Eye Magazine

Six contemporary type reviews by Bryan Edmondson, Dan Reynolds, Mark Thomson, Silvia Sfligiotti, Linda Kudrnovská and Robert Newman

‘If I look back at my beginning and everything, it’s learning on the job. You teach yourself and you pick up things and you look and you research – and it happens.’ Interview by John L. Walters and Simon Esterson. Portrait by Philip Sayer [EXTRACT]

Friends and colleagues pay tribute to the influential British typographic designer, writer and teacher (and cycling enthusiast), who died in January [EXTRACT]

The ideas and assumptions behind ‘global’ or ‘multi-script type’ raise complex and nuanced issues that have taxed both type designers and graphic designers for years. Current technology and the demands of communication and ‘branding’ have thrown up debates about the creation of readable documents, signs, packages and websites in which two or more different scripts are obliged to coexist. In this article, designers from different corners of the globe discuss some of the concerns and contradictions that inform the making and setting of multiple scripts with Ferdinand P. Ulrich [EXTRACT]

When the Type Archive left its London premises, its vast collection was disbanded and its working Monotype hot-metal plant moved to the National Collections Centre. Two long-serving volunteers talk to Eye about the challenges they faced and how the history of the Archive is now being preserved. Photographs by Philip Sayer [EXTRACT]

A snapshot of contemporary type design, with half a dozen reviews by Mark Thomson, Indra Kupferschmid, Silvia Sfligiotti and Dan Reynolds

Over two crucial decades at Mondadori, designer Anita Klinz transformed the look of Italian book publishing. Luca Pitoni tells her story

Lucas Sharp: ‘The only thing keeping me excited about being in this industry, and doing this work, is the stuff I have yet to draw.’ Chantra Malee: ‘We could have sold the entire foundry but ... what are we supposed to do for the rest of our lives?’ [EXTRACT]

The influence of three continents underpins the meticulous work of this underrated Japanese-American graphic designer. By Elizabeth Resnick [EXTRACT]