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	Eye

	Summer 1993

OPINION

Agenda / Education [in full]
What has writing got to do with design?
by Anne Burdick

Monitor / Quest for clarity
by Rick Poynor

FEATURES

Reputations / Interview [in full]
Roman Cieslewicz
by Margo Rouard-Snowman

Archive / Colin MacCabe’s Godard [in full]
Godard: Images, Sounds, Politics.
by uncredited author

Profile / Derek Birdsall [in full]
White space, black hat
by Jeremy Myerson

Overview / Children's books [in full]
Stop making sense
by Veronique Vienne

Portfolio / Islamic graphics [in full]
Prints of Islam
by Rana Salam

Essay [in full]
Cult of the ugly
by Steven Heller

Overview / Video packaging [in full]
Video to go
by Michael Horsham

History / German design [in full]
Max Bittrof: visual engineer
by Friedrich Friedl

REVIEWS

Understanding Hypermedia: From Multimedia to Virtual Reality

Octavo, issues 1-8

The Boundaries of the Postage Stamp

Modernism and Eclecticism

Non-Roman typesetting on the Macintosh

Software/hardware: Modems



		AUTHORSHIP BOOKS, CHILDREN'S CLARITY CONTENT CULT OF THE UGLY DIS-FUNCTIONAL HYPER-MEDIA UGLY VIDEO PACKAGING POSTER ART ARCHIVE CELEBRATE VISUAL CULTURE EYE GRAPHIC DESIGN HISTORY INDEX MONITOR PORTFOLIO REPUTATIONS REVIEW THEORY TYPOGRAPHY Concept index hide concept words

We see the giants of design history as champions of total authorship but ignore the obvious message of their work

Whatever became of the content?

‘Posters are dying out. They need strong themes, which at present they lack. As a form of communication, they belong to another age’

For the first in a new series, Eye revisits Richard Hollis’s innovatory design for a book on the French film-maker

Derek Birdsall has built a successful career on a simple secret. If an idea works, he says, use it again

The best-loved children's stories are for adults too. Five American illustrators push at the boundaries of the book.

In Syria and Beirut, craftsmen make inexpensive devotional images for the workplace and home

Designers used to stand for beauty and order. Now beauty is passé and ugliness is smart. How did we get here and is there any way out?

Video packaging is an area of graphics both marginal and ubiquitous. Who decides how it looks?

In the late 1920s, a commercial exponent of the new Typography applied its tenets to a car company


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