Eye, Issue 027, Spring 1998

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Opinion:
A rhetoric of images – Editorial, Max Bruinsma
To acquire the status of serious conveyors of ideas, images still have to overcome a ‘class…
All the news that fits – Screen, Jessica Helfand
Hold the front page! When it comes to the big news stories, what happened to the…
My Typographies – Personal view, Paul Elliman
The rhythms of letters are not confirmed to printed words. For the typographic eye, all the…
Fanfare for the common hack – Agenda, Kenneth FitzGerald
Design theorists cannot afford to turn a deaf ear to the everyday experience of the many.
Features:
Reputations: Gérard Paris-Clavel by Ursula Held
‘I always transform the commission: the role of all graphic designers is to question the brief before answering it’
The Mechanical Bride by John L. Walters
Marshall McLuhan’s 1951 analysis of advertising’s unholy trinity of sex, death and technology
Scrap merchants by Steven Heller
Peter Giradi’s practice creates digital landscapes composed of detritus scavenged from the wastleland of traditional media
Don’t buy this by Rick Poynor
Graphic agitation hits the high street in an installation for Friends of the Earth that questions the material obsessions of global consumerism.
This is not a book by Jonathan Ward
An artis’t book can be a sculture, an object and a private exhibition – a medium liberated from its well-defined formats
Best before by Max Bruinsma
British supermarkets display packets and tins whose graphic design codes have a longer shelf life than the food inside
Remote control by Bell/Eye
In a culture of interface, images become tactile: we feel with our eyes. The first in Eye’s new series of visual essays
New World order by Paul Rennie
Now that information management is a priority, the logical graphic style of Erik Nitsche has aquired a new relevance
The endless library at the end of print by Teal Triggs
Does the current avalanche of glossy books constitute a genuine design history – or mere graphic ephemera? By Teal Triggs

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Eye, Issue 027, Spring 1998
Eye, Issue 027, Spring 1998
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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Yoshio Hayakawa is one of Japan’s most influential post-war poster designers. His work represents a fusion of traditional Japanese art and European modernism often using soft, poetic brushstrokes and refined colour palettes and capturing the elegance of Japanese aesthetics while integrating the clean lines and bold visual language of Western design.
I came across two sample books containing printed examples of the work executed by the students in the Composing and Machine Departments of the Polytechnic School of Printing, between 1907 and 1910. I couldn't resist adding these to the archive.

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Advances in production and 1950s chewing gum marketing. From Wrigley's iconic "Spearman" ads to Hiroshi Ohchi's designs for Harris Chewing Gum.

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Many influential British designers have made their names in the history books. Abram Games, Alan Fletcher, Tom Eckersley and Derek Birdsall, to name a few. But one designer that has always influenced me, not only as inspiration from their design output, but as an example of the role of a designer and the importance of having strong ethics, is Ken Garland. He is known for his innovative and socially responsible approach to graphic design and his involvement in the design community through his teaching, writing and activism. In the second instalment of this series, I will discuss Ken Garland's magazine work from my collection.