Issue 21


Agenda, William Owen

Book or CD-ROM?

Monitor, Paul Rennie

The intellectual investment we make in graphic design is reflected in its collectability and value

Caroline Roux

There is no avoiding Renton, Begbie and the whole sick crew, but what is Trainspotting’s campaign trying…


Rick Poynor

‘I don’t think anything designed should be considered as art. It’s not only about the experimentation…

Eye editors

Eduardo Paolozzi’s collage ‘novel’ Kex, made in 1966, has renewed resonance in the 1990s

Susan Agre Waterman, Mark Kippenhan

Type has become a consumer product and foundries use carefully crafted images to sell it

Will Novosedlik

How corporate designers turn routine annual reports into epic narratives of business triumph

Jim Davies

Me Company make designs of fabulous compexity. The shape of screenlife to come or techno-kitsch?

Andrea Codrington

Columbia’s classical sleeves of the 1960s and 1970s are pioneering examples of music graphics

Adrian Shaughnessy

For a handful of classical record companies, expressive design is a commercial priority.

Steven Heller

The New York-based artist makes ferocious images as instruments of social change. Her timely new book is a…

William Owen

Peter Greenaway’s new film, The Pillow Book, is his most sophisticated essay in graphic cinema

Brett Wickens

Macromedia Director 5 is much improved, but still not quite the ultimate all-in-one toolset