Learning to read and write images – Editorial, Max Bruinsma
Merging more and more with a ‘metadisciplinary’ visual culture, the role of graphic design is changing…
Sensory montage – Screen, Jessica Helfand
Technology’s mission to merge reality and fiction reflects the divided self of its operators – behind…
The end of the line – Agenda, Jamie Hobson
By favouring drawing over communication in the selection of students, graphic design education is missing the point
Reputations: Milton Glaser by Steven Heller
‘I am nervous about ideologies, whether it’s the ideology of business or the ideology of Bolshevism. I get nervous in the presence of absolute certainty’
Between histories by Orsat Franković
The graphic design legacy of the young republic of Croatia can be traced through its turbulent past and rich traditions. By Orsat Francović
Stop worrying and learn to love the Web
Designers overcome their initial contempt for a low-resolution medium to bring clarity to the World Wide Web
Culture in a cold climate by Will Novosedlik
In the ‘post-intellectual’ era, four Canadians use their talents in the service of creative discourse and the act of reading
The aesthetics of transience by Max Bruinsma
With computers as the means for limitless manipulations of signs, designers now exalt subjectivity and impermanence
Compare and contrast by Emily King
With a CD-ROM based on its legendary lettering archive, Central Saint Martins has created a new tool and resource
Other spaces by Rick Poynor
Paul Elliman tells his students that “everything you know is wrong”, embracing error to find ideas where others see junk
Manipulation for the masses by Brett Wickens
Version 4 of Adobe Photoshop, the champion of photo processing software, comes with new tools for Web designers
Eros by Steven Heller
In 1962 Ralph Ginsburg and Herb Lubalin defied puritantical America with the four issues of their erotic magazine Eros
Willem Sandberg: Warm printing by Mafalda Spencer
The Dutch pioneer’s catalogues for the Stedelijk show a tactile use of sensual materials and experimental typography
Visual Explanations: Images and Quantities, Evidence and Narrative
Counterpunch: Making Type in the Sixteenth Century, Designing Typefaces Now
Graphic Design: Reproduction and Representation Since 1800


Linked Information

Eye, Issue 025, Summer 1997
Eye, Issue 025, Summer 1997
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

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.
A few years ago the publicity department of Siam di Tella found a collaborator who early in his studies of architecture was attracted by the problems of visual art. His name is Guillermo González Ruiz he was born in Chascomus (Province of Buenos Aires) in 1937. Between 1957 and 1960 he received 18 awards in poster competitions, some of which were of particular importance.
The Cuban film poster conveys the spirit and ideals of the Cuban revolution. A time of political change, an uprising that ended the brutal dictatorship of Fulgencio Batista. The Danish Film Institute have a collection of Cuban Film Posters from the past 50 years.

Members Content

The identity manual consisted of 130 pages of information and brand usage with Arie J. Geurts heading up the project as design director, (who later headed up his own design studio in Los Angeles). The identity uses minimal colour and focuses on a consistent brand blue in all communications.