Content includes:
Neither deco nor rational – Letter from Ben Archer
Faust legend – Letter from John Hubbard
Just what we need: 24-hour shopping – Letter from J.T. Adams
The missing Eye conference – Letter from Darren Young
A world without Eye – Letter from Robert Fauver
Terse and optional – Letter from Christopher Robbins
Digital self-expression by Rick Poynor
The MySpace phenomenon makes graphic expression as simple as swapping photos or keeping a diary. Critique by Rick Poynor
The alchemy of interpretation
Neither downloading, promoting nor selling, Seemusic is about the age-old quest to experience sound as vision
Written in stone by Karl Baden
That’s art direction by Simon Esterson
Words and pictures – and the way they are used to tell a story – lie at the heart of every magazine, big or small
‘No muscles, no tattoos’ by Alice Twemlow
Each of Jop van Bennekom’s eccentric magazines perches precariously at its niche’s edge
From object to observer by Abbott Miller
Exhibitions blend the complexities of architectural space with the narrative concerns of book design
The Couch by Will Temple
Abbott Miller’s installation for the Freud Museum in Vienna puts exhibition design theory into practice
Moderne times by Steven Heller
Why has France’s influence upon European graphic design been underestimated and neglected?
Shock tactics: Bazooka by Roger Sabin
Though inspired by UK punk, the Bazooka collective’s violent, sexy graphics spoke in a French accent
Reading Habits by John O’Reilly
‘Good’ editorial design has no place in The Guardian’s print-your-own A4 G24, but readers love its ‘robotic’ vernacular
Smear by Steve Hare
Smear, featuring a caricature of UK politician Jeremy Thorpe, is the Penguin Special that never was


Linked Information

Eye, Issue 061, Autumn 2006
Eye, Issue 061, Autumn 2006
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
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.

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Victorian Graphic Design left a mark on both British and American design history. In Britain, the ornate embellishments served as a symbol of prosperity and cultural values. Meanwhile, America embraced the combination of various design elements to navigate the complexities of a rapidly changing society driven by industrialisation and consumerism.

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After researching further into the work designed by their practice, I found ten programmes designed between 1958 and 1960. These programmes were designed for a variety of live jazz events in Germany and all followed the same format.
As a champion of graphic design history, I was thrilled to find the upcoming book "Penrose 1964-73: The Herbert Spencer Years," a captivating visual anthology dedicated to honouring Spencer's legacy as a trailblazer in modern typography. Spanning 288 pages, this book commemorates Spencer's influential editorship at the Penrose Annual from 1964 to 1973.