A redesign like this is always a process, not a one-time change, and it’s important to maintain dialogue with both readers and the internal teams — and progress as dynamically as the world it exists within.

As for the design system’s evolution, it’s continued to grow in response to the changing media landscape. The core structure — clean, playful, flexible—has largely stayed the same, but there have been subtle refinements. The digital side has influenced the evolution, with an increased focus on mobile-first design and creating an experience that works seamlessly across devices. Typography and layout have become even more adaptive, allowing for a more dynamic presentation.

In short, the redesign hasn’t been static; it’s been an ongoing conversation between design, editorial direction, and how readers interact with content. As trends evolve, the design adapts but the core principles that made the 2018 redesign successful remain intact. I always encourage the team to think of it as a beautiful piece of architecture. Once the structure’s in place, you're free to add your own graffiti on top.

Collaboration feels like a major part of your design philosophy, partnering with illustrators, photographers, other artists. How do you cultivate a culture of collaboration within the constraints of news deadlines?

Collaboration is absolutely central to my design philosophy. It's something I nurture and encourage amongst the team, even amongst the rapidly changing news agenda. The key is creating an environment where everyone feels empowered to contribute ideas and expertise, regardless of deadlines. I’ve always believed in clear communication — setting expectations early and ensuring everyone understands the vision, the brief, the timeline. This creates a shared sense of purpose and direction.

In the same breath, I value flexibility. Whilst news deadlines are often non-negotiable, we find ways to leave room for creative exploration within those constraints. Often the best ideas come from quick thought sessions, where everyone can riff off each other’s work, backgrounds and perspectives. I also try to build strong, ongoing relationships with collaborators, so trust is established before the pressure mounts. This trust allows us to work efficiently without sacrificing creativity.

Ultimately collaboration thrives when there’s a balance between structure and freedom—a clear vision, but space for the creative process to unfold. Deadlines are a given, but the focus is always on delivering something unique, regardless of the time pressure.

The Guardian and The Guardian Weekly have produced many bold and iconic covers over the years. Tell us about the process behind them. There must be a lot of excitement when a great cover is about to go to print. Is there hesitation or concern over covers? Do some concepts never make publication? How do you navigate those decisions?

There’s a palpable excitement when a great cover takes shape, particularly when it captures the essence of a story or a moment — or feels unique and daring. Many concepts never make it to print. Some are deemed too provocative, others too tame or simply not impactful enough. Legal, ethical and editorial reviews are integral to the process, ensuring that risks are assessed and decisions reflect both creativity and responsibility. Navigating these decisions involves balancing boldness with sensitivity. The final cover must resonate with readers, uphold the publication’s integrity and stand out, often making the process as challenging as it is rewarding.

The constant flow of news leaves a lot of us needing to take a step back or even avoid it altogether. As someone forced to face it, how do you stay motivated and energised? How do you maintain enthusiasm and creativity, especially when working on subjects that feel heavy, repetitive, or emotionally taxing? Are there particular strategies or sources of inspiration that help you approach your work?

Staying motivated often comes from focusing on the purpose of the work — helping people stay informed, sparking change, amplifying important voices. It’s fulfilling to know the impact good storytelling can have even on difficult days.

Still, to maintain energy and creativity, stepping back can be key. Breaks from the news cycle allows for perspective and mental catharsis. I stay busy outside of work — I play in a band, co-run a small online gallery, and collaborate on daft projects with my long-time creative partner, Leon Edler. The mental stimulation from this variety is crucial for staying inspired and insightful as a team leader, providing an antidote to certain aspects of the design world I work in.

OK, here’s where we ask you to recommend 5 Good Things in your city, sending some cultural inspiration out into the world.

A restaurant or cafe you like

I recommend Speedboat Bar for its playful, retro Thai-inspired ambience. It’s also right by the Curzon cinema in Soho. The two are my ideal pairing.

A documentary everyone should watch.

For me it’s How To with John Wilson. It’s a series offering a unique blend of humour, vulnerability, and insightful observations on everyday life. John’s “how-to” guides often take unexpected turns, exploring deeper complexities behind seemingly mundane themes. His curiosity and empathy always shines through, creating a deeply engaging and often touching experience. Everyone should watch it.

Someone whose work inspires you.

As fluffy as it sounds, my team of designers inspire me every day: Alex Mellon, Andrew Stocks, Bruno Haward, Ellen Wishart, Harry Fischer, Ling Ko, Lynsey Irvine, Maggie Murphy, Marcus Peabody, Michael Becker, Rich Cousins, Sara Ramsbottom and Suzanne Lemon. Their creativity, passion, and brilliance are a constant source of motivation and pride.

A hidden gem, someone whose work deserves more light.

I’ve mentioned him before, but my long-term creative partner Leon Edler continues to inspire me. His clever, minimalist illustrations masterfully blend wit and depth, distilling complex ideas into simple, impactful visuals. His work is thought-provoking and funny, a balance of art and insight. Beyond illustration, he’s a gifted writer and storyteller who energises and challenges me creatively in ways few others can.

If someone was visiting your city for the first time, where would you send them and why?

Tucked away in the heart of the docklands is the Prospect of Whitby, a historic pub with a secret beach. For me, it’s a serene riverside escape. For any first visit to London, this would be a perfect spot to soak in the skyline and enjoy a unique, calming experience.

You can find out more about Chris and his work here