Eye Magazine | Designer | A. M. Cassandre

A. M. Cassandre

Recent articles about A. M. Cassandre

Bound for modernityIssue 103, Summer 2022
Opinion

                                            Spiral and comb binding have been rehabilitated for aesthetics and practicality. By Simon Esterson [EXTRACT]            
I am a posterIssue 92, Summer 2016
Feature

                                            
	David Crowley, curator of ‘The Poster Remediated’ at the Warsaw International Poster Biennale, examines some of the relationships that exist between posters and the human body            
A tradition with breaksIssue 86, Autumn 2013
Feature

                                            
	Stencil typefaces – late arrivals on the typographic scene – are going in new directions and rediscovering their history.            
Some kind of joke?Issue 10, Autumn 1993
Opinion

                                            
	Letter from Jeffrey Keedy in Eye 10            
Pages from the library of librariesIssue 84, Autumn 2012
Review

                                                Graphic design, devoted as it is to re-framing text and image, thrives as an object…                        
Hergé’s adventures in the world of graphicsIssue 69, Autumn 2008
Review

                                                I frequently have lunch at a Belgian café in New York called Le Petite Abeille (the…                        
Modern methodIssue 79, Spring 2011
Feature

                                            
	As the Design Museum launches a retrospective of Wim Crouwel’s work, Kerry William Purcell interviews the Total Design (TD) co-founder.            
The designer as programmerIssue 43, Spring 2002
Review

                                                ‘Swiss’ is still a style. In the crudest terms, the style was, and is, Helvetica…                        
Reputations: Alex SteinweissIssue 76, Summer 2010
Feature

                                            
	‘I got this idea that the way they were selling these albums was ridiculous. The covers were just brown, tan or green paper. I said, “Who the hell’s going to buy this stuff? There’s no push to it. There’s no attractiveness. There’s no sales appeal.” So I told them I’d like to start designing covers.’            
Grandiose gaietyIssue 71, Spring 2009
Review

                                                In comparison to, say, London, Barcelona or Berlin, Paris is often seen as a ‘museum…                        
Moderne timesIssue 61, Autumn 2006
Feature

                                            Why has France’s influence upon European graphic design been underestimated and neglected?            
Beyond the canonIssue 68, Summer 2008
Feature

                                            Introduction to special issue by editor John L. Walters            
Early commercial posters [EXTRACT]Issue 54, Winter 2004
Review

                                                You will not see many designers today borrowing Cappiello’s illustrative method because, unlike Constructivism or the…                        
Googling the design canonIssue 68, Summer 2008
Feature

                                            
	In the late 1980s, US designer and historian Martha Scotford set out on a mission to discover what might constitute a canon of graphic design …            
Mr MistralIssue 79, Spring 2011
Feature

                                            New discoveries about Roger Excoffon’s virtuoso typefaces for Fonderie Olive prompt a fresh look at the legacy of this dynamic designer and the foundry itself.             
Through thick and thin: fashion and typeIssue 65, Autumn 2007
Feature

                                            
	Fashion’s obsessions are mirrored in its typography, from Vogue’s femme serifs to butch Chanel and the hybrid YSL logo            
Design is advertising #1: The whispering intruderIssue 29, Autumn 1998
Feature

                                            
	Advertising soaks into everything. It has become the texture of contemporary life. Graphic design has played a central part in this process. But does it have a viable role of its own?            
Reputations: George LoisIssue 29, Autumn 1998
Feature

                                            
	‘You can’t research a big idea. The only ideas that truly research well are mediocre ideas. In research, great ideas are always suspect.’            
Building a graphic languageIssue 28, Summer 1998
Feature

                                            
	From the 1930s to the 1960s, The Architectural Review's eclectic methods made it a landmark in magazine design            
Reputations: Jean WidmerIssue 34, Winter 1999
Feature

                                            
	‘Signage reflects both the complexity of space and the way a place is organised. And it is very satisfying’            
Language unleashedIssue 16, Spring 1995
Feature

                                            Massin’s pioneering book designs of the 1960s used graphic devices to make the spoken word visible and enhance the text’s meaning            
The meanings of typeIssue 50, Winter 2003
Feature

                                            The back-stories, informed by trends, cults, philosophies and nationhood            
Reputations: Alexander LibermanIssue 10, Autumn 1993
Feature

                                            
	‘I think the term “art director” is the greatest misnomer. There’s no art in magazines unless you are reproducing works of art.’            
Reputations: Roman CieslewiczIssue 9, Summer 1993
Feature

                                            ‘Posters are dying out. They need strong themes, which at present they lack. As a form of communication, they belong to another age’            
Editorial Eye 65Issue 65, Autumn 2007
Opinion

                                                                            Talking about design is not the same as writing about design, and blogging is somewhere in…            
Permanent innovationIssue 19, Winter 1995
Feature

                                            
	With his ‘livre objets’ for the French book clubs, Pierre Faucheux invented a new genre            
A world of shape and flat colourIssue 14, Autumn 1994
Review

                                                The recent exhibition of Tom Eckersley’s posters was the most comprehensive retrospective of his contribution…                        
Have you ever really looked at this poster?Issue 13, Summer 1994
Opinion

                                            
	A critical design history should explore the relationship of form, content and production, argues the author of a new concise history.            
One from the heartIssue 6, Spring 1992
Feature

                                            
	Four years ago, Rick Valicenti said goodbye to his corporate clients and set out to reinvent himself. Now his company, Thirst, makes art with a function.            

Recent blog posts about A. M. Cassandre

Offset 2014: day three

22 April 2014
Design history, Graphic design, Illustration

Aisling Farinella, Adrian Shaughnessy, I Love Dust, Jon Burgerman, Richard Turley, Marian Bantjes, Jeff Greenspan and Chris Judge. Pam Bowman concludes her coverage of the Dublin Offset conference

The third and final day of the Offset conference began with Dublin-based stylist Aisling Farinella…

Noted #58

14 February 2014
Graphic design, Illustration, Visual culture

Postcards from the Letterform Archive; Ronan Guillou’s ‘This is Not a Map’ of Las Vegas; No Fixed Format: The Sochi Project; Serco Illustration Prize; Marian Bantjes’ Valentine

Here are a few links to sites, exhibitions and objects that grabbed our attention over…

No pressure

15 April 2013
Design history, Graphic design, Illustration

A glimpse at the ethos behind Alliance Graphique Internationale and the upcoming AGI Open London 2013

The public profile of the Alliance Graphique Internationale (AGI) is not especially high, which is…

Significant others

12 October 2011
Book design, Design history, Graphic design, Illustration, Magazines, Music design, Reviews, Typography

Steven Heller invites designers to come clean about their graphic passions

Steven Heller loves design, but he’s quick to admit it’s ‘not a monogamous relationship’, writes…

Berlin snapshots: Apfel Zet

19 January 2010
Graphic design, Posters, Visual culture

‘We find new stimuli on our wanderings through the city’

Next up in our ‘Berlin snapshots’ series is Apfel Zet, a design studio who pride…