Eye Magazine

29/08/2023

https://bit.ly/EyeTypeTuesdaySV
Book your tickets for Type Tuesday next week!

24/08/2023

Type Tuesday: Sound and Vision St Bride Foundation, Tuesday 5 September 2023 in the Bridewell Hall ...

24/08/2023

Please come to Type Tuesday: Sound and Vision
5 September 7-9.3 St Bride Foundation
https://bit.ly/EyeTypeTuesdaySV

‘Sound and vision’ will explore the world of design for music. We are looking forward to a talk by designer Christopher Wilson (Oberphones), whose Eye 104 article ‘Heavy Rotation’ examines the Album Cover Album series of books, originally edited by designer / illustrator Roger Dean and Hipgnosis co-founder Storm Thorgerson (1944-2013).

Aubrey ‘Po’ Powell, Hipgnosis’ other founder, will be in conversation with me, talking about Squaring the Circle, a full length documentary (directed by Anton Corbijn) that tells the story of Hipgnosis’ design for music.

Type Tuesday: Sound and Vision St Bride Foundation, Tuesday 5 September 2023 in the Bridewell Hall ...

31/05/2023

Please come to Type Tuesday: Cover to cover
Tickets available here: https://bit.ly/TypeTuesdayCoverToCover

03/03/2023

More Type Tuesday guests announced! We will be joined by Patrick Fry of CentreCentre publishing who will be talking about publishing books about curious, unexpected and overlooked collections of art.
Faye Dowling joins us for the panel discussion. Faye is a visual art consultant, curator and editor. She most recently edited The Horror Show! catalogue by Barnbrook for Somerset House

Get your tickets Here:

Type Tuesday: On and off the grid St Bride Foundation, Tuesday 7 March 2023 in the Bridewell Hall 7...

17/02/2023

Please book your tickets for the next at St Bride Library: ‘On and off the grid’ with speaker Sara De Bondt on Tue 7 March 2023, 7-9pm, doors open 6:30pm. Ticket link in bio, above.

05/12/2022

Come to at St Bride Library (6.12.22) to see and hear Richard Ardagh (pictured) of New North Press, Jahnavi Innis and Jim Sutherland.

Ticket link in bio.

Pictures 2, 4-6 from Reverting to Type’. 6 by Sarah Boris at New North Press (see ). 3 shows the New North Press partners.

02/12/2022

Come to at St Bride Library next week (6.12.22) to see and hear Jim Sutherland (pictured), Jahnavi Innis and Richard Ardagh.

Ticket link in bio.

01/12/2022

Come to TypeTuesday next week (6.12.22) to see and hear Jahnavi Innis (pictured), Richard Ardagh and Jim Sutherland.

Ticket link in bio.

24/11/2022

Next at St Bride Library in 6 December is ‘Stories worth telling’, with Jim Sutherland, Jahnavi Innis and Richard Ardagh of New North Press.
Doors open 6:30pm.
Buy bargain back issues of Eye and St Bride merchandise, including printed .
All ticket sales support the St Bride Foundation. Booking link in bio, above.

17/08/2022

Get your tickets for Type Tuesday
https://eyem.ag/GreenTuesday

Join Pureprint’s Richard Owers, Fedrigoni’s Annette Clayton and Eye art director Simon Esterson in an evening of informative presentations and forthright discussions about the importance of doing the sustainable thing in design and print specification. Topics include de-inking, recycling, clients, waste, paper choice, transport, ‘greenwashing’ and the circumstances in which digital design is more (or less) sustainable than print.

12/08/2022

is out. Buy subscriptions and single issues from the Eye shop.

Contents as follows:
Editorial by John L. Walters.
Unfinished business. Scott King’s rallying call for creative freedom takes a satirical swipe at cultural gatekeepers. Critique by Rick Poynor.
In the arms of the cold cold ground: Photographer Robert Gumpert tells the stories of San Francisco’s homeless. By Martin Colyer.
Bound for modernity: Spiral and comb binding have been rehabilitated for aesthetics and practicality. By Simon Esterson.

