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Opinion: Green’s grey zones, Agenda, James Woudhuysen
It has always been the duty of graphic designers to challenge conventional wisdom. Designers have…
Features:
Reputations: Alan Fletcher by Rick Poynor
An interview with Pentagram’s ringmaster of paradox.
Maps and dreams by Rick Poynor
No printing method is too basic for Jake Tilson. Created with photocopiers, his books, magazines and objects are crammed with offbeat inventions.
Wheels of fortune by William Owen
Fortune magazine was a visual encyclopedia of American business life
Temple of type by Robin Kinross
St Bride Library is one of the world’s best sources of information about type design and typography. Now it is under threat
Signals in the street by Yvonne Schwemer-Scheddin
Poster design is an instantaneous art. Eye looks at prize-winners from “Typography Germany ’90”
The designer unmasked by Gerard Forde
Jan van Toorn has turned graphic agitation into a fine art. Profile by Gerald Forde
Reviews: Design: Vignelli

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Eye, Issue 002, Winter 1990
Eye, Issue 002, Winter 1990
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

Rudolph de Harak designed over 50 record covers for Westminster Records as well as designing covers for Columbia, Oxford and Circle record labels. His bright, geometric graphics can easily be distinguished and recognised.

Members Content

The typographic designs produced for the National Theatre by Ken Briggs are not only iconic and depict the Swiss typographic style of the time, but remain a key example of the creation of a cohesive brand style.

Members Content

I first came across Kens work in the Unit Edition’s superb monograph, Structure and Substance, published in 2012. Although I had owned a few of the British industrial design magazines, Design, for a few years before, in which Ken had designed numerous covers for.
In the ambitious new monograph Rational Simplicity: Rudolph de Harak, Graphic Designer, Volume shines a light on the complete arc of the exceptionally rich and varied career of Rudolph de Harak, showcasing his vibrant, graphic, formally brilliant work, which blazed a colourful trail through the middle decades of the twentieth century.