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EYE n°103 / John L. WALTERS ; Justin BURNS ; Peter BUWERT ; Martin COLYER ; De BONDT, Sara ; Mike DEMPSEY ; Paolo FERRARINI ; Anoushka KHANDWALA ; Gabriela MATUSZYK ; McNeil, Paul ; Chris MURPHY ; POYNOR, Rick ; SINCLAIR, Mark ; Kathleen SLEBODA ; Christopher SLEBODA ; Jim SUTHERLAND ; John WARWICKER-LE BRETON ; WRIGHT, Ian 

Public ISBD Titre : EYE n°103 Type de document : texte imprimé Auteurs : John L. WALTERS, Directeur de publication, rédacteur en chef ; Justin BURNS, Auteur ; Peter BUWERT, Auteur ; Martin COLYER, Auteur ; De BONDT, Sara, Auteur ; Mike DEMPSEY, Auteur ; Paolo FERRARINI, Auteur ; Anoushka KHANDWALA, Auteur ; Gabriela MATUSZYK, Auteur ; McNeil, Paul, Auteur ; Chris MURPHY, Auteur ; POYNOR, Rick, Auteur ; SINCLAIR, Mark, Auteur ; Kathleen SLEBODA, Auteur ; Christopher SLEBODA, Auteur ; Jim SUTHERLAND, Auteur ; John WARWICKER-LE BRETON, Auteur ; WRIGHT, Ian, Auteur Editeur : Eye Magazine Ltd Année de publication : 2022 Importance : 108 p. Présentation : ill. N&B et coul. Format : 23,5 x 29,5 cm ISBN/ISSN/EAN : 9770960779087 Prix : £ 20,00 Note générale : Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture. Langues : Anglais (eng) Catégories : Graphisme, illustration, art publicitaire Mots-clés : magazine,  graphisme,  design,  journal,  designers,  culture  visuelle,  issue,  graphic  visual  culture,  review,  typographie,  typothèque Index. décimale : 741.6 Graphisme, Illustration, Art publicitaire Résumé : It is commonplace to say that history is written by the winners, but if we have learned anything in the past few years it is that the historical record needs to be challenged. After all, some of the biggest winners are now seen as bad losers. The billboard on our cover, in which Jahnavi Inniss lists prominent Black individuals omitted from British history of the period 1729-1875 (from Greg Bunbury’s Black Outdoor Art project), is an example of the ongoing need to correct and improve our understanding of what went before. Sara De Bondt’s account of design’s role in colonial rule and its aftermath in Congo is a reminder that design and advertising are not always on the side of progress – a point strongly argued by Ruben Pater’s CAPS LOCK, reviewed in this issue by Peter Buwert. But visual communicators can make a difference. Lucinda Rogers’ reportage drawings from the Cop26 climate summit – which contrast human stories with the urgent scrawls of protesters’ banners – had impact on the pages and website of the Financial Times. Tomo Tomo shows what ‘slow’ editorial design can achieve in the high-speed world of Italian daily papers. Credits and attribution can get lost or omitted in the race to write history’s first draft, as Mike Dempsey’s article about Harry Willock shows. Willock, whose airbrushed artwork (see opposite) made a powerful, colourful contribution to visual culture in the psychedelic fog of the late 1960s, is one of many practitioners whose art and craft deserve greater recognition. The craft of the darkroom lies at the heart of Garry Fabian Miller’s body of work (below). With his camera-less photographic prints he has created a parallel, fine-art universe over the past half century. Miller’s new fellowship with the Bodleian Libraries in Oxford gives tangible recognition to yet another history worth retelling. JLW Note de contenu : CONTENT : FRONT MATTER 3 — Editorial Eye 103 Design history, Graphic design, Illustration, Editorial, the editor, John L. Walters It is commonplace to say that history is written by the winners, but the historical record needs to be challenged. 14 — Unfinished business Scott King’s rallying call for creative freedom takes a satirical swipe at cultural gatekeepers. By Rick Poynor 16 — In the arms of the cold cold ground Photographer Robert Gumpert tells the stories of San Francisco’s homeless. By Martin Colyer 18 — Bound for modernity Spiral and comb binding have been rehabilitated for aesthetics and practicality. By Simon Esterson FEATURES 20 — Reputations: Garry Fabian Miller ‘I decided photography had to be colour when I was sixteen years old … The materials were difficult, but Cibachrome has this incredible colour saturation and permanence.’ Interview by Grant Gibson. Portrait by Philip Sayer. 38 — Icons of oppression Belgian graphic design and the colonisation of Congo. By Sara De Bondt 46 — Noise free Tomo Tomo, the Milanese editorial design studio founded by Luca Pitoni and Davide Di Gennaro, aims for clarity and structure. By Paolo Ferrarini. Portrait by Luigi Fiano 60 — Battlefield of ideas Greg Bunbury’s Black Outdoor Art project plays on our expectations of media space and expression. By Anoushka Khandwala 66 — Witness Lucinda Rogers’ reportage drawings captured the urgent activism and human drama that surrounded Cop26, the 2021 Glasgow climate summit. By John L. Walters. Portrait by Jillian Edelstein 74 — Captain airbrush Illustrator Harry Willock’s role has been overlooked, yet his work with Alan Aldridge produced scores of era-defining works. Mike Dempsey reports. Portrait by Philip Sayer. UNCOATED 91 — Reviews 105 — We made this David Sylvain's ERR En ligne : https://www.eyemagazine.com/magazine/issue-103-2 EYE n°103 [texte imprimé] / John L. WALTERS, Directeur de publication, rédacteur en chef ; Justin BURNS, Auteur ; Peter BUWERT, Auteur ; Martin COLYER, Auteur ; De BONDT, Sara, Auteur ; Mike DEMPSEY, Auteur ; Paolo FERRARINI, Auteur ; Anoushka KHANDWALA, Auteur ; Gabriela MATUSZYK, Auteur ; McNeil, Paul, Auteur ; Chris MURPHY, Auteur ; POYNOR, Rick, Auteur ; SINCLAIR, Mark, Auteur ; Kathleen SLEBODA, Auteur ; Christopher SLEBODA, Auteur ; Jim SUTHERLAND, Auteur ; John WARWICKER-LE BRETON, Auteur ; WRIGHT, Ian, Auteur . - [S.l.] : Eye Magazine Ltd, 2022 . - 108 p. : ill. N&B et coul. ; 23,5 x 29,5 cm. ISSN : 9770960779087 : £ 20,00 Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture. Langues : Anglais (eng) Catégories : Graphisme, illustration, art publicitaire Mots-clés : magazine,  graphisme,  design,  journal,  designers,  culture  visuelle,  issue,  graphic  visual  culture,  review,  typographie,  typothèque Index. décimale : 741.6 Graphisme, Illustration, Art publicitaire Résumé : It is commonplace to say that history is written by the winners, but if we have learned anything in the past few years it is that the historical record needs to be challenged. After all, some of the biggest winners are now seen as bad losers. The billboard on our cover, in which Jahnavi Inniss lists prominent Black individuals omitted from British history of the period 1729-1875 (from Greg Bunbury’s Black Outdoor Art project), is an example of the ongoing need to correct and improve our understanding of what went before. Sara De Bondt’s account of design’s role in colonial rule and its aftermath in Congo is a reminder that design and advertising are not always on the side of progress – a point strongly argued by Ruben Pater’s CAPS LOCK, reviewed in this issue by Peter Buwert. But visual communicators can make a difference. Lucinda Rogers’ reportage drawings from the Cop26 climate summit – which contrast human stories with the urgent scrawls of protesters’ banners – had impact on the pages and website of the Financial Times. Tomo Tomo shows what ‘slow’ editorial design can achieve in the high-speed world of Italian daily papers. Credits and attribution can get lost or omitted in the race to write history’s first draft, as Mike Dempsey’s article about Harry Willock shows. Willock, whose airbrushed artwork (see opposite) made a powerful, colourful contribution to visual culture in the psychedelic fog of the late 1960s, is one of many practitioners whose art and craft deserve greater recognition. The craft of the darkroom lies at the heart of Garry Fabian Miller’s body of work (below). With his camera-less photographic prints he has created a parallel, fine-art universe over the past half century. Miller’s new fellowship with the Bodleian Libraries in Oxford gives tangible recognition to yet another history worth retelling. JLW Note de contenu : CONTENT : FRONT MATTER 3 — Editorial Eye 103 Design history, Graphic design, Illustration, Editorial, the editor, John L. Walters It is commonplace to say that history is written by the winners, but the historical record needs to be challenged. 