Issue 14


Graphic design, Editorial, Rick Poynor
Graphic design is so deeply inscribed within the fabric of everyday life that it is…
First things last
Letter to the editor, Ken Garland
Letter from Ken Garland in Eye 14
Time for debate
Letters to the editor, Nico Macdonald, Kevin McCullagh
Letter from Kevin McCullagh and Nico Macdonald in Eye 14
Jekyll and Hyde
Letters to the editor, Nick Franchini
Letter from Nick Franchini in Eye 14
Rob Dewey
Graphic design is gripped by an identity crisis. A broader definition of the discipline would provide one way out of the current malaise
Julia Thrift
Corporate identity’s success may also be its undoing. The fear of making mistakes has led to a bland sameness in corporate design


Eye editors
In the hands of Dieter Rot, the British newspaper was transformed into a striking artist’s book
Peter Rea
‘Radical modernism is my reaffirmation of the idealistic roots of our modernity, adjusted to include more of our diverse cultures’
William Owen
‘Multimedia’ may well be one of the most overused words of the 1990s. What does it mean for designers, what has been achieved so far and where are we heading?
William Owen
William Owen looks at design in the age of digital reproduction
Bob Cotton
Interactivity is one of the central concepts of multimedia. Bob Cotton, co-author of The Cyberspace Lexicon, traces key stages in the development of our relationship with the screen
Ellen Lupton, Laurie Haycock Makela
Women who have shaped the profession by their own work and by enabling those around them
Anne Burdick
ReVerb is a four woman, one-man design team in the heart of polyglot Los Angeles. In their conceptually based work, artificial distinctions between ‘high’ and ‘low’ melt into an alternately grating and blended concoction that reflects the discord and simultaneity of life in the city
Theatre of dreams
Rick Poynor
Andrzej Klimowski is obsessed with eyes, faces, hands, angels and devils. He is one of Britain’s most haunting image-makers
Abbott Miller
Stock photography receives little attention and wins even fewer awards, but it makes up a corporate vernacular that informs almost all levels of graphic design