| 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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Affiner la recherche Interroger des sources externesEYE 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
