Max Bruinsma

Recent articles by Max Bruinsma

Enigma variations

Issue 19, Winter 1995

Feature

Studio Dumbar uses its posters for the Zeebelt Theatre in the Hague for anarchic type experiments

The aesthetics of transience

Issue 25, Summer 1997

Feature

With computers as the means for limitless manipulations of signs, designers now exalt subjectivity…

Keep it simple

Issue 26, Autumn 1997

Feature

Mieke Gerritzen brings her visual language of graphic emblems and clear-cut lines, colours and type…

Best before

Issue 27, Spring 1998

Feature

British supermarkets display packets and tins whose graphic design codes have a longer shelf life…

Serious doodling

Issue 28, Summer 1998

Feature

Working in the crash-prone pre-history of multimedia, Post Tool has a brand of graphic design that…

The diaphanous machine

Issue 26, Autumn 1997

Feature

Designers can bring clarity and consistency to Web interfaces and find new ways to organise…

What you see is how you think

Issue 31, Spring 1999

Feature

A graduate student competition resulted in hybrids of browser and search engine that redraw and…

Design mirror

Issue 29, Autumn 1998

Feature

A reflection of Eye in the winning and commended entries for the 1998 D&AD Student Awards Publishing…

Commercial Art

Issue 29, Autumn 1998

Feature

Oliviero Toscani's monumental and confrontational art direction and photography has provoked many…

Reputations: Piet Schreuders

Issue 32, Summer 1999

Feature

‘I don’t want to know the canon, because it is completely irrelevant and transient. If you fight…

First Things First Manifesto 2000

Issue 33, Autumn 1999

Feature

Thirty-three visual communicators renew the 1964 call for a change of priorities

Style is content

Issue 32, Summer 1999

Opinion

Is there any use in overturning the existing hierarchies between verbal and visual form?

Fuzzy logic for furry animals

Issue 29, Autumn 1998

Opinion

Reason, sense and high-tech at the FUSE98 conference

Rescue meaning

Issue 28, Summer 1998

Opinion

To communicate more than mere messages for a client, designers must adopt an editorial point of view…

Sampling the modern inheritance

Issue 31, Spring 1999

Opinion

Critiques of Modernism often fail to acknowledge the movement’s marrying of poetry to structure

Push & pull

Issue 29, Autumn 1998

Opinion

Graphic design and advertising are two of the great driving forces in today's visual culture.