Illuminated thought by John L. Walters
The practice is said to ‘signal a break with the past’ but GTF has an unforced ‘style’ that is impossible to copy
Excitable hexagonal
Do the covers to the D&AD’s annuals – full of pencils, food, and covered in tactile stuff – tell us anything about the past 45 years?
Sticks in the mind by Véronique Vienne
Does anyone care about posters, or are they just an ego-trip for the designers who still make them?
Mad about awards by Alissa Walker
Winning can sometimes make a difference – to clients, to friends, and the occasional good cause
Awards madness by Jason Grant
Everybody likes to win. But if design competitions destroy creativity and co-operation, what’s the point? By Jason Grant. Infographics by Paul Davis
Strikethrough by David Crowley
The act of erasure, or striking out, can add new, unintended meanings to the images and information that lie below
Once upon a time… by Steven Heller
… there was a Big Bad President. How satirists use children’s tales to puncture the huffing and puffing of politicians
Reputations: Phil Baines by Christopher Wilson
‘I could never subscribe to a particular way of doing things – I was always more pick ’n’ mix. I’d want to take what was good and alter it a little, or, if I thought the ideology was stupid, drop the ideology.’
Getting better all the time… by Alan Aldridge
Self-styled ‘graphic entertainer’ Alan Aldridge shot to fame in the mid-1960s with his work for The Sunday Times magazine, Penguin Books, The Beatles, the Rolling Stones and The Who. Aldridge regards The Beatles Illustrated Lyrics (see Eye no. 57 vol. 15) as an ‘illustration of the 1960s’, and you could say the same for much of his new book The Man with Kaleidoscope Eyes (Thames & Hudson, £24.95), published to coincide with the Design Museum show of the same name. In this extract, Aldridge recounts his experiences after being fired from a job as a junior finished artist at Charlotte Studios – ‘supply your own steel rule and X-Acto knife’ – in a London that was just about to Swing.
Brought to LightBrought to Light by John L. Walters
An uncanny reality by David Brittain
Patrick Shanahan’s photographs, subjective, seductive and even threatening, invite us to follow him beyond unknown boarders.
Hunger for the visual by Sue Steward
Moscow Photobiennale curator Olga Sviblova is re-acquainting Russians with their visual history
Straight to no. 1 by John O’Reilly
A great commercial stock image is like a three-minute pop song: the best have a simple repetitive emotional intelligence.
Detail in Typography
The Art of Hergé, Inventor of Tintin, Volume 1: 1907-1937
Jan Bons: a designer’s freedom
Cover Art By: New Music Graphics


Linked Information

Eye, Issue 069, Autumn 2008
Eye, Issue 069, Autumn 2008
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

Katayama worked in several art and design disciplines from graphic design and sculpture to environmental works and sculpture. His design work features rhythms and patterns and has a resemblance to modern jazz and the studies of Josef Albers.
IBM puts a premium on functional design, forms and colours which make it far easier for the potential customer to gain an insight. In this respect the IBM methods are exemplary. The IBM already opened studios of artistic and graphic design for its German and Italian offices and a few years ago another such studio was established in Paris. Frank René Testemale was entrusted with its organisation and was appointed its business and art director.
How design can transcend the logics, structures, and subjectivities of capitalism: a framework, theoretical grounding, and practical principles. A new book published by MIT Press written by Matthew Wizinsky.

Members Content

The 1960 awards presented 420 poster entries from Swiss designers. Notable winners included Robert Büchler's typographic poster for the Museum of Applied Arts Basel and J. Müller-Brockmann’s Der Film poster for the Museum of Applied Arts and Gerstner + Kutter's asymmetric typographic poster for National-Zeitung SA Basel.