20 October 2008

The Independent: too gaudy for words

The Independent: too gaudy for words

An exclusive, Web-only Critique by Rick Poynor for the Eye blog
I always liked the idea of The Independent and there have been a couple of periods, especially after it launched in 1986, when I defected to it from The Guardian. Even so, it has been a long time since I read it regularly, although the campaigning front pages produced since its 2005 redesign by Cases i Associats were eye-catching and occasionally led me to buy it. My main stumbling block is the tabloid page (and that goes for The Times, too). No matter how these two papers might rationalise the switch from broadsheet, the smaller size – also used by the Daily Mail – remains inherently down-market. The Guardian’s brilliantly managed move into new territory with the Berliner format underlined how dowdy, unimaginative and old-fashioned its rivals had become. 

19 October 2008

Q&A with Pedro Inoue

Q&A with Pedro Inoue

q&a

‘Design history is deeply linked with local culture’
Talking about graphic design history. Read our Eye 68 Q&A with Pedro Inoue on the Eye website.

17 October 2008

Drowning in debate

Drowning in debate

neil mcguire

Scottish designers look for some local alternatives to Awards Madness
A Statement of Existence (or The Scottish Design Non-Awards Non-Hierarchical Statement of Existence, to give it its full, somewhat overblown title), writes Neil McGuire, arose from a desire, primarily my own, but also within the design community, for some form of regional debate.

15 October 2008

Kyle Cooper

Kyle Cooper

john l. walters

Graphic design and typographygo to Hollywood
You have to hand it to Kyle Cooper. The celebrated movie titles designer quickly had the audience for last night’s D&AD President’s lecture at London’s Peacock Theatre transfixed, opening with a lengthy, well memorised passage from Shakespeare’s Henry V.

15 October 2008

Innocence and experience

Innocence and experience

liz farrelly

Vintage prints from a Barcelona photography studio in Franco’s time
From 1956 to 1998, FotoRamblas was a photography studio on Barcelona’s main pedestrian boulevard, the forever hip and happening Las Ramblas, writes Liz Farrelly.

14 October 2008

On the slab

On the slab

the type department

A hard-working 1970s typeface comes back from the cold
From the type department.  Another strong feature of the New York Magazine anniversary issue (see the recent Eye blog) is the powerful use of the Egyptian Bold Condensed display font. It’s a direct reference to the original Milton Glaser / Walter Bernard design   of the magazine (see the 1973 cover, above, and feature spread, below).

14 October 2008

Helter Skelter

Helter Skelter

roger sabin

A bumpy ride with Alan Aldridge:The Man with Kaleidoscope Eyes
The Design Museum is hosting an Alan Aldridge retrospective, writes Roger Sabin. ‘Just go along to the private view,’ chirps the editor, ‘and blog a few hundred words about your first impressions.’ Hmmm.

11 October 2008

‘You talkin’ to me? You talkin’ to me?’

‘You talkin’ to me? You talkin’ to me?’

john l. walters

New York Magazine celebrates 40 years plus with a handsome special
OK, maybe it’s not a classic cover. But the 40th anniversary issue of New York Magazine has all the other ingredients that non-New Yorkers expect from (and value in) the title: meaty, readable features, effective use of illustration, funny and revealing info-graphics and great photography, such as these punchy portraits (below) of New York actors (‘They’re here, they walk among us’) by Dan Winters. Other subjects include Meryl Streep, Tim Robbins and Robert De Niro. Of course.

10 October 2008

Q&A with Giampietro+Smith

Q&A with Giampietro+Smith

q&a

‘Teaching history as a set of facts is only half the story’
More questions and answers about design history. Read our Eye 68 Q&A with Giampietro+Smith on the Eye site.

8 October 2008

How Mexico went for gold

How Mexico went for gold

A glorious rerun of the 1968 Olympics identity . . . with one omission
I had no idea until a friend mentioned it, writes Daoud Sarhandi. ‘Congratulations,’ he said, ‘the quotes look great.’ Quotes? What quotes? ‘Mexico 1968. In the museum … the Museo de Arte Moderno.’ And so Carolina Rivas and I went, with our daughter, into Mexico City to take a look at ‘Designing Mexico 1968: An Olympic Identity’. Although I hadn't revisited the subject since ‘This is Mexico … this is 1968’ was published in Eye 56 – or rather since I was forced to reply in Eye 59 to a critical letter written by Eduardo Terrazas and Beatrice Trueblood – I felt right at home among the artefacts and epoch in the museum.
 
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