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Opinion:
Eurothis and eurothat
Agenda, Robin Kinross
Will the political and monetary union of Europe lead to an increasingly homogeneous graphic design? Or will designers fight for solutions that are local to a country’s culture yet international is resonance?
Features:
Reputations: Barbara Kruger by Karrie Jacobs
Eye talks to the designer turned artist who confronts her audience with the tools of advertising.
After the wall by Michèle-Anne Dauppe
Unlimited horizons? East Berlin design group Grappa come to terms with the new Germany
Astro boy and the sex wars by Liz Farrelly
Curious comics: why the Japanese love their manga
Commercial Surrealist by Steven Heller
Are the pictures of Dallas photographer Geof Kern postmodern retro or authentic art?
Russell Mills: Material and metaphor by Marco Livingstone
Russell Mills was the original punk illustrator. Now he makes images of delicate abstraction.
Oil and water by Eye editors
Two Dutch books take the form of elegant visual essays on liquid themes.
The meaning of money by Michael Horsham
Bank notes change hands without so much as a second glace – a daily act of faith that says much about our belief in their value. Yet these intricate artefacts are complex carriers of meaning. What makes a banknote look like a banknote and how does the global graphic language of money communicate its message?
Reviews:
The Fourth Biennial AIGA National Design Conference
Magazine Design
Design After Dark: The Story of Dance Floor Styles
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Eye, Issue 005, Winter 1991
Eye, Issue 005, Winter 1991
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
The graphic designer had to create a series of ads whose new publicity effects were to confirm or accentuate the already existing • image • of the paper. In this case, the planning was not based on a would-be psychological analysis of the reading public.

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Jean Carlos Distefano is an Argentinian artist, designer and teacher. He designed a range of posters, programmes brochures and book covers alongside Juan Andralis, Humberto Rivas and Roberto Alvarado for the Instituto di Tella, Buenos Aires.
An advertising programme is fully integrated only when its effect is powerful enough to play a major part in determining a corporate image. Geigy advertising is an example of this successful integration.

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The designer is unstated on these postcards, which were designed during the mid to late 1970s, but these playful illustrations alongside what looks to be Frankfurter Bold definitely fit the criteria of friendliness and efficiency