Eye, Issue 022, Autumn 1996

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Opinion:
What did you do in the design studio today, daddy? – Design education, Graphic design, Visual culture, Agenda, Abbott Miller
Graphic designers are convinced of the profession’s importance. Now they have to convince everyone else
The myth of real time – Screen, Jessica Helfand
In her first report, Eye’s new media columnist asks why, when it comes to time, we equate ‘real’ with ‘fast’
Features:
Reputations: Dan Fern by Rick Poynor
‘A lot of illustration sits very awkwardly alongside the contemporary digital typography scene. It can look naive, almost folksy’
Penguin science fiction covers by uncredited author
David Pelham’s covers for Penguin’s science fiction titles gave a frowned-upon genre a strong literary presence
The portable art space by Anne Burdick
Designers who collaborate with artists and curators on catalogues must negotiate a complicated web of interests
Play-centre of the avant-garde by Christian Küsters
At the Institute of Contemporary Arts in London, design reflects a developing sense of identity and purpose
Type fashion fusion by Julia Thrift
A stylist, a photographer and a typographer celebrate the look and feel of exceptional clothes
Dumb by Will Novosedlik
Are designers who proclaim the end of print turning their backs on design’s critical purpose and cultural role?
This signifier is loaded by Rick Poynor
Zurich designer Cornel Windlin is a fluent graphic stylist and a playful manipulator of communication codes
Big ideas that built America by Steven Heller
In the 1950s and 1960s, American art directors led a creative revolution. Thier secret weapon was the Big Idea
Page creation minus the fuss by Nico Macdonald
Web editors are the hot property of the moment, but which ones make the best long-term investment?

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Eye, Issue 022, Autumn 1996
Eye, Issue 022, Autumn 1996
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
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More graphic design history articles

Members Content

In my previous article about the design work produced for Insituto di Tella, I touched upon the artists Juan Carlos Distéfano, Ruben Fontana and Juan Andralis. After further research, I found a suite of other designs they had produced, including exhibition posters, concert programmes and record sleeves.

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The typographic designs produced for the National Theatre by Ken Briggs are not only iconic and depict the Swiss typographic style of the time, but remain a key example of the creation of a cohesive brand style.

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Little is known about the talented designer Günther Glückert. Born during the 1930s, a period that proved less than conducive to nurturing youthful artistic endeavours, did not halt Glückert's path of becoming a talented designer.

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Dick Elffers, had been the chosen designer for the printed matter of the Holland Festival for much of the festival's years, he used a painterly style for his work with the festival between 1954 and 1965 and later a more abstract style between 1969 and 1972. As well as publicity design, Elffers was commissioned to design the summer stamps to promote the Holland Festival in 1972.