Eye Magazine

The career of Germano Facetti is exceptional in its range. As art director of Penguin Book covers in the 1960s and as a designer, he was a powerful influence on book and information design, throwing a special light on Modern Movement aspirations and on attitudes to illustration. Facetti has maintained the concept of “documentary” and diagrammatic illustration to induce understanding, to express emotion, or to accumulate information in a more memorable way.

or: how graphic designer Pablo Ferro learned to split the screen, cut the crap and tell the story (in the time it took to run the titles)

“A revolutionary graphic language must seek to expose the meaning by presenting a chain of ideas, images, structures in as much of their complexity as is economically feasible.” Robin Fior in The Designer, journal of the society of industrial artists and designers, London, May 1972.

Lawrence Weiner’s art is a kind of sculpture made of language, free from excess or embellishment and strangely familiar from its far-reaching influence on graphic designers

The design of The New Yorker has nearly always taken the approach that ‘if it ain’t broke, don’t fix it’, with a familiar layout and masthead. Does a face-lift jeopardise its relationship with its readers? Time to call in the Type Police

With a CD-ROM based on its legendary lettering archive, Central Saint Martins has created a new tool and resource

In post-war art the visual and the literary have blurred. Typography is the point at which they meet

Psychedelia hit late 1960s London in an explosion of silk-screen colour

The legendary Herb Lubalin brought humour, sensuality and a contemporary flourish to complex typographic arrangements.