Eye, Issue 021, Summer 1996

Eye, Issue 021, Summer 1996


Experiments in hypertype – Agenda, William Owen
Book or CD-ROM?
No longer collecting dust by Monitor, Paul Rennie
The intellectual investment we make in graphic design is reflected in its collectability and value
Advertising’s big fix – Caroline Roux
There is no avoiding Renton, Begbie and the whole sick crew, but what is Trainspotting’s campaign trying to sell us?
Reputations: Rick Vermeulen by Rick Poynor
‘I don’t think anything designed should be considered as art. It’s not only about the experimentation with form. There is always a client’
Kex by Eye editors
Eduardo Paolozzi’s collage ‘novel’ Kex, made in 1966, has renewed resonance in the 1990s
What your choice of font says about you by Susan Agre Waterman, Mark Kippenhan
Type has become a consumer product and foundries use carefully crafted images to sell it
Bards of the balance sheet by Will Novosedlik
How corporate designers turn routine annual reports into epic narratives of business triumph
Hi-res hedonist by Jim Davies
Me Company make designs of fabulous compexity. The shape of screenlife to come or techno-kitsch?
Making masterworks by Andrea Codrington
Columbia’s classical sleeves of the 1960s and 1970s are pioneering examples of music graphics
Reinterpreting the classics by Adrian Shaughnessy
For a handful of classical record companies, expressive design is a commercial priority.
Sue Coe: eyewitness by Steven Heller
The New York-based artist makes ferocious images as instruments of social change. Her timely new book is a searing indictment of animal butchery.
Bodies, text and motion by William Owen
Peter Greenaway’s new film, The Pillow Book, is his most sophisticated essay in graphic cinema
Waiting for the total toolset by Brett Wickens
Macromedia Director 5 is much improved, but still not quite the ultimate all-in-one toolset

Eye, Issue 021, Summer 1996
Eye, Issue 021, Summer 1996

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