Eye Magazine

Thirty-three visual communicators renew the 1964 call for a change of priorities

Studio Dumbar uses its posters for the Zeebelt Theatre in the Hague for anarchic type experiments

With computers as the means for limitless manipulations of signs, designers now exalt subjectivity…

Mieke Gerritzen brings her visual language of graphic emblems and clear-cut lines, colours and type…

British supermarkets display packets and tins whose graphic design codes have a longer shelf life…

Working in the crash-prone pre-history of multimedia, Post Tool has a brand of graphic design that…

Designers can bring clarity and consistency to Web interfaces and find new ways to organise…

A graduate student competition resulted in hybrids of browser and search engine that redraw and…

A reflection of Eye in the winning and commended entries for the 1998 D&AD Student Awards Publishing…

Oliviero Toscani's monumental and confrontational art direction and photography has provoked many…

‘I don’t want to know the canon, because it is completely irrelevant and transient. If you fight…

Is there any use in overturning the existing hierarchies between verbal and visual form?

Reason, sense and high-tech at the FUSE98 conference

To communicate more than mere messages for a client, designers must adopt an editorial point of view…

Critiques of Modernism often fail to acknowledge the movement’s marrying of poetry to structure

Graphic design and advertising are two of the great driving forces in today's visual culture.