Reputations: Garry Fabian Miller.
Interview by Grant Gibson.
Icons of oppression.
Belgian graphic design and the colonisation of Congo. By Sara De Bondt.
Noise free.
Tomo Tomo, the Milanese editorial design studio founded by Luca Pitoni and Davide Di Gennaro, aims for clarity and structure. By Paolo Ferrarini.
Battlefield of ideas.
Greg Bunbury’s Black Outdoor Art project plays on our expectations of media space and expression. By Anoushka Khandwala.
Witness.
Lucinda Rogers’ reportage drawings captured the urgent activism and human drama that surrounded Cop26, the 2021 Glasgow climate summit. By John L. Walters.
Captain airbrush.
Illustrator Harry Willock’s role has been overlooked, yet his work with Alan Aldridge produced scores of era-defining works. Mike Dempsey reports.
Time stretched further out: Punkt’s design for David Sylvian’s photobook ERR.

Reviews:
Momentum of Light: Iwan Baan.
CAPS LOCK: How capitalism took hold of graphic design, and how to escape from it
The Last Cuckoo: Dennis Gould
Shoplifters 10: New Type Design Volume 2.
Baseline Shift: Untold Stories of Women in Graphic Design History.
Art & Graphic Design: George Maciunas, Ed Ruscha, Sheila Levrant de Bretteville.
Logo Beginnings.
How to Make Mistakes on Purpose: Bring Chaos to Your Order.
Ed Fella: A Life in Images.
Ghost Signs: A London Story.
Nakajo.
WhiteSpace.
Communicating Knowledge Visually: Will Burtin’s Scientific Approach to Information Design.
The New York Subway Map Debate.

12/08/2022

, the latest edition of Eye magazine, features articles about Garry Fabian Miller, Tomo Tomo, Lucinda Rogers, Black Billboard Art, Harry Willock plus Belgian graphic design and the colonisation of Congo.
There are ‘Front matter’ articles about cover photographer Robert Gumpert, Scott King’s Debrist Manifesto and spiral and comb binding, and fourteen reviews in the Uncoated section.

The cover shows Black British History 1729-1875 by Jahnavi Innis, part of Black Billboard Art.

The issue was printed at Pureprint, supervised by art director and co-owner Simon Esterson, with pre-press by Dawkins Colour and digital photography by John Bodkin. Portrait photography by Jillian Edelstein, Luigi Fiano and the mighty Philip Sayer.

Buy single copies and four-issue subscriptions at ’s Eye Shop.

27/07/2022

‘Witness’ in

Lucinda Rogers’ reportage drawings captured the urgent activism and human drama that surrounded Cop26, the 2021 Glasgow climate summit. By John L. Walters.

Late last year, Lucinda Rogers went to Glasgow in Scotland for Cop26, the international climate change conference and drew all day, every day, for two weeks. From her first impressions of Glasgow railway station … to her elegiac drawings as the whole circus closed down, she captured the mood of a city caught up in the urgency of a global debate.

Though she did not have a pass to go inside the main conference buildings, this was no deterrent to making a vivid record of what Rogers perceived to be a giant but ‘essentially abstract’ event. By acting on her journalistic instincts for a story, following leads from locals, insiders and activists, she set up to draw around the periphery, assembling memorable and pointed images, many of which are featured in Around the edge of COP26, published soon after her return. This slim, saddle-stitched volume summarises her views of the event and the climate emergency in pictures and words; the inside back cover contains an ‘Information and action’ list of resources and campaigning groups that she urges readers to follow up.

Rogers’ drawings were also part of the coverage given to Cop26 by the UK newspaper Financial Times (FT). Kevin Wilson, the paper’s head of design, commissioned Rogers to send drawings from the Scottish city, and her humane, critical appraisals became a vital element of the FT’s online and printed reports.

The pictures show the many characters caught up in the pageant of Cop26 …

Read the full article in Eye no. 103 vol. 26, 2021



Captions. 2. Portrait of Lucinda Rogers by Jillian Edelstein. 3. This drawing appeared on the Financial Times’s op-ed page. 4. A woman wearing a photo of her grandson at a ‘Fridays for Future’ demo. 5. A singer wears The Coat of Hopes, a project initiated by Lewes artist Barbara Keal. 6. A bizarre stand in the sponsors’ tent.

