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Opinion:
Porn? by Rick Poynor
Can sexual image-making escape the stigma of porn? Critique by Rick Poynor
Editorial Eye 45 by John L. Walters
Though Eye 45 began its life as a ‘typography special’, we thought it fairer –…
Agenda
Jesus Ali
A list of four ‘don’ts’ for young designers
Features:
Air-sickness bags by Daniel Nadel
Air-sickness bags. Collected and appreciated by Helene Silverman (as told to Dan Nadel).
Postcard backs by Martin Soames
The normally ignored verso of the common postcard is put under the spotlight
Smartest letterer on the planet by Steven Heller
Chicago’s comic book hero has a finely tuned gift for hand-lettering
A cast of thousands by Phil Baines
The future of type design
The ABCs of J-FP by Petra Černe Oven
A passion for classic typefaces drives Porchez’s innovative fonts
A designer and a one-man band by Rick Poynor
Cranbrook’s song and dance man goes back to college with a bang
File under Archis by Stuart Bailey
A perverse assembly of borrowed layouts redefines this magazine
Visual cleaning in Athens by Minos Zarifopoulos
An ‘urban facelift’ challenges the Greek city’s visual mosaic
Reputations: J. Abbott Miller by John L. Walters
‘We could be more aware of the civility of design, of how it can be constructive in a poetic sense, not just like a sneeze of capitalist excess’
A Flock of Words by Deborah Burnstone
Typography meets sculpture on a windy English seafront
Milton Glaser meets Massin by Jeanne Verdoux
Encounter of two giants
Reviews:
TypoGraphic Writing

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Linked Information

Eye, Issue 045, Autumn 2002
Eye, Issue 045, Autumn 2002
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
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More graphic design history articles

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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.

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The 1960s was an era characterised by political, social, and cultural shifts. The counterculture movement emerged as a response to the perceived failures of the mainstream establishment, sparking a wave of activism and alternative ideologies. And with these an array of printed matter. Counterculture publications, often referred to as the "underground press," became powerful platforms for dissent, expression, and the exploration of new ideas.
IBM puts a premium on functional design, forms and colours which make it far easier for the potential customer to gain an insight. In this respect the IBM methods are exemplary. The IBM already opened studios of artistic and graphic design for its German and Italian offices and a few years ago another such studio was established in Paris. Frank René Testemale was entrusted with its organisation and was appointed its business and art director.

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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.