14 — Unfinished business Scott King’s rallying call for creative freedom takes a satirical swipe at cultural gatekeepers. By Rick Poynor 16 — In the arms of the cold cold ground Photographer Robert Gumpert tells the stories of San Francisco’s homeless. By Martin Colyer 18 — Bound for modernity Spiral and comb binding have been rehabilitated for aesthetics and practicality. By Simon Esterson FEATURES 20 — Reputations: Garry Fabian Miller ‘I decided photography had to be colour when I was sixteen years old … The materials were difficult, but Cibachrome has this incredible colour saturation and permanence.’ Interview by Grant Gibson. Portrait by Philip Sayer. 38 — Icons of oppression Belgian graphic design and the colonisation of Congo. By Sara De Bondt 46 — Noise free Tomo Tomo, the Milanese editorial design studio founded by Luca Pitoni and Davide Di Gennaro, aims for clarity and structure. By Paolo Ferrarini. Portrait by Luigi Fiano 60 — Battlefield of ideas Greg Bunbury’s Black Outdoor Art project plays on our expectations of media space and expression. By Anoushka Khandwala 66 — Witness Lucinda Rogers’ reportage drawings captured the urgent activism and human drama that surrounded Cop26, the 2021 Glasgow climate summit. By John L. Walters. Portrait by Jillian Edelstein 74 — Captain airbrush Illustrator Harry Willock’s role has been overlooked, yet his work with Alan Aldridge produced scores of era-defining works. Mike Dempsey reports. Portrait by Philip Sayer. UNCOATED 91 — Reviews 105 — We made this David Sylvain's ERR En ligne : https://www.eyemagazine.com/magazine/issue-103-2

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EYE n°104 / John L. WALTERS ; Simon ESTERSON ; Catherine DIXON ; Jarrett FULLER ; HELLER, Steven ; Briar LEVIT ; Gabriela MATUSZYK ; POYNOR, Rick ; Serge RICCO ; Jim SUTHERLAND ; Aggie TOPPINS ; Christopher WILSON 

Public ISBD Titre : EYE n°104 Type de document : texte imprimé Auteurs : John L. WALTERS, Directeur de publication, rédacteur en chef ; Simon ESTERSON, Directeur artistique ; Catherine DIXON, Auteur ; Jarrett FULLER, Auteur ; HELLER, Steven, Auteur ; Briar LEVIT, Auteur ; Gabriela MATUSZYK, Auteur ; POYNOR, Rick, Auteur ; Serge RICCO, Auteur ; Jim SUTHERLAND, Auteur ; Aggie TOPPINS, Auteur ; Christopher WILSON, Auteur Editeur : Eye Magazine Ltd Année de publication : 2023 Importance : 116 p. Présentation : ill. N&B et coul. Format : 23,5 x 29,5 cm ISBN/ISSN/EAN : 6918 Prix : £ 20,00 Note générale : Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture. Langues : Anglais (eng) Catégories : Graphisme, illustration, art publicitaire Mots-clés : magazine,  graphisme,  design,  journal,  designers,  culture  visuelle,  issue,  graphic  visual  culture,  review Résumé : 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.’ John L. Walters Note de contenu : CONTENTS : OPIINION * Resistance is essential - p. 16 Telegraf’s second issue embodies Ukraine’s creativity and courage in the face of the Russian invasion. Report by John L. Walters * This is a column - p. 20 Design that tells the story of its own making harks back to conceptual art of the 1960s. By Rick Poynor FEATURES * Reputations: Peter Knapp - p. 22 ‘I redesigned the Elle logotype as I thought it was too small. I wanted its letters to sit with the head of the cover model by enlarging the letter-spacing. Of all the things I’ve done, this is the one thing that was never changed.’ Interview by Serge Ricco. * Philadelphia freedom - p. 44 Pentagram’s Luke Hayman has given The Philadelphia Inquirer an overhaul. By Steven Heller. * Jump cuts - p. 50 Motion design is everywhere. The gleaming screens of our phones, TVs and poster sites demand more and more ways to make words and pictures dance in space and time. By John L. Walters. * John Randle and his 26 soldiers of lead - p. 68 As Matrix comes to a full stop, its doughty founder talks to Eye. Photographs by Philip Sayer. * Form and feeling - p. 82 Rudolph de Harak gets the recognition he deserves in a new monograph by Richard Poulin. * Heavy rotation - p. 88 From 1977-92, the Album Cover Albums presented a broad spectrum of record sleeve art, unintentionally raising questions about the way graphic design for popular culture is experienced, interpreted and preserved. By Christopher Wilson. REVIEWS - p. 103 * Tupigrafia. The 2000-2020 Anthology * Sans (FR) 1628–1924 * Process Music: Songs, Stories, and Studies of Graphic Culture * Graphic Events: A Realist Account of Graphic Design * Flexible Visual Systems: The Design Manual for Contemporary Visual Identities * Growing Up Underground: A Memoir of Counterculture New York * Design After Capitalism: Transforming Design Today for an Equitable Tomorrow * RUHUMAN: The Typewriter Art of Keith Armstrong * ‘Fontstand International Typography Conference’ * Catherine Griffiths: Solo in [ ] Space En ligne : https://www.eyemagazine.com/magazine/issue-104 EYE n°104 [texte imprimé] / John L. WALTERS, Directeur de publication, rédacteur en chef ; Simon ESTERSON, Directeur artistique ; Catherine DIXON, Auteur ; Jarrett FULLER, Auteur ; HELLER, Steven, Auteur ; Briar LEVIT, Auteur ; Gabriela MATUSZYK, Auteur ; POYNOR, Rick, Auteur ; Serge RICCO, Auteur ; Jim SUTHERLAND, Auteur ; Aggie TOPPINS, Auteur ; Christopher WILSON, Auteur . - [S.l.] : Eye Magazine Ltd, 2023 . - 116 p. : ill. N&B et coul. ; 23,5 x 29,5 cm. ISSN : 6918 : £ 20,00 Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture. Langues : Anglais (eng) Catégories : Graphisme, illustration, art publicitaire Mots-clés : magazine,  graphisme,  design,  journal,  designers,  culture  visuelle,  issue,  graphic  visual  culture,  review Résumé : 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.’ John L. Walters Note de contenu : CONTENTS : OPIINION * Resistance is essential - p. 16 Telegraf’s second issue embodies Ukraine’s creativity and courage in the face of the Russian invasion. Report by John L. Walters * This is a column - p. 20 Design that tells the story of its own making harks back to conceptual art of the 1960s. By Rick Poynor FEATURES * Reputations: Peter Knapp - p. 22 ‘I redesigned the Elle logotype as I thought it was too small. I wanted its letters to sit with the head of the cover model by enlarging the letter-spacing. Of all the things I’ve done, this is the one thing that was never changed.’ Interview by Serge Ricco. * Philadelphia freedom - p. 44 Pentagram’s Luke Hayman has given The Philadelphia Inquirer an overhaul. By Steven Heller. * Jump cuts - p. 50 Motion design is everywhere. The gleaming screens of our phones, TVs and poster sites demand more and more ways to make words and pictures dance in space and time. By John L. Walters. * John Randle and his 26 soldiers of lead - p. 68 As Matrix comes to a full stop, its doughty founder talks to Eye. Photographs by Philip Sayer. * Form and feeling - p. 82 Rudolph de Harak gets the recognition he deserves in a new monograph by Richard Poulin. * Heavy rotation - p. 88 From 1977-92, the Album Cover Albums presented a broad spectrum of record sleeve art, unintentionally raising questions about the way graphic design for popular culture is experienced, interpreted and preserved. By Christopher Wilson. REVIEWS - p. 103 * Tupigrafia. The 2000-2020 Anthology * Sans (FR) 1628–1924 * Process Music: Songs, Stories, and Studies of Graphic Culture * Graphic Events: A Realist Account of Graphic Design * Flexible Visual Systems: The Design Manual for Contemporary Visual Identities * Growing Up Underground: A Memoir of Counterculture New York * Design After Capitalism: Transforming Design Today for an Equitable Tomorrow * RUHUMAN: The Typewriter Art of Keith Armstrong * ‘Fontstand International Typography Conference’ * Catherine Griffiths: Solo in [ ] Space En ligne : https://www.eyemagazine.com/magazine/issue-104

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