Lucinda Rogers

27/07/2022

‘Battlefield of ideas’ in .

Greg Bunbury’s Black Outdoor Art project plays on our expectations of media space and expression.
By Anoushka Khandwala

In 2014, graphic designer Greg Bunbury posted a graphic to Instagram featuring the words ‘I can’t breathe’ repeated eleven times. The piece was made in homage to Eric Garner, an African American man who had been killed in New York at the hands of NYPD officers on 17 July that year. There was little response in the social media dialect of likes and comments. However, it planted a seed in Bunbury’s mind, and as he produced more work about his social and political stances, it attracted people who shared those values.

This graphic surfaced again in 2020, in the wake of George Floyd’s killing in Minneapolis, when a friend of Bunbury’s from the agency Brotherhood Media asked if they could use the image on their billboards, to stand in solidarity with the Black community. Bunbury initially refused, wary of the ‘virtue-signalling’ that was rampant at the time, but after a long conversation, both friends felt reconciled to each other’s perspectives. Bunbury went home and designed a new poster connecting Garner’s last words to those of George Floyd, which went up on billboards across London. The response was overwhelming and helped Bunbury conceive of a wider initiative, Black Outdoor Art …

Credits 2. Greg Bunbury. 3. Nadina Ali. 4. Harkiran Kalsi. 5. Greg Bunbury. 6. Samuel Mensah.

Read the full article in Eye no. 103 vol. 26, 2021

27/07/2022

‘Captain airbrush’ in .

Illustrator Harry Willock’s role has been overlooked, yet his work with Alan Aldridge produced scores of era-defining works. Mike Dempsey reports.

The evening of 13 October 2008 was unseasonably chilly as a stream of limos purred by the entrance of the Design Museum at its former location in Shad Thames, London. It was the private view of ‘The Man with Kaleidoscope Eyes’ (see Eye 70), a retrospective of the work of Alan Aldridge. Four decades on from the heady days of the 1960s, the designer was almost unrecognisable from the ‘flower power’ character sporting shoulder-length, dyed-blond hair. There were 3D cut-outs and enormous blow-ups of characters from Aldridge’s work, and even two naked models, their bodies adorned with psychedelic illustrations.

Amid the blizzard of colour and celebrity that evening was designer and illustrator Harry Willock. Few who were there knew of him, or the fact that more than 70 per cent of the works on display had been produced by Willock, a man four years Aldridge’s senior, who had spent three decades behind the scenes. The story of Aldridge’s career, or at least the version Aldridge himself carefully maintained throughout his lifetime, has been told all too often. But there is a different picture, painted by a different hand, and this is what is presented here …

Captions.
2. Portrait of Willock by Philip Sayer.
3. Harry’s airbrush. It is a very exacting device and requires a great deal of skill and dexterity to produce the complex, multi-coloured work Harry Willock achieved with Alan Aldridge.

4 and 5. The Beatles Illustrated Lyrics (1969). See Eye 57.

6. Detail from The Lion’s Cavalcade (1980)

7. Gilvrie Misstear, art director at The Sunday Times Magazine would send Willock articles on a range of topics and leave him to come up with ideas, such as this thirsty beer bottle, a small banner heading for a series called ‘ABC Diet and Bodyplan’, ca. 1984.

Read the full article in Eye no. 103 vol. 26, 2021

14/07/2022

‘Noise free’ in .

Tomo Tomo, the Milanese editorial design studio founded by Luca Pitoni and Davide Di Gennaro, aims for clarity and structure. By Paolo Ferrarini.

It is no coincidence that Davide Di Gennaro and Luca Pitoni named their studio Tomo Tomo, which in Italian literally means ‘book book’.

The two graphic designers met at the Politecnico di Milano and, after substantial independent careers, decided to begin a shared endeavour. The studio focuses on editorial work for magazines and large-circulation newspapers as well as independent projects, books and communication, always with a keen eye on the cultural sector. We meet at their office, located in a small apartment in the heart of Milan, overlooking a quiet, inviting courtyard. The rooms are light and thoughtfully laid out at angles, providing space for the piles of books and magazines awaiting a shelf with an orderliness that manages to make peace with the hubbub.

