Eye Magazine

A. M. Cassandre

Recent articles about A. M. Cassandre

I am a posterIssue 92, Summer 2016
Feature

	David Crowley, curator of ‘The Poster Remediated’ at the Warsaw International Poster Biennale…
A tradition with breaksIssue 86, Autumn 2013
Feature

	Stencil typefaces – late arrivals on the typographic scene – are going in new directions and…
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…
      
One from the heartIssue 6, Spring 1992
Feature

	Four years ago, Rick Valicenti said goodbye to his corporate clients and set out to reinvent…
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…
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…
Moderne timesIssue 61, Autumn 2006
Feature
Why has France’s influence upon European graphic design been underestimated and neglected?
Early commercial posters [EXTRACT]Issue 54, Winter 2004
Review

                You will not see many designers today borrowing Cappiello’s illustrative method…
      
Beyond the canonIssue 68, Summer 2008
Feature
Introduction to special issue by editor John L. Walters
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…
Mr MistralIssue 79, Spring 2011
Feature
New discoveries about Roger Excoffon’s virtuoso typefaces for Fonderie Olive prompt a fresh look…
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…
Grandiose gaietyIssue 71, Spring 2009
Review

                In comparison to, say, London, Barcelona or Berlin, Paris is often seen as a…
      
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…
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…
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…
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…
Reputations: Roman CieslewiczIssue 9, Summer 1993
Feature
‘Posters are dying out. They need strong themes, which at present they lack. As a form of…
Language unleashedIssue 16, Spring 1995
Feature
Massin’s pioneering book designs of the 1960s used graphic devices to make the spoken word visible…
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…
Permanent innovationIssue 19, Winter 1995
Feature

	With his ‘livre objets’ for the French book clubs, Pierre Faucheux invented a new genre
Editorial Eye 65Issue 65, Autumn 2007
Opinion

Talking about design is not the same as writing about design, and blogging is…
      
A world of shape and flat colourIssue 14, Autumn 1994
Review

	The recent exhibition of Tom Eckersley’s posters was the most comprehensive…
      
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…

Recent blog posts by A. M. Cassandre

Offset 2014: day three

22 April 2014

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 on the main stage, writes Pam Bowman.

Noted #58

14 February 2014

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 the past week or so.

No pressure

15 April 2013

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 a little surprising considering the members who belong to it, writes Tony Brook.

Significant others

12 October 2011

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 Anne-Marie Conway.

Berlin snapshots: Apfel Zet

19 January 2010

‘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 themselves in their ‘ornamented, eclectic, anti-modern approach’.