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?
Issue 39, Spring 2001
Review
The latest Charles Nypels Prize for typography was awarded last November to Erik van Blokland…
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
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
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
Issue 11, Winter 1993
Feature
The work of Dutch designer Karel Martens is rooted in materials rather than the ravishing image
Issue 3, Spring 1991
Feature
With a substantial body of work already completed, Gerard Unger’s designs are entering a new phase.
Issue 10, Autumn 1993
Feature
Eye reassesses the legacy of Edward Wright: designer, teacher, artist and “culture-carrier”
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
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’
Issue 24, Spring 1997
Opinion
The bland new Euro provides an object lesson in how design represents historical reality.
Issue 19, Winter 1995
Feature
Otto Neurath’s 1936 book was the fullest exposition of his vision of an international visual language
Issue 7, Summer 1992
Review
‘To begin with, let us enumerate what is repulsive and therefore wrong.’ Thus opens an…
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.
Issue 1, Autumn 1990
Review
‘Type90’ brought several hundred typographically preoccupied people to Oxford this summer. Following the successful pattern…
Issue 16, Spring 1995
Opinion
The all-lowercase Dutch phone book has yielded to the ‘Modern Traditionalism’ of Martin Majoor