The conversation begins by leafing through and talking about one of the studio’s first projects, a sophisticated bi-monthly travel magazine published by Iperborea called The Passenger …

Read the full article in Eye no. 103 vol. 26, 2021

Captions

2. Luca Pitoni and Davide Di Gennaro. Portrait by Luigi Fiano

3. The 2021 redesign of Il Sole 24 Ore was one of Tomo Tomo’s largest and most complex projects. Tomo Tomo’s editorial design uses Sole Serif, designed by C.A.S.T. Foundry’.

4 and 5. Designs for Emilia Romagna Teatro Fondazione (ERT), a theatre company active in five cities: Bologna, Modena, Cesena, Vignola and Castelfranco Emilia.

6. Publication for Respect. Stop Violence Against Women. The book and resulting exhibition are divided into three parts: ‘Rspct’ (‘Respect’), ‘Bd’I’ (‘Bellezze d’Italia’) and ‘Adm’ (‘Atlante della Misoginia’).

7. Terremoto [Earthquake].

14/07/2022

Sara De Bondt’s article ‘Icons of oppression’ in .

Belgian graphic design and the colonisation of Congo.

On 30 June 2020, the statue of King Leopold II was removed from the Zuidpark in Ghent. A few weeks earlier, other statues were vandalised or removed in Brussels and Antwerp. In recent years, the Belgian colonisation of Congo has once again come under the spotlight. Today, this decolonising movement is accelerating as part of a global reassessment of the continuing impact of colonialism.

Decolonisation is also increasingly being discussed in graphic design. In 1998 Sylvia Harris wrote: ‘Black designers are working at a disadvantage when they do not feel a kinship with existing design traditions.’

More recent initiatives point to the considerable work that still needs to be done – think of Silas Munro’s online lecture series ‘BIPOC Design History’; the platform Decolonising Design by Danah Abdulla, Ahmed Ansari and others; the online Decolonizing Design Reader by Ramon Tejada; or the exhibition ‘As, Not For: Dethroning Our Absolutes’ by Jerome Harris (see ). So it was essential that the subject should be included in the overview of Belgian design history of which this essay is part. (Off the Grid, Histories of Belgian graphic design, Occasional Papers, 2022.)

Captions

2. Poster for Colonial Days, 1924, courtesy KMMA. Joseph van den Bergh’s duotone poster.

3. Colonial Lottery advertising, Brussels, ca. 1936. Courtesy Collection Loterijmuseum.

4. Poster for Mme Sabine radio programme, Radio Congo Belge, 1958, courtesy KMMA. Designed by A. Noiret.

5. ‘The leopard is dangerous – so is your machine.’ Safety poster designed by Victor Wallenda (Brother Marc-Stanislas), 1951. Courtesy KMMA.

6. Typesetter with composing stick, working for Le Courrier d’Afrique, 1956. Photo by J. Costa. Courtesy KMMA.

Read the full article in Eye no. 103 vol. 26, 2021

14/07/2022

Uncoated pages in : fourteen reviews
+
‘Time stretched further out’, a
‘We made this’ feature about David Sylvian’s photobook ERR, designed by Giles Dunn.

Reviews
Momentum of Light (Lars Müller), by Iwan Baan with Francis Kéré.

CAPS LOCK: How capitalism took hold of graphic design, and how to escape from it (Valiz) by Ruben Pater, reviewed by Peter Buwert.

The Last Cuckoo: Dennis Gould. Directed and produced by Mark Chaudoir. Reviewed by Mark Sinclair.

Shoplifters 10: New Type Design Volume 2. Designed by Actual Source. Reviewed by Paul McNeil.

Baseline Shift: Untold Stories of Women in Graphic Design History. Edited and designed by Briar Levit. Princeton Architectural Press.
Reviewed by Gabriela Matuszyk.

Art & Graphic Design: George Maciunas, Ed Ruscha, Sheila Levrant de Bretteville. By Benoît Buquet. Yale University Press. Reviewed by Rick Poynor.

