Information

Opinion:
Eurothis and eurothat
Agenda, Robin Kinross
Will the political and monetary union of Europe lead to an increasingly homogeneous graphic design? Or will designers fight for solutions that are local to a country’s culture yet international is resonance?
Features:
Reputations: Barbara Kruger by Karrie Jacobs
Eye talks to the designer turned artist who confronts her audience with the tools of advertising.
After the wall by Michèle-Anne Dauppe
Unlimited horizons? East Berlin design group Grappa come to terms with the new Germany
Astro boy and the sex wars by Liz Farrelly
Curious comics: why the Japanese love their manga
Commercial Surrealist by Steven Heller
Are the pictures of Dallas photographer Geof Kern postmodern retro or authentic art?
Russell Mills: Material and metaphor by Marco Livingstone
Russell Mills was the original punk illustrator. Now he makes images of delicate abstraction.
Oil and water by Eye editors
Two Dutch books take the form of elegant visual essays on liquid themes.
The meaning of money by Michael Horsham
Bank notes change hands without so much as a second glace – a daily act of faith that says much about our belief in their value. Yet these intricate artefacts are complex carriers of meaning. What makes a banknote look like a banknote and how does the global graphic language of money communicate its message?
Reviews:
The Fourth Biennial AIGA National Design Conference
Magazine Design
Design After Dark: The Story of Dance Floor Styles
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Linked Information

Eye, Issue 005, Winter 1991
Eye, Issue 005, Winter 1991
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.