Issue 24


Robin Kinross
The bland new Euro provides an object lesson in how design represents historical reality.
Editorial, Rick Poynor
British graphic design, like art, pop and fashion, is on a high. But does it know where it is going – or why?
Screen, Jessica Helfand
The ‘exact beauty’ of De Stijl could provide cyberspace with a new set of design co-ordinates.


Steven Heller
‘The biggest challenge that faces a designer isn’t the quest for novelty, but coming to grips with the fact that much of what we do has little content’
uncredited author
Martin Sharp’s “Magic Theatre” issue of OZ magazine is one of the most extraordinary artefacts of the psychedelic era
uncredited author
Long out of print, Brian Eno’s ‘worthwhile dilemma’ cards have been reissued by Californian software guru Peter Norton
Richard Hollis
Uwe Loesch’s posters have the linguistic subtlety and precision of conceptual art. They demand attention, then release their significance bit by bit.
Caroline Roux
British men’s magazines rely for sales on female flesh. Harmless fun, “post-feminist” irony, or a desperate ploy to turn back the social clock?
Jeremy Aynsley
Images of the human form receive little analysis. An exhibition at London’s Victoria & Albert museum explores approaches to the body in early German design.
Rick Poynor
Mark Farrow’s minimalist graphics have won him a place in the profession’s mainstream usually denied to music designers
Richard Spohrer
Quark's Immedia is not quite Director's equal but it gives Xpress users a multimedia tool that works in a familiar way
Katie Salen
America’s women snowboarders are using the graphic language of boards to help claim their space in the sport
Space, time and content
R. Roger Remington
Photomontage allowed Lester Beall to unite art, photography, typography and painting with revolutionary European ideas about layout and form