Issue 64


John L. Walters, the editor
There’s nothing like working on a quarterly magazine for giving one an acute sense of…
Letter to the editor,
Letter from Suzanne Perkins
Letter to the editor,
Letter from Richard B. Doubleday
Letter to the editor, Malcolm Frost
Letter from Malcolm Frost
Agenda / social media, William Owen
Social media is shifting message-making away from mass media and into the hands of multiple users.
Comfortably Numb (64)
Critique Eye 64, Rick Poynor
Tyler Brûlé's high-flying monthly promises a cool, global perspective, but its attitudes to consumption are grounded in the 1980s


Jan Middendorp
Andrea Tinnes makes type families — functional or ornamental — that quickly acquire a life of their own
John L. Walters
Look beyond the confines of the Latin alphabet, urges Johannes Bergerhausen of Decodeunicode.
Jason Grant
Australian artist Rosalie Gascoigne turned discarded packaging type into ‘stammering concrete poetry’
Richard Hollis
Whether commercial or political, the work of Theo Ballmer was underpinned by craft, precision and passion
Safe houses
Vici MacDonald
The language of burglar alarm covers reveals a special kind of British grit
Rachel Abrams
After 50 years as a famous face, Helvetica gets to star in its own feature film
John O'Reilly
‘From kings to cupcakes’
John L. Walters
GTF’s Tord Boontje monograph employs structural and decorative devices drawn directly from the product designer’s work
Roadshows and rickshaws
Steve Hare
Folk images help BBC World Service promote its 21st-century virtues to a rural Indian audience
John L. Walters
Five Eye commentators take a stroll along the highways and strip malls of contemporary cyberspace
Erik Spiekermann
‘The site is to Web design what Miyake is to textiles’
Luke Pendrell
The hand-made work of Le Gun finds expression through parties, installations, a website and a big ’zine
John O'Reilly
‘You wouldn’t want to have to book a train ticket from here’
John O'Reilly
‘The online shrine to crap design’
John O'Reilly
‘Porn site aesthetics applied to art’
John O'Reilly
‘The NYT scores in storytelling charisma’
Brendan Dawes
‘Like late-1960s Vignelli ... totally contemporary’
Brendan Dawes
‘So incredible that it almost brings me to tears’
John O'Reilly
‘Appealing to middle class virtues, prudent, reserved’
John O'Reilly
‘A purposeful marriage of design and content’
Margaret Woodward
For ten days in March, the billboards of Hobart were given over to the voices of its inhabitants