Eye no. 7
Volume 2, Number 7, Summer 1992
Rick Poynor [Editor]
London: Wordsearch Ltd., Volume 2, Number 7, Summer 1992. Quarto. Letterpress scored photo illustrated wrappers. 88 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 88 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.”
Typography Special Issue Contents:
- Agenda
- Modernity and tradition: Phil Baines. “Modernism tried to break with the past; traditionalists embrace it. But any kind of ism is fated to become an anachronism.”
- Features
- Reputations: Rudy VanderLans: Julia Thrift. “The thing we have never done at Emigre is to second guess what the audience would like or be able to comprehend.”Nine pages and 17 halftone reproductions.
- The digital wave: Robin Kinross. “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’.” Thirteen pages and 10 reproductions.
- Telling and selling: Steven Heller. “Cooper Black is one of the emblematic typefaces of the twentieth century. Who was the man behind the face?” Six pages and 10 reproductions.
- Flux type: Teal Triggs. “Fluxus artists wanted to erare the distinction between art and everyday life. Using the most basic of tools, they succeeded in fusing art and design in typographic experiments that still look fresh more than twenty years later.” Ten pages and 19 images.
- Type as entertainment: Rick Poynor. “Why Not Associates are the wild boys of the British typographic scene … How do they get away with it?” Ten pages and 18 color images.
- High and low (a strange case of us and them?): Ellen Lupton. “Designers take a superior view of vernacular typography. Is it time to come down from on high?” Ten pages and many color images.
- Reviews
- The Form of the Book: Essays on the Morality of Good Design and others. These 23 essays encompass some 35 years of Tschichold's career from "House Rules for Typesetting" (1937) to "Ten Common Mistakes in the Production of Books" (1975).
Includes work by Willem de Ridder, George Maciunas, Dick Higgins, Wolf Vostell, Nam June Paik, George Brecht, Rick Valicenti, Milton Glaser, Charles Spencer Anderson, M&Co., Drenttel Doyle Partners, The Fluffy Boys, Alexander Isley, and many others.