Simon Esterson

Recent articles by Simon Esterson

An Atlas of Typeforms

Issue 86, Autumn 2013

Feature

As a sidebar to ‘Quiet man of letters’, Simon Esterson talks about his early encounters with this…

Sans serifs in suburbia

Issue 87, Spring 2014

Feature

Sainsbury’s brought 1960s Modernism to the kitchen cupboard

Well fed in the West End

Issue 87, Spring 2014

Feature

Ardizzone’s menus evoked a mid-century world of food-loving Londoners

Pictures on a page

Issue 84, Autumn 2012

Review

This Eye special issue about Monotype focuses on the technology of putting…

Robin Nicholas

Issue 84, Autumn 2012

Feature

‘I don’t see myself as a typeface designer. Hermann Zapf is a typeface designer. What I have done…

Dan Rhatigan: All about workflow

Issue 84, Autumn 2012

Feature

Monotype’s UK type director talks about the way the company’s 125-year history informs its…

Editorial Eye 84

Issue 84, Autumn 2012

Opinion

The original Monotype was an ingenious piece of highly disruptive technology that…

A tale of two diagrams

Issue 83, 2012

Review

MacDonald Gill at ‘Mind the Map’ in London

When the pen was mighty

Issue 78, Winter 2010

Review

These two volumes (Custom Lettering of the 40s & 50s, Custom Lettering of the 60s…

Reputations: Commercial Type

Issue 82, Winter 2012

Feature

‘There has been typography on the Web for its entire existence, because there are words, and where…

Brodovitch’s encore

Issue 80, Summer 2011

Review

In 1945, the small New York publisher J. J. Augustin published, in an edition of…

Taking care of business

Issue 80, Summer 2011

Feature

The pages of Bloomberg Businessweek explode with infographics, illustration and design experiment.…

Drink me

Issue 76, Summer 2010

Review

From its cork-finished covers to its wine-bottle proportions, Eduardo del…

Union of Soviet socialist images

Issue 71, Spring 2009

Review

In 1970 David King was in Moscow, researching a feature on Lenin for the Sunday…

You can judge by the cover

Issue 70, Winter 2008

Review

Designer Andrew Howard’s catalogue of his exhibition is a fascinating snapshot of…

Putting the graph in graphic

Issue 70, Winter 2008

Review

Data Flow: Visualising Information in Graphic Design is publisher DGV’s latest…

The elegant simplicity of torn paper

Issue 69, Autumn 2008

Review

There is an elegant simplicity about this combined book and DVD on the Dutch…

World of designer interiors

Issue 67, Spring 2008

Review

When Japanese designer Yashushi Fujimoto went on a road trip with his camera and…

Print, but not as we know it

Issue 66, Winter 2007

Review

This is one of nearly 50 case studies of contemporary print projects, by designers…

Beauty and process

Issue 65, Autumn 2007

Review

Les Plus Beaux Livres Suisses 2006 (Swiss Federal Office of Culture) is the third…

Passion for print

Issue 64, Summer 2007

Review

Created for Colophon2007, the title We Love Magazines tells you all you need to…

Ragbag of magazine design

Issue 49, Autumn 2003

Review

It is sad that a publication aiming to be a guide to designing in one genre…

Soft-edged memoir

Issue 81, Autumn 2011

Review

Duncan Fallowell’s ‘memoir for misfits’ How to disappear (Ditto Press, £14.99) is…

Manual transmissions

Issue 68, Summer 2008

Review

Will Burtin was one of the pioneers of twentieth-century American graphic…

The ranged left years

Issue 74, Winter 2009

Review

As we leave the certainties of the last few decades behind (stable social and…

The font now arriving at Platform 1

Issue 75, Spring 2010

Review

Stories in the glossier design books usually have neat endings: the project is…

Penguin in pictures

Issue 73, Autumn 2009

Review

The Penguin Collectors’ Society is an owners club for people who worship at…

Off the shelf

Issue 82, Winter 2012

Review

Jonny Trunk is obsessed by the childhood memory of a cornflake box seen on family…

Head Trip

Issue 78, Winter 2010

Feature

Simon Esterson applauds the vivid drama of a pharmaceutical brochure

Glimpses of a graphic reality

Issue 33, Autumn 1999

Review

Admit it. What graphic designers really want is to see work by other graphic…

Printing.com

Issue 66, Winter 2007

Feature

Where digital tools changed design, global communications and green issues are redefining the world…

That’s art direction

Issue 61, Autumn 2006

Feature

Words and pictures – and the way they are used to tell a story – lie at the heart of every…

Big book of books

Issue 73, Autumn 2009

Review

Bibliographic is a book about books. British designer Jason Godfrey has…

In few words / Manplan 1

Issue 54, Winter 2004

Feature

The AR’s Manplan is a tactile reminder of a time when magazines lived dangerously

Kit of parts

Issue 44, Summer 2002

Feature

A newspaper is a giant kit of parts that gets assembled in different ways each day. Contemporary…

First Things First Manifesto 2000

Issue 33, Autumn 1999

Feature

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

Monitor: End of default

Issue 75, Spring 2010

Opinion

The technology that allows us to control type on the Web is available. Now designers and foundries…

The Vignellis: a thoroughly Modernist marriage

Issue 60, Summer 2006

Opinion

Lella and Massimo Vignelli talk to Eye’s
John L. Walters and Simon Esterson

Inspiration

Issue 58, Winter 2005

Opinion

Designer Simon Esterson finds inspiration in Ken Briggs’s National Theatre programmes from the…

Recent blog posts by Simon Esterson

Type on the tongue

20 December 2013

Eye’s panel checks out the taste of Helvetica, Impact and Comic Sans (as cooked up by Sarah Hyndman)
Designer Sarah Hyndman is known for her Type Tasting workshops – popular events at Pick Me Up and London Design Festival this year. For Hyndman’s latest project, A Taste of Type, she has reversed the approach by asking, ‘what does type taste like?’

Type Tuesday: Reputations

3 July 2012

Commercial Type’s Christian Schwartz & Paul Barnes – interviewed in Eye 82
‘There has been typography on the Web for its entire existence, because there are words, and where there are words there is typography … Some people believe that there is going to be a radical change in the process of reading because of webfonts. Actually, no.’

Early adopter: Desmond Jeffery

4 November 2009

St Bride hails the ‘non-designer’ who’s an unsung hero of British Modernism
The most exciting graphic design exhibition I’ve seen in London recently is at the St Bride Library, writes Simon Esterson. But its subject would never have admitted to being a designer.