Issue 63


John L. Walters
Whenever people ask how to get their work into Eye, I’m reminded of the ancient joke…
Monitor, Lucienne Roberts
When designers start to question what words such as ‘good’ and ‘bad’ and ‘soul’ really mean, they can’t avoid ethics. And that’s no bad thing.
Letter to the editor,
Letter from Tom Newman, Still Waters Run Deep
Letter to the editor, Rian Hughes
Letter from Rian Hughes, Devicefonts
Letter to the editor,
Letter from Clyde McConnell
Letter to the editor, Jeremy Hall
Letter from Jeremy Hall
Letter to the editor,
Letter from Robin Dodd
Letter to the editor,
Letter from Chris Powell, Chairman, NESTA, UK
Agenda, Steven Heller
In a world of brand specialists and information architects, is it enough to call ourselves ‘graphic designers’ without sounding either overly specialised or obsolete?
Out of the ordinary
Critique / Photography, Rick Poynor
Banal, amateur snapshots become almost poetic in these books by Fiona Tan


Mason Wells
Only the year on the cover reminds us that this Olympic sports schedule is 35 years old
Mike Kippenhan
Water-slide decals from the 1960s to the 1980s
John L. Walters
Can design for contemporary jazz, world and experimental music have a meaningful partnership with the musical content?
Martin Majoor
It may be the world’s most popular sans, but Helvetica has many deficiencies – not least its lack of real italics
Verónica Devalle, César Sesio
Argentina’s dialogue with the European pioneers of postwar Modernism gave rise to a graphic design culture that remains fiercely contemporary
Alex Coles
Artist Ellsworth Kelly’s links to design are demonstrated graphically by two projects
Dark tools of desire
Rick Poynor
Surrealism’s relationship with graphic design is still strangely unfulfilled. By Rick Poynor
Jason A. Tselentis
Strong design, right-on ‘Projects’ and lashings of information porn make Good a title that aims high