Magazines

1 June 2011

The timelessness of craft

The timelessness of craft

john warwicker

Karel Martens and OASE on show at the Narrows in Melbourne
As founder of Werkplaats Typografie, the two-year masters programme at ArtEZ Institute of the Arts, and designer of the Dutch architectural journal OASE, Karel Martens is one of the most influential and well respected graphic designers of the past few decades, writes John Warwicker.

16 May 2011

Heroes (and villains?)

Heroes (and villains?)

david thompson

A comic-book version of Colors magazine celebrates real-life activism
The 80th issue of Benetton’s multilingual quarterly Colors takes heroism as its theme, writes David Thompson. Specifically: ‘inspirational characters united by their desire to make this world a better place … Real, extraordinary people helping to save the world, one step at a time.’

9 May 2011

A cigarette with Les Mason

A cigarette with Les Mason

clem devine

Clem Devine’s personal memories of Epicurean’s fiery art director
First of all, smoking is bad, writes Clem Devine. Does that mean drinking is bad, or loving too much, or working too hard? Well, it depends. But yes, smoking is still bad,. This is a painting my Aunt Gail painted of her late husband, also my uncle, Les (Leroy) Mason after his first heart attack.

28 April 2011

Eye ♥ freebies

Eye ♥ freebies

eye editors

A couple of extra treats for UK subscribers, free with Eye 79
Eye’s UK subscribers may have noticed a couple of extras accompanying their copy of the latest issue. First up is Size, Format, Stock , produced by Fenner Paper and Studio8 Design.

13 April 2011

Out of space

Out of space

john ridpath, the events department

Charting the pervasive visual language of science fiction
A forthcoming exhibition about science fiction at the British Library will be full of amazing images as well as stories.

17 March 2011

Young(-ish) guns, having some fun

Young(-ish) guns, having some fun

john l. walters, the events department

The graphic art of ‘Pick Me Up’ on the banks of the Thames
Pick Me Up starts today at London’s Somerset House, the second outing for this ‘Contemporary Graphic Art Fair’ on the banks of the Thames, writes John L. Walters.

15 March 2011

Doing the right thing

Doing the right thing

john ridpath, the events department

UCL seminar to discuss the ethics of graphic design
Back in the summer of 1994, Andrew Howard reminded Eye readers of ‘First Things First’, the 1964 manifesto issued by British designer Ken Garland and a group of twenty-one colleagues (see ‘There is such a thing as society’, Eye 13). Garland et al called for fellow designers to reject the lure of advertising’s filthy lucre in favour of socially useful graphic design.

14 March 2011

Art shaped box

Art shaped box

the events department

South African art in a new limited edition portfolio by I-Jusi magazine
South African graphic design magazine I-Jusi was first produced in 1995, designed and founded by Garth Walker (see ‘A New Visual Language for South Africa’ in Eye 50). It was one year after the election of Nelson Mandela as president, and I-Jusi hoped to develop a new kind of visual language for the nation: ‘We like to think of it as Design Power. The power of the creative juices, now that they flow freely in this new South Africa.

7 March 2011

Picturing Ma’am

Picturing Ma’am

john ridpath

From stamps to portraiture: the images of a Royal subject
After a short-lived period of panic and confusion earlier this year, it was announced that – whatever fate befalls Britain’s troubled postal service – the Queen’s head will remain on postage stamps, writes John Ridpath.

1 March 2011

Critique: French connections

Critique: French connections

rick poynor, the magazine department

Back Cover signals an allegiance to graphic design as a serious endeavour
In his latest Web-only Critique, Rick Poynor looks at the French graphic design and typography magazine Back Cover: ‘Any graphic design magazine with an international outlook confronts a huge array of possible subjects. In the seven or eight features per issue published so far, Back Cover has signalled a firm allegiance to rigorous European typography and to visual communication as an essentially serious social and cultural endeavour. Its design by the editors’ studio, deValence – modernist with a few whimsical touches – embodies these apparently resurgent values.’
 
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