Winter 2006

Eye 62 contents

From the contents pages of Eye no. 62 vol. 16

Editorial by John L. Walters

01 Visual contents

02. Critique. Torture chic. Vogue’s fusion of high fashion with brutish behaviour besmirches readers

by making abusive images acceptable, even mundane. By Rick Poynor

04 Picture. Alan Fletcher. Remembering a graphic artist. Alan Fletcher’s editorial design was informed by craft skills and a highly original way of thinking. By Richard Schlagman

06 Common knowledge. Mexican wrestlers. Violent vaudeville. By Wayne Ford

18 Profile. Eric Olson. Practice and Process. In a short time, this highly focused type foundry has won acclaim and high-profile clients. By Deborah Littlejohn

26 Inspiration. Eric Gill’s essay. Visions of Joanna. For the first edition of ‘An Essay on Typography’, Eric Gill used his new serif font in the manner of a scribe. By Mark Thomson

30 Archive. Nazi type. Gothic horror. The Nazi party’s obsession with cultural dominance extended far into calligraphy, lettering and type. By Steven Heller

38 Essay. Electronic type. Electrifying the alphabet. Technological advances at the dawn of the computer age required new visions for type design By Sarah Owens

44 Type design. Swash caps. Back with a flourish. A taste for ornamentation and 1970s kitsch has led to a revival in the swash, the ‘tea cosy’ of typography. By Christian Schwartz

50 History. Motif magazine. The world made visible. Ruari McLean's magazine was a quirky mix of art and illustration, with its roots in graphic art and typography. By Rick Poynor

6 Report. Character design. Emotion graphics. Is character design a fount of rich, contemporary visual codes . . . or just a cop-out for over-stressed kidults? By Jody Boehnert

73 Uncoated. Letters. Monitor (Here be monsters). Agenda (Artspeak). Reviews. Books received. Colophon. See Uncoated contents, page 73

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