Eye, Issue 049, Autumn 2003

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Opinion:
Chewing it over: issues of style and content
Critical path, Design history, Magazines, Agenda, Daniel Nadel
Agenda In the spring issue of Eye (no. 47 vol. 12) I wrote a particularly…
Evolutionary tales by Rick Poynor
A new novel uses the possibilities of visual prose to tackle a timely subject. Critique by Rick Poynor
Women and the media: dignity and decency? Equality by Deborah Burnstone
The European Commission takes steps to ban sexist imagery in the media
Editorial Eye 49 by John L. Walters
There is a moment in Adrian Shaughnessy’s profile of Angela Lorenz where the latter talks…
Features:
Conference madness by Alice Twemlow
It’s a messy hybrid of live chat show, summer camp, theatre and rock’n’roll
Machin Definitive UK postage stamps by Paul Neale
Cock-ups appreciated by Paul Neale, by Thought Facility
Malcolm, Peter … and Keith by Rick Poynor
The British New Wave was born at a boys’ school near Manchester
Theory in practice by Michael Worthington
Gerstner’s curious compendium is a dense brick of knowledge
‘Femicide’ posters by Daoud Sarhandi
300 murders near the Ciudad Juárez sweatshops provoke a graphic ‘shout’
A terrible beauty by Steven Heller
The atomic bomb’s mushroom cloud has become the logo of annihilation
Angela Lorenz by Adrian Shaughnessy
A Berliner’s work finds parallels between laptop music and design. By Adrian Shaughnessy
Laptop aesthetics by Adrian Shaughnessy
A crackly, digital approach informs one of three current design trends.
Information visualisation by Nico Macdonald
Modern-day map-making may be a way out of Web design’s stasis
Street signs by Adam Deschamps
The Burmese town of Pyay has government slogans on every lamppost
Reviews:
Yes Yes Y’all, An Oral History of Hip-Hop’s First Decade
Toneelschuur

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Eye, Issue 049, Autumn 2003
Eye, Issue 049, Autumn 2003
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

Rastorfer transformed the advertising of Volkswagen and his work contrasted with that of the previously commissioned designers. It reiterates the importance of finding a designer who can transform your vision and adverting and how the significance of consistent messaging across advertisements, contributes to the creation of a memorable campaign 

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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.

Members Content

Walter Ballmer was a Swiss graphic designer born in Liestal, Switzerland in 1923. He worked across various design disciplines including advertising design, packaging, typography and exhibition design.
When Fritz Gottschalk and Stuart Ash joined forces in Montreal, it was a partnership ideally suited to the city's hybrid environment. Gottschalk's training in graphic design in Switzerland, Paris and London was rigid, his background European; Ash, Canadian born and educated, was trained in the North American fashion, though he was influenced by his work with European designers