Information

Opinion:
Editorial Eye 15 – Graphic design, Technology, Typography, Editorial, Rick Poynor
In the three and a half years since Fuse, the interactive type magazine, was started…
Design is a ghetto – Graphic design, Letter to the editor, Ian Goodyer
Letter from Ian Goodyer in Eye 15
What are we saying? – Graphic design, Letter to the editor, Andrew Howard
Letter from Andrew Howard in response to Ian Goodyer’s letter ‘Design is a ghetto’ in Eye 15
Applying the lessons of the future today – Technology, Agenda, Jon Wozencroft
The instant, push-button excitements of the digital wonderland blind us to the imaginative challenge posed by the new technology
Monitor by Rick Poynor
Ugliness is in the eye of the beholder
Features:
Reputations: Jon Barnbrook, Virus by Rick Poynor
One of type design’s young stars talks about his new company and the pressures of early success.
Central Lettering Record by Phil Baines
Central Saint Martins’ collection of historical letterforms and type samples is an invaluable resource
Beyond typography by Michael Rock
Fuse’s talented team is on an inspired quest to ‘Make it new!’ But what is the project really about?
Spot the difference by Keith Robertson
Mass-market style has created an audience with an insatiable appetite for more of the same
The producer as author by Will Novosedlik
For Bruce Mau, graphic design is a way of investigating ethical, cultural and philisophical issues
Marks on paper by Julia Thrift
Letterpress’s eclipse by digital typesetting has been a liberation for typographer Alan Kitching
Pouchee’s lost alphabets by Mike Daines
Few contempory display alphabets equal those of Louis John Pouchée for vivacity and invention
Dr Leslie’s type clinic by Steven Heller
Through its publications and gallery, the Composing Room promoted the new American design
Reviews:
Urgent Images: The Graphic Language of the Fax
Qwerty

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Linked Information

Eye, Issue 015, Winter 1994
Eye, Issue 015, Winter 1994
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
The most comprehensive account of ghost signs ever published, focusing on London’s hand-painted relics of advertising past

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Giovanni began his work with Olivetti in March 1938, and his work was showcased in various exhibitions and had a clear distinctive style that amplified the Olivetti brand image. His design defined the company’s visual image, and the iconic geometric designs are still as powerful and engaging today as they were in the 1950s.

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A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.
"Talking about myself as a designer is something that requires a powerful dialogue with my life experiences. In a radical way, I apply an exercise in which design forms become projections of life, extensions of meaning that constantly involve senses."