Logo Beginnings (Taschen). Designed and edited by Jens Müller, reviewed by Jim Sutherland.

How to Make Mistakes on Purpose: Bring Chaos to Your Order. Written and illustrated by Laurie Rosenwald. Hachette Go.
Reviewed by Ian Wright.

Ed Fella: A Life in Images. Edited by David Cabianca, with introduction by Katherine McCoy, visual essay by Ed Fella with Andrea Fella, and essays by Lorraine Wild, Rick Poynor, David Cabianca. Unit Editions. Reviewed by Chris Murphy.

Ghost Signs: A London Story. By Sam Roberts and Roy Reed, designed by Eve Izaak. Isola Press. Reviewed by Justin Burns.

Nakajo. Designed by Kazunari Hattori and Yukata Sato. ADP, hardback. Reviewed by John Warwicker.

WhiteSpace. By April Greiman. Design schematic by Laurie Haycock Makela. Published by April Greiman. Reviewed by Kathleen and Christopher Sleboda.

Communicating Knowledge Visually: Will Burtin’s Scientific Approach to Information Design by R. Roger Re*****on and Sheila Pontis. Designed by Bruce Ian Meader. RIT Press.
+
The New York Subway Map Debate by Gary Hustwit and Standards Manual, designed by Order.
Both books reviewed by Simon Esterson.

24/06/2022

Buy your tickets for ‘Book night!’ – Eye’s next Type Tuesday – and help raise money for St Bride

Eye’s first ‘Book night!’ – the next Type Tuesday on 28 June 2022 – brings together designers, art directors, authors, artists and readers with presentations by Giles Dunn, Sonya Dyakova, Hugh Miller and Jim Sutherland, and a panel in which the speakers (plus special surprise guests) talk about their favourite books. There will be a bar and a chance to buy the latest issue – Eye 103 – along with some bargain back issues.

Graphic designer Jim Sutherland will be talking about his ongoing collaboration with artist Marcus Lyon in the ‘Human Atlas’ project, which has so far focused on people in Brazil, Germany, Detroit and Silicon Valley, combining exemplary book production with photography, DNA analysis, geography and music – iDetroit involved Techno pioneer Derrick May and Brian Eno. See Simon Esterson’s profile of Jim Sutherland in Eye 101.

Art director Giles Dunn will talk about the design process and visual strategies behind ERR (see also ‘Time stretched further out’ in Eye 103), a photobook by cult musician David Sylvian. Dunn’s studio Punkt specialises in meticulously designed and produced books that feature the work of artists such as Jean-Michel Basquiat, Richard Prince and KAWS.

Tuesday evening’s event, from 7 to 9.30pm, will be hosted by book designer David Pearson (see ‘Inside out’ in Eye 77) and Eye editor John L. Walters. All profits go to the St Bride Foundation, and tickets cost £12.50 / £10 / £8.

David’s chosen book is World Cup ’78, designed by the great W***y Fleckhaus (see ‘Paint it black’ in Eye vol. 1 no. 3).

24/06/2022

Buy your tickets for ‘Book night!’ – Eye’s next Type Tuesday – and help raise money for St Bride

Tuesday evening’s event, from 7 to 9.30pm, will be hosted by book designer David Pearson (see ‘Inside out’ in Eye 77) and Eye editor John L. Walters. All profits go to the St Bride Foundation, and tickets cost £12.50 / £10 / £8.

David’s chosen book is World Cup ’78, designed by the great W***y Fleckhaus (see ‘Paint it black’ in Eye vol. 1 no. 3).

For more about the St Bride Foundation, visit the SBF site, or read some of the archive articles on the Eye site, such as ‘Why we ❤️ St Bride’ on the blog and ‘New bottle old wine’ in Eye 98.

Eye has had a long association with St Bride; in 2019 editor John Walters collaborated with illustrator Tom Gauld to produce this fundraising poster about the institution.

Eye’s first ‘Book night!’ – the next Type Tuesday on 28 June 2022 – brings together designers, art directors, authors, artists and readers with presentations by Giles Dunn, Sonya Dyakova, Hugh Miller and Jim Sutherland, and a panel in which the speakers (plus special surprise guests) talk about their favourite books. There will be a bar and a chance to buy the latest issue – Eye 103 – along with some bargain back issues.

