Editorial Eye 104
The urge to make static artwork that depicts or creates movement has long been a human preoccupation. In our Reputations interview, influential Elle art director and photographer Peter Knapp talks about his desire to infuse magazines with movement. At a time – the 1960s– when the conventions of fashion publishing and photography were being reinvented, Knapp was a central figure.
The practice of motion design has a deep history and rich present; ‘Jump cuts’ is an examination of some current practitioners who are creating resonant, personal work – from Saskia Marka’s TV titles, via Hiromu Oka’s animated Riso prints, to the haunting transformations that Dirk Koy shares on social media. This is a tantalising time – especially now that the means to make ‘direct film’ (to borrow Len Lye’s useful term), are on most designers’ computers.
Christopher Wilson’s thorough feature about the series of Album Cover Albums engages with a period when graphic design and music culture were entangled to an unprecedented degree. As Wilson demonstrates, the books ‘traced shifts in graphic design and in ideological differences between generations of designers.’
In Ukraine, art director Glib Kaporikov and editor Anna Karnauh have made an edition of design magazine Telegraf that shows the design community’s response to war. Karnauh says: ‘Telegraf is about a new reality, where creativity is the weapon against the aggressor.’ JLW
Top. Cover featuring Shape Study 6 (2019) by Dirk Koy, from a manipulated video image of his family cat Sina. See ‘Jump cuts’.
Right. Metal display type ready for handsetting at the Whittington Press. See ‘John Randle and his 26 soldiers of lead’. Photograph by Philip Sayer.
John L. Walters, editor of Eye, London
First published in Eye no. 104 vol. 26, 2023
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