Eye Magazine

Tool, agent or end of days? John L. Walters asks designers and image-makers how and why they use visual AI and what this might mean for creativity

Its ethical problems may be nothing new, but as ‘AI’ invades graphic designers’ workspaces, its excessive energy consumption, resource extraction and exploitation of creative labour need tackling head on. By J. P. Hartnett

Working across record covers, logos, merchandise and stage design, Amaya Segura brings innovative typography to contemporary R&B, hip-hop and beyond. Interview by Holly Catford

When Norman Hathaway was asked to edit and design Michael Doret’s monograph, it was a chance to fill in some gaps in the history of illustrative lettering [EXTRACT]

Six contemporary type reviews by Bryan Edmondson, Dan Reynolds, Mark Thomson, Silvia Sfligiotti, Linda Kudrnovská and Robert Newman

‘If I look back at my beginning and everything, it’s learning on the job. You teach yourself and you pick up things and you look and you research – and it happens.’ Interview by John L. Walters and Simon Esterson. Portrait by Philip Sayer

Friends and colleagues pay tribute to the influential British typographic designer, writer and teacher (and cycling enthusiast), who died in January [EXTRACT]

The ideas and assumptions behind ‘global’ or ‘multi-script type’ raise complex and nuanced issues that have taxed both type designers and graphic designers for years. Current technology and the demands of communication and ‘branding’ have thrown up debates about the creation of readable documents, signs, packages and websites in which two or more different scripts are obliged to coexist. In this article, designers from different corners of the globe discuss some of the concerns and contradictions that inform the making and setting of multiple scripts with Ferdinand P. Ulrich [EXTRACT]

When the Type Archive left its London premises, its vast collection was disbanded and its working Monotype hot-metal plant moved to the National Collections Centre. Two long-serving volunteers talk to Eye about the challenges they faced and how the history of the Archive is now being preserved. Photographs by Philip Sayer