22/06/2022

Speakers Announced for Book night!
Tickets here: https://eyem.ag/EyeBookNight01
Giles Dunn on the book design for ERR for David Sylvian and other artist's books.
Hugh Miller, London based designer and creative director.
Jim Sutherland on his Human Atlas book production in collaboration with artist Marcus Lyon.
Sonya Dyakova, international art director producing books for art galleries, fashion brands and architects.

Clockwise from top left: Jim Sutherland, Sonya Dyakova, Giles Dunn, Hugh Miller

04/03/2022

Reposted from , where the St. Bride Foundation Workshop welcomed St Bride Chapel to design and print anti-war posters, using its unique collection of wood type.
Here’s one of the posters in progress. We

Come to next week’s , ‘Activists in Ink’ to see (and buy) the finished posters

01/03/2022

01/03/2022

writes:
I’ll be talking about my drawings next Tuesday 8 March 7pm in London EC4, an Eye magazine] Type Tuesday event. Tickets from St Bride’s bio (and Eye magazine] stories)

25/02/2022

Buy tickets for ‘Activists in Ink’, the next on 8 March at St Bride Printing Library, 14 Bride Lane, London EC4Y 8EQ.

Eye’s first in-person Type Tuesday since March 2020 will feature reportage illustrator Lucinda Rogers; graphic designer Greg Bunbury; and poet, activist and letterpress artist Dennis Gould, with a rare screening of The Last Cuckoo, a short film about Gould.

We will begin the evening with a presentation from Lucinda Rogers on her reportage drawings from COP26 in Glasgow. She recently published *Around the edge of COP26*, a publication documenting the activists, delegates, panels, speeches and protests at the summit. Lucinda will be joined by Kevin Wilson, editorial creative director of the FT, to discuss the use of reportage illustration in news journalism.

After Lucinda, there will be a presentation by graphic designer Greg Bunbury, who founded the Black Outdoor Art project (in partnership with outdoor agency Brotherhood Media), which uses donated billboard space as a platform for other Black British designers. Greg will also talk about his type designs (including the all-caps display typefaces Empire Windrush and Bradford ’81) and his work for cultural and community focused clients.

The Last Cuckoo: Dennis Gould, by British filmmaker and designer Mark Chaudoir, is an intimate portrait of poet and printmaker Dennis Gould, capturing his love for activism, letterpress, wood type, cycling, football and life in general – it’s a highly enjoyable film, and Mark and Dennis will be on hand to chat about it.

Copies of Around the edge of COP26 and a selection of Dennis Gould’s letterpress works – plus current and bargain back issues of Eye – will be available for sale in the Farringdon Room next to Bridewell Hall. There will also be a small bar where you can buy beers, wines and soft drinks.

Tickets going fast, via link in Instagram bio.

24/12/2021

is out. Buy subscriptions and single issues from the Eye shop.

Contents as follows:

Editorial

‘Rebalancing the design canon’
Elizabeth Resnick looks at the practitioners and educators intent on revising our understanding of women’s roles in design history.

‘Experiments in destabilisation’
A CalArts book celebrates decades of purposeful graphic weirdness. Critique by Rick Poynor

‘Reputations: Thomas Huot-Marchand’
Interview by Véronique Marrier
‘It is not a question of revisiting a typographic style, but of questioning the means of creating typefaces, of establishing a new formal logic by pushing certain parameters to their maximum.’

‘The Nebiolo legacy’
Though Italy’s most renowned type foundry closed its doors more than four decades ago, its influence endures. By the Nebiolo History Project

‘Global type tour’
‘Typographics 21’ was a ten-session, online journey that covered type and lettering from around the world – but with the explicit exclusion of Europe and North America. By Montserrat Miranda Ayejes, Stephen Banham, Anoushka Khandwala, Indra Kupferschmid, Gerry Leonidas, Saki Mafundikwa, Ferdinand P. Ulrich and Elena Veguillas

‘In the right hands’
The work of Barcelona type designer Laura Meseguer is a beguiling alchemy of hand- lettering and digital craft. Profile by Jan Middendorp

‘The name’s Caroff. Joe Caroff’
Thilo von Debschitz profiles a man who designed some of the best known movie identities of the past six decades.

