{{ 'fb_in_app_browser_popup.desc' | translate }} {{ 'fb_in_app_browser_popup.copy_link' | translate }}

{{ 'in_app_browser_popup.desc' | translate }}

MENU CART {{currentCart.getItemCount()}}
Eye 109

Eye 109

John L. Walters (ed.)
Eye
2025

NT$1,350
{{shoplineProductReview.avg_score}}( {{shoplineProductReview.total}} {{'product.product_review.reviews' | translate}} )
{{amazonProductReview.avg_rating}}( ({{amazonProductReview.total_comment_count}} {{'product.product_review.reviews' | translate}}) )
Quantity Product set quantity
The maximum quantity per submit is 99999
This quantity is invalid, please enter a valid quantity.
Sold Out

Not enough stock.
Your item was not added to your cart.

Not enough stock.
Please adjust your quantity.

{{'products.quick_cart.out_of_number_hint'| translate}}

{{'product.preorder_limit.hint'| translate}}

Limit {{ product.max_order_quantity }} per order.

Only {{ quantityOfStock }} item(s) left.

Please message the shop owner for order details.

Description

We are all subject to the dominant technologies of our age, consciously or otherwise. The innovative work of Veronika Burian and TypeTogether over the past two decades has thrived through a global network that enables the creative breakthroughs and research that underpin today’s digital type design ecosystem.

Today’s digital foundries regularly adapt and reinvent typefaces made for earlier systems in ways their creators could hardly imagine – see TypeTogether’s extensive new version of Futura, and the display fonts shown in our type review section. In a similar fashion, art director and photographer Harri Peccinotti rejuvenated Windsor wood type to make an era-defining masthead for Nova and titles for the film Alfie. Peccinotti’s work, still startling and visceral, rode the tide of technological advances in colour reproduction and printing, an era evoked by the nostalgic vista Serge Ricco shot in Peccinotti’s Paris studio.

Relentless progress has its downsides. Nigel Ball’s ‘Voice at the table’ addresses the harms of ultra-processed food, its design and branding. Michael Collins’ unsettling, awe-inspiring pictures of nuclear plants also remind us of the debts technology can run up. Some units documented in Collins’ The Nuclear Sublime will endure, decommissioned but dangerous, long into the next century.

By contrast, the practice of Kate Dawkins uses analogue thinking and ingenious tech to make large-scale work that celebrates, informs and delights. Her work is a welcome reminder of design’s power to frame worthwhile content, and to give it graphic form far beyond the printed page and screen.

Additional details

You might also like...