Information

Opinion:
Irony is not enough by Rick Poynor
When design’s concerns form the content of an artist’s book, does ‘good design’ matter? Critique by Rick Poynor
Editorial Eye 55 by John L. Walters
The editor summarises the contents of the latest issue of Eye
Copyleft and copyright – Agenda, David M. Berry, Marcus McCallion
Time to examine the debates about the ownership of intellectual property
Features:
Love the Internet
Accessibility, usability, the W3C … are graphic designers finally coming to terms with the Web?
Lost worlds by Val Williams
Vernacular photography. Innocence regained? Or just another kind of fiction?
The Crafty Linotyper by Kerry William Purcell
Made in 1941 for AD magazine, Herbert Matter’s ‘typographic ballet’ is a dreamlike curiosity
The Initial Teaching Alphabet by Jeremy Hall
An idealistic experiment to help children read with an augmented, phonetically consistent alphabet
Security logos by Sean O’Toole
A startling array of incongruous motifs and icons are used by private security companies in South Africa
Truth and distortion
Can caricature ever regain its power to savage and mock the blunderers in high office?
Looking for clues by Rick Poynor
Notebook in hand, Paul Davis works like a journalist, trying to figure out what makes us tick
On the road by Deborah Burnstone
Think Don’t Think – a series of poetic graphical interventions on the zebra crossings of Paris
Reiver records by Henry Miles
Reiver records. Collected by Gordon Young
Reviews”
Manual: A book about hands
Communicate: Independent British Graphic Design since the Sixties
Avant-Garde Graphics 1918-1934
Chris Ware

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Linked Information

Eye, Issue 055, Spring 2005
Eye, Issue 055, Spring 2005
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

Members Content

After researching further into the work designed by their practice, I found ten programmes designed between 1958 and 1960. These programmes were designed for a variety of live jazz events in Germany and all followed the same format.

Members Content

The typographic supplement from Der Druckspiegel, October, 1961 features typographic compositions designed by Herbert Bossin. Bossin has solely used the typeface Folio, to illustrate its flexibility and versatility alongside imagery provided by Lothar Blanvalet Verlag.
A few years ago the publicity department of Siam di Tella found a collaborator who early in his studies of architecture was attracted by the problems of visual art. His name is Guillermo González Ruiz he was born in Chascomus (Province of Buenos Aires) in 1937. Between 1957 and 1960 he received 18 awards in poster competitions, some of which were of particular importance.

Members Content

Victorian Graphic Design left a mark on both British and American design history. In Britain, the ornate embellishments served as a symbol of prosperity and cultural values. Meanwhile, America embraced the combination of various design elements to navigate the complexities of a rapidly changing society driven by industrialisation and consumerism.