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Features:
Reputations: Malcolm Garrett by Rick Poynor
‘I figure it’s my job to be this kind of blinkered believer. You know: I am the new futurist, I will live in the technological world.’
Frank Zappa and the Mothers of Invention by Eye writers
The maverick composer’s album covers, by assorted hands, were provocative examples of rock art
P. Scott Makela is wired by Michael Rock
Does Minneapolis-based Makela’s electro-futurism embody the end of the 1980s or a new avant-garde?
We are a camera by Philippe Garner
The Douglas Brothers would much rather see their photographs in a magazine than on a gallery wall
Experiments in publishing by Nick Wadley
Stefan and Franciszka Themerson’s Gaberbocchus Press was founded on the conviction that all the books they conceived together, wrote, designed and published should be “best-lookers.”
The game of art by Koosje Sierman
Graphic design was just one of the tools Karel Teige used to advance his vision of a new Czech society
Small, mobile, intelligent units by Liz Farrelly
Eye talks to young French designers who reject the atelier system and prefer to go it alone
The education of Young Design by Edward McDonald
Reviews:
Graphic Agitation: Social and Political graphics Since the Sixties

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Linked Information

Eye, Issue 012, Spring 1994
Eye, Issue 012, Spring 1994
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.