Sunday’s New York Times included a section devised by the magazine team, an ‘ink-and-paper’ product not available in digital form
The New York Times published Sunday 7 August 2016 contained a monochrome newsprint section entirely devoted to a piece of fiction – Colson Whitehead’s ‘There was no other way’.
A vernacular folk art has become synonymous with the visual identity of Buenos Aires. Gustavo Ferrari explains this extraordinary craft
Fileteado porteño is a traditional Argentinean artform, which began as simple decoration on the trade carts of bread, milk and vegetable sellers in the early twentieth century, writes Gustavo Ferrari.
Children’s picturebooks from Soviet Russia. Clare Walters reviews A New Childhood at the House of Illustration
Anyone interested in Russian graphic design and illustration of the early twentieth century, or in the history of children’s picturebooks, will find the current exhibition at the House of Illustration fascinating, writes Clare Walters.
Visual poetry crashes into the 21st century in all its brutal beauty. Jeremy Noel-Tod reviews The New Concrete (Hayward Publishing)
The original postwar ‘concrete poetry’ movement, with its aspiration to a utopian ‘supranational’ poetry of untranslatable symbolism, was characterised by an emphasis on type in white space: the flat material surface of ‘rigid, non-sensuous’ printed language, writes Jeremy Noel-Tod.
Giambattista Bodoni was a pioneer, a polymath and a perfectionist printer. Robert Hanks reviews a new book about the man behind the typeface
Anybody with an interest in typography will have come across the name Bodoni; but the reasons for his fame are more obscure, writes Robert Hanks.
See you at St Bride at 7pm sharp. Another evening in Eye magazine’s series of informal quarterly events about design and visual culture – with Morag Myerscough and Camille Walala
Eye’s next Type Tuesday will feature presentations by two designers who make bold use of colour – Morag Myerscough and Camille Walala.