Eye, Issue 072, Summer 2009

Information

Content includes:
Opinion:
Bad timing by Rick Poynor
In a new Obama-led world order, Omega’s lust for luxury seems as misplaced as a licence to kill. Critique by Rick Poynor
Cult of the squiggly by Steven Heller
An alphabetical catwalk – Education, Tania Prill
Scrapbook from China – Education, Elizabeth Resnick
Features:
Reputations: Marian Bantjes by John L. Walters
Sampling the Modern
Body type by Keith Miller
Schism and reunification by Adrian Shaughnessy
Artwork and play by Robert Hanks
Storytelling giant by Steven Heller
Fired up and hired
Drawn into conversation by Steve Hare
The orderly chaos of James Joyce by John L. Walters
Reviews:
Good Design, Good Business: Swiss Graphic Design and Advertising by Geigy, 1940-1970
Subway Art: 25th Anniversary Edition

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Eye, Issue 072, Summer 2009
Eye, Issue 072, Summer 2009
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

The 1960s was an era characterised by political, social, and cultural shifts. The counterculture movement emerged as a response to the perceived failures of the mainstream establishment, sparking a wave of activism and alternative ideologies. And with these an array of printed matter. Counterculture publications, often referred to as the "underground press," became powerful platforms for dissent, expression, and the exploration of new ideas.
Support American Bauhaus on Kickstarter to pre-finance the project and its production: www.kickstarter.com/projects/908813786/american-bauhaus

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A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.
Among the young graphic artists of Berlin, who set to work after the war, Hans Adolf Albitz and Ruth Albitz-Geiß can claim special attention. In a short time, at a period when economic conditions were pretty unfavourable, they worked themselves so to the fore that their names came to mean something in Berlin publicity, and in western Germany their posters are known and appreciated, too.