‘Design for a better world’
Indian design duo November balances commercial practice with a commitment to social change. By John L. Walters

Reviews
‘Tokyo 1964: Designing Tomorrow’
Gotico-Antiqua, Proto-Roman
A History of Arab Graphic Design
Design in Crisis
E. McKnight Kauffer: The Artist in Advertising
Extra Bold: A Feminist, Inclusive, Anti-racist, Nonbinary Field Guide for Graphic Designers
Lockdown FM
One and Many Mirrors
Natural Enemies of Books
Kris Sowersby: The Art of Letters
Gerard Unger, Life in Letters
Tom Eckersley
The Design of Race
Signwriting Tips, Tricks and Inspiration
XX: A Novel, Graphic

24/12/2021

, the latest type special, features Thomas Huot-Marchand, Laura Meseguer, November, ‘Typographics 21’, the Nebiolo Project and 007 logo designer Joe Caroff, plus Front Matter articles by Elizabeth Resnick and Rick Poynor and fifteen reviews.

As usual, the issue was printed at Pureprint under the watchful eye of Eye art director (and co-owner) Simon Esterson.

The colourful cover is the result of a ‘split-duct’ technique that uses four specials for two different covers, mixed live during the print run. It’s a kind of analogue version of the variable data cover for .

Front cover typefaces.
Top: Album Sans and Minuscule 2, (Thomas Huot-Marchand) and Stop (Aldo Novarese).
Middle: Qandus Latin (Laura Meseguer) and a Tamil character from November’s logo for
theatre group Kattiyakkari.
Bottom: Garaje (Thomas Huot-Marchand) and Sisters (Laura Meseguer).

Back cover:
Microgramma metal type designed by Alessandro Butti, 1952.
View of the Nebiolo foundry in Turin, ca. 1928.
Spread from Kris Sowersby: The Art of Letters, 2021.

Buy single copies and four-issue subscriptions at ’s Eye Shop.

24/12/2021

Reputations: Thomas Huot-Marchand in

‘It is not a question of revisiting a typographic style, but of questioning the means of creating typefaces, of establishing a new formal logic by pushing certain parameters to their maximum.’
By Véronique Marrier. Translated by Deborah Burnstone.

Thomas Huot-Marchand (b. 1977) graduated from the Institut Supérieur des Beaux-Arts de Besançon [ISBA] in 2001 and continued his postgraduate training at the ANRT (Atelier National de Recherche Typographique), where he designed Minuscule. … He published Minérale in 2017-18, then Garaje in 2020. … His typefaces are distributed by the Lyon-based foundry 205TF.

Véronique Marrier: How did you find out about typography?

Thomas Huot-Marchand: At art school in Besançon, where I studied, it immediately fascinated me. Looking back, I can see that I liked it even before – in the world of skateboarding and graffiti – but I had no idea what lay behind it. During my studies, I started teaching myself to draw typefaces. One of my teachers, Claude-Laurent François, used to talk humorously about ‘garage owners’ lettering’ to describe vernacular inscriptions, and I ended up making that the subject of my degree project. This was (already) Garaje. …

It is the narrative dimension of typographic design that interests me. I love literature and I like to believe that with typefaces I, too, tell stories, on the surface of words.

Read the full article in Eye no. 102 vol. 26

Captions:

2. Portrait by Nicolas Waltefaugle.

3. Minuscule, designed for extremely small sizes, 2007. In Minuscule 2, the primary elements of each character are exaggerated.

4. Samaritaine, custom type designed by Huot-Marchand for the legendary department store in Paris. Identity design by Les Ateliers Saint-Lazare, 2021. Art Direction: Reynald Philippe.

5. Detail of silkscreened poster, 2014, for Scène nationale de Besançon, also known as ‘Les 2 Scènes’. The logotype is set in Garaje and Mononi Mono. The screens were mixed during printing.

6. Different 30° instances of Roman, to be released in 2022.