Robin Kinross

Recent articles by Robin Kinross

Eurothis and eurothat

Issue 5, Winter 1991

Opinion

Will the political and monetary union of Europe lead to an increasingly homogeneous graphic design? Or will designers fight for solutions that are local to a country’s culture yet international is resonance?

Sharp thinking takes the prize

Issue 39, Spring 2001

Review

The latest Charles Nypels Prize for typography was awarded last November to Erik van Blokland…

South Bank show

Issue 65, Autumn 2007

Feature

The Royal Festival hall has regained the thoroughly English lettering of its origins in the Festival of Britain – on one side only

Relics of the Modern

Issue 11, Winter 1993

Feature

Doing up typefaces is not like doing up buildings – more like re-creating the parts from which buildings can be made

Unclassifiable label

Issue 33, Autumn 1999

Feature

This swiss company has pioneered inventive solutions to the practical and aesthetic challenges of "branding" a radical programme of recordings

Otto Neurath

Issue 19, Winter 1995

Feature

Otto Neurath’s 1936 book was the fullest exposition of his vision as an international visual language

Let the object speak

Issue 11, Winter 1993

Feature

The work of Dutch designer Karel Martens is rooted in materials rather than the ravishing image

Cool, clear, collected

Issue 1, Autumn 1990

Feature

Blue Note designer Reid Miles and photographer Francis Wolff were a classic combo. Their covers have been envied, imitated, but rarely equalled.

Technology, aesthetics and type

Issue 3, Spring 1991

Feature

With a substantial body of work already completed, Gerard Unger’s designs are entering a new phase.

Letters in the city

Issue 10, Autumn 1993

Feature

Eye reassesses the legacy of Edward Wright: designer, teacher, artist and “culture-carrier”

Temple of type

Issue 2, Winter 1990

Feature

St Bride Library is one of the world’s best sources of information about type design and typography. Now it is under threat

The digital wave

Issue 7, Summer 1992

Feature

The old manufacturing companies that dominated typeface production through most of this century have been swallowed and largely pushed to the sidelines, while initiatives in design – and in the terms and routines that condition design – have been made by a few rapidly growing software and computer hardware companies. Pathbreaking contributions have come from small studios or individual designers working, in every sense, from just a desktop. There have been ‘font wars’, corporate piracy and copyright contravention on a large scale. To use the loose terminology by which we attempt to carve up typographic history, it is clear that during the 1980s, the developed world left behind photographic typography (to which metal had ceded) and entered the era of the ‘digital’

The price of peace

Issue 24, Spring 1997

Opinion

The bland new Euro provides an object lesson in how design represents historical reality.

High thoughts on a self-effacing art

Issue 7, Summer 1992

Review

‘To begin with, let us enumerate what is repulsive and therefore wrong.’ Thus opens an…

Typography’s new priests

Issue 1, Autumn 1990

Review

‘Type90’ brought several hundred typographically preoccupied people to Oxford this summer. Following the successful pattern…

Critical spirit of a telephone book

Issue 16, Spring 1995

Opinion

The all-lowercase Dutch phone book has yielded to the ‘Modern Traditionalism’ of Martin Majoor

Recent blog posts about Robin Kinross

Type Tuesday

27 March 2012
Design history, Graphic design, New media, Technology, Typography, Visual culture

Eye maps the landscape of digital typography … in 1992
This week we take a look at Eye no. 7 vol. 2, a typography special…