Eye Magazine

Rebranding ITV was meant to generate a warm glow – not the heated reaction it received from…

A third edition of Redheaded Peckerwood, Christian Patterson’s ravishing photobook, gives this…

These short films throw new light on the eccentric collaboration between 1960s film-maker /…

In the first of a new series of Photo Critiques, Rick Poynor examines The Latin American Photobook…

Barry Deck’s Template Gothic is vernacular in inspiration and futuristic in effect. Is it a…

Sława Harasymowicz’s first foray into graphic novels illuminates a Freudian case history with…

In 1960s France, Henry Cohen’s inventive photographic covers made Gallimard’s Idées series…

Fritz Kahn commissioned illustrators to realise his surreal pedagogical vision – mechanical…

Metahaven makes visual proposals that suggest a new role for graphic design in public life

Now we are deluged with more images than ever, we have lost faith in the power of the photo to…

‘It’s to do with meaning, which forces its way up like a root growing under a pavement – it…

Andrzej Klimowski is obsessed with eyes, faces, hands, angels and devils. He is one of Britain’s…

The authentic spirit of Surrealism lives on – in projects based on curious collections that…

Surrealism’s relationship with graphic design is still strangely unfulfilled

Motif, edited by Ruari McLean, was a quirky mix of art and illustration, with its roots in graphic…

Notebook in hand, Paul Davis works like a journalist, trying to figure out what makes us tick

Romek Marber’s 1960s paperback identity is a landmark of independent British design

J. G. Ballard's novel resists attempts to summarise it with a single image

The British New Wave was born at a boys' school near Manchester

Cranbrook’s song and dance man goes back to college with a bang

Mambo theology

'Helvetica has become the generic default, a safe formula under the guise of Modernism. It's all…

Is Australia’s global cultural impact reflected in its graphic design?

Does this Brisbane studio offer a role model for socially concerned design? [EXTRACT]

Why Not Associates are the wild boys of the British typographic scene … How do they get away with…

No printing method is too basic for Jake Tilson. Created with photocopiers, his books, magazines and…

Fuel is a magazine, a design team, and a four letter word. Their style is tough, but ambiguous too

‘I don't think anything designed should be considered as art. It's not only about the…

As designer, writer and educator, Jeffery Keedy is a committed proponent of postmodernism

Zurich designer Cornel Windlin is a fluent graphic stylist and a playful manipulator of…

In his many sketchbooks, Edward Fella makes hallucinogenic notations out of the commercial design he…

Mark Farrow’s minimalist graphics have won him a place in the profession’s mainstream usually…

Paul Elliman tells his students that “everything you know is wrong”, embracing error to find…

In a high street shop, an installation for Friends of the Earth questions the material obsessions of…

Three books showing accidental collages of torn posters an other random marks revive interest in a…

Operating undercover, using the enigmatic title of 23 Envelope, Nigel Grierson and his partner…

The graphic output of one of Britain’s best loved artists, the originator of the iconic cover for…

Herbert Spencer’s magazine, a fusion of Modernism and eclecticism, was one of the most remarkable…

Faced by oppressive visual pollution, many designers feel powerless. yet the visual realm can be…

In a typographic tour de force, Richard Hamilton has turned Duchamp’s notes for the Large Glass…

When Donald Wall made this book about Italian architect Paolo Soleri, he uncannily projected a…

An interview with Pentagram’s ringmaster of paradox.

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

One of type design’s young stars talks about his new company and the pressures of early success.

After Cranbrook: Katherine McCoy on the way ahead

Tomato are a group of friends, a physical space somewhere in Soho, a multimedia workshop…

The dictionary framework allows readers to find random nuggets of information, forging connections…

‘This is a post-design era. It’s deliberately going against all those things that were canonised…

‘A lot of illustration sits very awkwardly alongside the contemporary digital typography scene. It…

Advertising soaks into everything. It has become the texture of contemporary life. Graphic design…

‘I figure it’s my job to be this kind of blinkered believer. You know: I am the new futurist, I…

‘We discovered semiology and it was very important to us. It allowed us to deconstruct images, so…

‘People are using the computer in a very rigid, pseudo-religious way and we are trying to say that…

Hidden Treasure, in its reflection of our bodies in all their pathos and horror, has a morbid but…

Letter from Rick Poynor

Laura Oldfield Ford's grainy Savage Messiah brings new urgency to an updated punk aesthetic. By…

An image-led journal marries the serendipitous collisions of image-sharing sites with the…

Umberto Eco’s book The Infinity of Lists is erudite, informative and beautifully crafted: a…

The Guardian has given up on its clear and elegant film rental site, redirecting its users to the…

Designer John Coulthart’s daily blog on the fantastical is erudite, prescient and admirably…

Criterion’s DVD covers show that seduction by packaging remains a fiendishly irresistible (and…

Catel’s quick-fire sketches illustrate the life of the young model who became a Surrealist icon…

Slender and serious, Back Cover is emerging as a Gallic platform for a resolutely non-American view…

The stroboscopic credits of Noé’s movie suck the viewer into an immersive maelstrom of lettering

Give the revered Irma Boom her head and what do you get? A catalogue like a truncated brick

Emigre’s latest type catalogue uses historical sources to display wildly varied fonts with…

Graphic designer Romek Marber bears witness to one of the great crimes of the past century

This collection of short COI films is full of fascinating details, but short on context

Is there is a graphic mismatch between Poundland’s presentation and its ambitions?

SpaceCollective’s innovative website, at once lucid and intoxicating, adds substance to…

Rochester Institute of Technology opens its American design archive to the online world

Challenged to design a poster celebrating London, British designers show mostly how little they care…

Rick Poynor examines Mono-Kultur, a smart and ‘exquisitely scaled’ independent publication

By incorporating reportage of Russia’s Afghan war, this hybrid takes the graphic novel and…

Rick Poynor plays ‘hotel inspector’ to find a bookshop that understands its books and readers:…

In a new Obama-led world order, Omega’s lust for luxury seems as misplaced as a licence to kill.

GenPrag’s T-shirts celebrate the most emblematic of twentieth-century graphic design heroes. So…

Anne Harild’s work offers a challenge to the unthreatening norms of British illustration

A letter from Rick Poynor, London

This American blog-mag reminds us that obituaries are about lives lived

A book of Swiss competition winners makes a virtue of its cold and awkward design. Yet if the jury…

Independent’s new clothes do nothing to establish a once elegant paper as a vital force

Rick Poynor responds to some perplexing findings at ‘New Views 2’

Gallimard’s Découvertes series secures readers’ loyalty by showing respect for their curiosity…

On the basis of its first issue The Happy Hypocrite is small, quietly experimental and just a bit…

How does a graphic work claim its place in history? Notoriety and originality helps, but nothing…