We’re in bras, lamps and breakfast cereal – Graphic design, Agenda, Paul J. Nini
Today’s corporation is very different from its predecessors. But the identities devised by designers are failing to mirror the changes
Business, medicine, the law … or design – Monitor, Michel van der Sanden
Under western influence, South East Asian graphic design is growing fast. In Korean TV soaps, leading characters have jobs as designers
Reputations: Peter Saville by Rick Poynor
‘This is a post-design era. It’s deliberately going against all those things that were canonised in the 1980s and are now exhausted.’
Ales Najbrt by Michael Horsham
Soiree in the ruins
Cyan by Michèle-Anne Dauppe
Form + Zweck, the Berlin design magazine, champions a critical Modernism. By refusing to compromise, its designers, Cyan, have created their own context
Lucille Tenazas: Layers of language by Teal Triggs
The work of San Francisco designer Lucille Tenazas lies somewhere between the rigour of design and the freedom of art. Tenazas believes it is possible to solve the client’s communication problems, while also addressing her own
Advertising: mother of graphic design by Steven Heller
The word ‘advertising’ makes designers cringe. But it is central to the profession’s history and practice
The new sobriety by Carel Kuitenbrouwer
During the 1980s the Netherlands looked like a graphic designer\’s heaven. Government subsidies allowed cultural work to flourish. Commercial clients backed experimentation seemingly without question. But the 1990s finds young Dutch designers beating a retreat.
This is not a plane crash by Ben Tibbs
We already know the camera can lie. Now digital technology has broken the photograph’s link to a moment in time, will we ever be able to trust photography again?


Linked Information

Eye, Issue 017, Summer 1995
Eye, Issue 017, Summer 1995
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

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Wolfgang Weingart's artistic design delved into the intricacies of Swiss typography, skillfully dissecting its elements while venturing into texture and type experimentation. His layered montages radiated dynamic kinetic energy, standing in stark contrast to the minimalist approach of his instructors, embracing a more maximalist aesthetic.

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Nikon commissioned Yusaku Kamekura to design numerous posters, packaging designs and advertisements for Nikon. He used abstract forms, an impactful use of colours, along with his skilful reduction of messaging.
I have been reproached for this, and I will surely be reproached again. I have also been reproached for reading more and more obscure works whose readership must be limited to a handful of specialists and a few hobbyists like myself. It’s a heavy passion or a passion that sucks.

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As part of an ongoing series showcasing Swiss poster designs from the 1950s and 1960s, this article features 1961 poster entries of Die besten Plakate des Jahres (The Best Posters of the Year) 1961. Originating in 1941, Die besten Plakate des Jahres initially served as a platform for the evaluation and showcase of Swiss posters.