Eye no. 38
Volume 10, Winter 2000
John L. Walters [Editor]
John L. Walters [Editor]: Eye no. 38. London: Wordsearch Ltd., Volume 10, Number 38, Winter 2000. Quarto. Letterpress scored photo illustrated wrappers. 104 pp. Articles and advertisements printed on multiple paper stocks. Essays illustrated with full color examples throughout, with design and typography of the highest order. Light wear overall, but a nearly fine copy.
9.25 x 11.75-inch quarterly Design journal with 104 pages of fully illustrated content. “Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture.”
Contents:
- Opinion
- Editorial: John L. Walters. “Anniversaries – the landmarks, jubilees and significant milestones favoured by journalists and broadcasters – should…”
- Screen manifesto special. Me, the undersigned: Jessica Helfand
- Blank Generation: Critique by Rick Poynor. “The glossy enigma of digital supergirls.”
- Agenda: Design beyond commodification: Andrew Howard. “Designers can 'smuggle in' social issues as part of a personal agenda, but politics is unavoidable…”
- Features
- Reputations: Bruce Mau: Steven Heller. “I think it is one of the paradoxical conditions of design authorship, that you have to be both producer and critic simultaneously. I can maintain a kind of double life.”Nine pages and 25 reproductions.
- Self-expression, self-promotion: Nick Bell. “ Whether these examples arrive under the aegis of a distinguished imprint, drop unsolicited through the mailbox or accompany a portfolio, it is possible – among the unfettered outpouring of naked ambition, personal enthusiasms and obsessive interests – to uncover some fine examples of self expression.”
- Self-evident, self-motivated, self-perpetuating: John O'Reilly, John L. Walters. “Creative work by Experimental Jetset, Mother, Struktur and others.”
- Art and art direction: Emily King. “imply two separate worlds, yet artists who use text employ the techniques of graphic design. And so for the pharmaceutical type pastiches in \'The Last Supper\', a series of screenprints, Damien Hirst employed designer Jon Barnbrook.”
- Self-propelled, self-made: John O'Reilly. “Big books give KesselsKramer and Fuel an instant air of authority.”
- The myth of genius: Monika Parrinder. “The myth of genius – which promotes the artist as a lone, (even mad) pioneer – emerged when craftsmen first strove to become respected members of an elite. But before designers get too excited about winning the status of the artist, perhaps some caution is required.”
- Self-control. self-raising: John O'Reilly. “Pentagram are ‘time-rich’. Browns are the young establishment.”
- Typotranslation: Rick Poynor. “In a typographic tour de force, Richard Hamilton has turned Duchamp’s notes for the Large Glass into printed form.”Eight pages and 14 color iamges.
- Self-explanatory: John O'Reilly. “Postcards from Sans + Baum; Müller + Hess’s Xmas horror …”
- Reduction: Adrian Shaughnessy. “Is graphic design, with its allusions and clutter, fundamentally antithetical to minimalism?”
- Self-aggrandising, self-satisfied: John O'Reilly, John L. Walters> “Brochures: Frost, Push, Elliott Peter Earls, the Office of CC …”
- The Press Release: John O'Reilly. “The press release is one of the principal methods through which design companies, art directors and ad agencies speak to the media and the world outside. What does the press release say to the journalist during its brief journey from mailbox to wastebasket?”
- Look away: Steven Heller. ‘The South’, Seymour Chwast’s special civil rights issue of Push Pin Graphic, was a virtuoso display of graphic design authorship.