April 2009

6 April 2009

Golden Age of type? Or the dark ages?

Golden Age of type? Or the dark ages?

the type department

Eye’s type special nominates the faces of the moment. Now name yours
In ‘Golden age?’ (Eye no. 71 vol. 18), we asked twelve practitioners – art directors, type designers, educators – to suggest examples of typefaces that characterise the Zeitgeist, and show some of their nominated fonts. Now it’s your turn.

6 April 2009

A contributor writes

A contributor writes

the post room

Letters from the Eye postbag: calligraphy by Paul Shaw
One of the more cheering aspects of working on a graphic design magazine is receiving elaborately designed letters through the Royal Mail. When the invoice from contributor Paul Shaw arrived in this envelope last week, it seemed a shame to open it.

4 April 2009

Q&A with Stefanie Schwarz

Q&A with Stefanie Schwarz

q&a

‘OpenType makes typographic subtleties easier to apply now’
Online exclusive. For other interviews on the theme of ‘Who needs design history?' see Eye 68 on the Eye site.

3 April 2009

MadeThought / Typographic Circle

MadeThought / Typographic Circle

simon esterson

Taking the rough with the smooth off the grid
‘New designers come to work with us and I see them spending half a day fannying around with the baseline grid,’ said MadeThought’s Paul Austin to a slightly alarmed audience at the Typographic Circle on Thursday night, writes Simon Esterson. ‘I don't know what that is,’ he added and made it clear he didn’t really care either.

2 April 2009

The Form of the Book 5

The Form of the Book 5

derek birdsall

Dracula, blood-red prints of darkness (with dedicated typefaces)
John Morgan’s meticulous reading of Dracula, Bram Stoker’s classic and complex ‘novel’ (originally published in 1897) results in a golden, golden-section edition, writes Derek Birdsall. As one of the characters repeatedly refers to the (then) modern invention of the typewriter, Morgan has set Mina Harker’s journal entries in a quirky version of typewriter type (Remington, of course!).

1 April 2009

These letters are so wrong

These letters are so wrong

jan middendorp

But sometimes, as Playful Type shows, ‘any old shape’ really will do
‘A typically moral and conscientious Englishman’, Eric Gill once said, finds himself inclined to think that ‘an “R” ought to have a bow more or less semicircular and of a diameter about half the length of the stem’, even though in reality ‘any old shape will do to make a letter with’. But moralisation about type is not limited to the people with the stiff upper lips, writes Jan Middendorp.

31 March 2009

Type, Metahaven and TDR

Type, Metahaven and TDR

the promotion department

Get your hands on a copy of Eye 71. Plus Type Week on the blog
The new issue of Eye 71 is out. And to celebrate, we are having our first-ever Type Week on the blog. Watch this space for blogs about typography books, typefaces, new technology and extracts from Eye 71.

31 March 2009

The heights (and depths) of fashion

The heights (and depths) of fashion

wayne ford

Moscow’s ‘Changing Beauty’: style is in the eye of the photographer
‘Changing Beauty’ is the theme of the sixth Fashion and Style in Photography biennale, organised by the Moscow House of Photography, with 60 exhibitions across the Russian capital, from the grand exhibition hall of the Manege to the small independent galleries and the GUM department store on Red Square, writes Wayne Ford.

29 March 2009

Jan van Toorn at the Mermaid

Jan van Toorn at the Mermaid

simon esterson

‘Collecting images is not enough. How democratic is it?’
In a very polite, and very Dutch way, writes Simon Esterson, Jan van Toorn used the latest D&AD lecture to remind the audience at London’s Mermaid Theatre about graphic design’s social possibilities. He told us we should break out of our design stereotypes because, ‘it’s boring to produce neat things’.

25 March 2009

The Form of the Book 4

The Form of the Book 4

sean murphy

If you don’t like the stock you can print yourself
I recall from my college years, writes Sean Murphy, in the mid-1990s the oft-discussed scenario where interactive platforms such as CD-Rom and the internet would soon spell the end of the print and therefore, by association, the book.
 
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