Eye, Issue 002, Winter 1990

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Opinion: Green’s grey zones, Agenda, James Woudhuysen
It has always been the duty of graphic designers to challenge conventional wisdom. Designers have…
Features:
Reputations: Alan Fletcher by Rick Poynor
An interview with Pentagram’s ringmaster of paradox.
Maps and dreams by Rick Poynor
No printing method is too basic for Jake Tilson. Created with photocopiers, his books, magazines and objects are crammed with offbeat inventions.
Wheels of fortune by William Owen
Fortune magazine was a visual encyclopedia of American business life
Temple of type by Robin Kinross
St Bride Library is one of the world’s best sources of information about type design and typography. Now it is under threat
Signals in the street by Yvonne Schwemer-Scheddin
Poster design is an instantaneous art. Eye looks at prize-winners from “Typography Germany ’90”
The designer unmasked by Gerard Forde
Jan van Toorn has turned graphic agitation into a fine art. Profile by Gerald Forde
Reviews: Design: Vignelli

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Eye, Issue 002, Winter 1990
Eye, Issue 002, Winter 1990
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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.
The Utah State University (USU) houses a vast collection of Outdoor Recreation Catalogues and magazines, You can browse and search records of more than 8,000 catalogues and magazines from over 500 companies, including manufacturers like Lowe Alpine and Sierra Designs to retailers like Eastern Mountain Sports and REI.

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I first came across Kens work in the Unit Edition’s superb monograph, Structure and Substance, published in 2012. Although I had owned a few of the British industrial design magazines, Design, for a few years before, in which Ken had designed numerous covers for.

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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.