Agenda, Stephen Bayley
An extract from Labour Camp
Editorial, Max Bruinsma
Graphic design and advertising are two of the great driving forces in today's visual culture.
Screen, Jessica Helfand
Media surveillance, statistics and the modern spectator
Reviews, Typography, Max Bruinsma
Reason, sense and high-tech at the FUSE98 conference
‘You can’t research a big idea. The only ideas that truly research well are mediocre ideas. In research, great ideas are always suspect.’
Oliviero Toscani's monumental and confrontational art direction and photography has provoked many different critiques and gut reactions as he tries to blur the line between fine art and advertising, an approach he has continuted with Colors and Fabrica. Like a Virgin? (David Bernstein); Benetton's gospel (Max Bruinsma); Fabrica: Heaven, Hell or Purgatory? (Teal Triggs); Business as usual (Judith Williamson)
Lawrence Weiner’s art is a kind of sculpture made of language, free from excess or embellishment and strangely familiar from its far-reaching influence on graphic designers
Advertising soaks into everything. It has become the texture of contemporary life. Graphic design has played a central part in this process. But does it have a viable role of its own?
A reflection of Eye in the winning and commended entries for the 1998 D&AD Student Awards Publishing Design category
A cycle of consumption comes into view. Mute portraits of the hidden landscape by Eye's regular photographer
The career of Germano Facetti is exceptional in its range. As art director of Penguin Book covers in the 1960s and as a designer, he was a powerful influence on book and information design, throwing a special light on Modern Movement aspirations and on attitudes to illustration. Facetti has maintained the concept of “documentary” and diagrammatic illustration to induce understanding, to express emotion, or to accumulate information in a more memorable way.