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Content includes:
Opinion
The sound and the echo – Samir Husni, Jeremy Leslie, Angharad Lewis
Cinematic view – Critique / Photography, Rick Poynor
Features
Guilt, abstracted – Steven Heller
Surfers and divers – Anja Neidhardt
Generation font rent – Jan Middendorp
Reputations: David Driver – Martin Colyer
Liberté, égalité, typography – Simon Esterson
For the love of food and print – Steven Heller
Double vision – Madeleine Morley
The start-up that stopped – Anne Miltenburg
Point of difference – Alex J. Todd
The alternative viewpoint – Alice Twemlow
Tales from the West Coast – Patrick Baglee
This woman’s work – John L. Walters
Radical platform – Fi Churchman
Two-colour haikus – Paul Harpin, John Miles
Pulling back the curtain

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Eye, Issue 097, Autumn 2018
Eye, Issue 097, Autumn 2018
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

Ezio Bonini's work for "Società del Linoleum" in Milan, showcasing advertisements designed for various Italian newspapers aimed at expanding the linoleum market
The Paris Poster Hoardings of 1938. Posters gleam forth accentuating the melody of this city as they direct the eye to articles of everyday use and above all to people who are the talk of the hour.

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Karl Oskar Blase was born in 1925 in Cologne, Germany. He was a prolific painter, designer, sculptor and exhibition curator. His work included magazine covers, for publications such as Form and Gebrauchsgraphik, stamp designs for the German Postal Service and film posters for companies such as Atlas Films.
The versatility of the arrow sign knows no bounds – from thin lines exuding delicacy to thick, heavy-set lines conveying stability and weight. Depending on its construction, the arrow sign can speak with individuality, even possessing psychological and emotional expression.