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Opinion:
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Technology, Typography, Agenda, Michèle-Anne Dauppe
Legibility is relative. Is it time we broke the tablets of stone? Agenda by Michèle-Anne Dauppe
Features:
Reputations: Pierre Bernard by Rick Poynor
‘I don’t believe in revolutionary design, but I do believe that reactionary designs exist. It’s always easier to perpetuate the same forms and contents rather than to search out new ones.’ Why Grapus had to disband. Eye talks to founder Pierre Bernard
Paint it black by Klaus Thomas Edelmann
No one ran pictures bigger, cropped them tighter or had a darker vision than Willy Fleckhaus, the art director’s art director
Technology, aesthetics and type by Robin Kinross
With a substantial body of work already completed, Gerard Unger’s designs are entering a new phase.
The academy of deconstructed design by Ellen Lupton
Students and graduates of Cranbrook Academy of Art are producing some of the world’s most challenging graphic design.
Cranbrook in close-up by Ellen Lupton
Projects by David Frej, Katherine McCoy, Edward Fella and Allen Hori
Traces of man by Liz Farrelly
Herbert Spencer’s photographs celebrate accidental design
Identity kit by Eye writers
8vo’s flexible identity for Uden Associates

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Linked Information

Eye, Issue 003, Spring 1991
Eye, Issue 003, Spring 1991
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From the design archive:
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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.