Feature
Stories unfolding in time and space
With a revival of journalistic visual essays in US magazines, illustrators are once again becoming integral contributors to the editorial mix
In every home an architect
Two government booklets, Space in the Home and Metric House Shells, endorse Modernist concepts of good design for the public wellbeing
Scoop
A board game based on page layout, newspaper rivalry and editorial approval, who knows what strange ideas it gave to budding journalists and designers at an impressionable age
(In essence) pre-conceived
A cycle of consumption comes into view. Mute portraits of the hidden landscape by Eye's regular photographer
Design mirror
A reflection of Eye in the winning and commended entries for the 1998 D&AD Student Awards Publishing Design category
What your choice of font says about you
Susan Agre Waterman, Mark Kippenhan
Type has become a consumer product and foundries use carefully crafted images to sell it
Commercial Art
Judith Williamson, Max Bruinsma, Teal Triggs, David Bernstein
Oliviero Toscani's monumental and confrontational art direction and photography has provoked many different critiques and gut reactions as he tries to blur the line between fine art and advertising, an approach he has continuted with Colors and Fabrica. Like a Virgin? (David Bernstein); Benetton’s gospel (Max Bruinsma); Fabrica: Heaven, Hell or Purgatory? (Teal Triggs); Business as usual (Judith Williamson)
Sweet smell of excess
Perfume packaging must evoke the indescribable. It has its own designers, conventions and codes.
Typography
Robert Harling’s eclectic magazine, published in the 1930s, is the first in a new occasional series.
Art and art direction (text in full)
imply two separate worlds, yet artists who use text employ the techniques of graphic design. And so for the pharmaceutical type pastiches in \'The Last Supper\', a series of screenprints, Damien Hirst employed designer Jon Barnbrook.