Issue 108

Opinion

Editorial Eye 108
John L. Walters
What may appear like ‘branding’ and ‘marketing’ often has the more compelling dynamic of editorial design …
The first brand mag?
Design history, Typography, Visual culture, Andy Altmann
The chance discovery of a set of bound volumes revealed a treasure trove of trade marks. By Andy Altmann
Going off the grid
Critical path, Graphic design, Magazines, Rick Poynor
Plastikcomb magazine looks back to 1990s graphics with stylish aplomb … and a focus on contemporary collage-makers.

Features

Reputations: Rob Saunders
Eric Heiman
‘We are in a moment of fascination with everything analogue, especially for designers who spend all day working on screens for screens. For them, it’s refreshing and mind-opening and inspiring in some magical way I can’t fully explain.’ Interview: Eric Heiman [EXTRACT]
Jacket required
Robert Hanks
A love of reading gives Jon Gray’s book covers their edge. By Robert Hanks [EXTRACT]
Henrietta Condak: Mistress of Masterworks
Elizabeth Resnick
Working in-house for CBS, this prolific art director combined illustration, lettering, typography and photography to make a significant body of design for serious music. By Elizabeth Resnick [EXTRACT]
Films on tap
John L. Walters
Founded in 2007 by Efe Cakarel, Mubi favours editorial design over marketing conventions to reach twenty million subscribers in 190 countries. By John L. Walters [EXTRACT]
Dafi Kühne comes to town
Richard Ardagh
A grey London February was enlivened by a visit from the Swiss letterpress innovator. Report: Richard Ardagh [EXTRACT]
Eye type reviews
Silvia Sfligiotti, Ferdinand P. Ulrich, Toshiya Izumo, Mark Thomson, Yara Khoury Nammour
Four contemporary type reviews by Silvia Sfligiotti, Ferdinand P. Ulrich & Toshiya Izumo, Yara Khoury Nammour and Mark Thomson
We made this: Czech design’s soft power
Linda Kudrnovská
Eight years in the making, an ambitious project charts the story of a small nation’s outsize influence. By Linda Kudrnovská
In memoriam: Martin Lee (1941-2025)
Richard Smith
Richard Smith pays tribute to a print production maestro who understood graphic designers as well as he understood printers and printing