Enhanced descriptions from Syndetics:

Imagine the work of a young designer for whom concept and humor are more important than the glossy aesthetics of mainstream periodicals and design annuals and for whom the message trumps the media, and you begin to get an idea ofthe refreshingly smart and thought-provoking work of Daniel Eatock. Rejecting the widely held opinion that work madewithout a client is "art" and work for hire is "design," Eatock challenges both categories by purposely blurring the distinction. Whether he is solving client problems or those of his own choosing, Eatock's work responds to personal fascinations and the desire to invent, discover, and present.

His commissioned works for clients include an exhibition catalog featuring sound chips, a flip book, handwritten notes, and a cover wrapped in the upholstery fabric used on London transit seating, as well as the graphic identity of the UK'sBig Brother reality-TV series, among many others. Eatock's idea of "entrepreneurial authorship" has resulted in numerous self-published limited-edition works such as an edition of prints made using every color of Pantone's felt-tip pens and hisUntitled Beatles Poster, which includes the lyrics from every Beatles song. Eatock's most personal self-initiated artworks share an unabashed enthusiasm for punch lines, miscommunication, and seriality: there's the search for a stone that weighs exactly one stone; a perfectly hand-drawn circle, the world's largest signed and numbered limited-edition artwork, utilitarian greeting cards, price label wrapping paper, car alarm dances, and a fruit bowl stickered with fruit labels.

The first monograph on this unconventional practitioner,Daniel Eatock Imprint is as unconventional as the artist himself. While utilizing and embracing the expectations of a traditional monograph, the London-based designer also challenges and subverts them, presenting works based on connections and associations through color, composition, titles, material, and format rather than in chronological or hierarchical order. Constantly oscillating between art and graphic design, this book is full of Eatock's astute observations and eccentric obsessions.

Reviews provided by Syndetics

Library Journal Review

Turning the pages of this catalog of graphic work and photographs is like trying to make sense out of the stream of caffeine-induced blather that resounds throughout art school hallways. But it may well be worth the effort to grasp the visual jokes and puns endlessly scattered about these pages. Eatock takes seemingly mundane photographs constantly, the way other artists sketch out the ideas that tumble into consciousness; many of the photos are the kind of random, incongruous, or bizarre street situations that we all pass unheedingly every day. Eatock is fascinated with goofy signage, garbage, the holes pigeons peck out of bread, sidewalk stencils, and the possibility that malfunctioning car alarms are really raves waiting for ravers. Scattered through all this are some more formal graphic projects like logotypes and corporate symbols. Along with the skimpy, interview-style text, the imagery is a good portrait of a hot young designer teetering on the line between smart and smart-ass. Get it now while he's still hot. Best for art libraries.-David McClelland, Philadelphia (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.