Information

Opinion:
What did you do in the design studio today, daddy? – Design education, Graphic design, Visual culture, Agenda, Abbott Miller
Graphic designers are convinced of the profession’s importance. Now they have to convince everyone else
The myth of real time – Screen, Jessica Helfand
In her first report, Eye’s new media columnist asks why, when it comes to time, we equate ‘real’ with ‘fast’
Features:
Reputations: Dan Fern by Rick Poynor
‘A lot of illustration sits very awkwardly alongside the contemporary digital typography scene. It can look naive, almost folksy’
Penguin science fiction covers by uncredited author
David Pelham’s covers for Penguin’s science fiction titles gave a frowned-upon genre a strong literary presence
The portable art space by Anne Burdick
Designers who collaborate with artists and curators on catalogues must negotiate a complicated web of interests
Play-centre of the avant-garde by Christian Küsters
At the Institute of Contemporary Arts in London, design reflects a developing sense of identity and purpose
Type fashion fusion by Julia Thrift
A stylist, a photographer and a typographer celebrate the look and feel of exceptional clothes
Dumb by Will Novosedlik
Are designers who proclaim the end of print turning their backs on design’s critical purpose and cultural role?
This signifier is loaded by Rick Poynor
Zurich designer Cornel Windlin is a fluent graphic stylist and a playful manipulator of communication codes
Big ideas that built America by Steven Heller
In the 1950s and 1960s, American art directors led a creative revolution. Thier secret weapon was the Big Idea
Page creation minus the fuss by Nico Macdonald
Web editors are the hot property of the moment, but which ones make the best long-term investment?

Details

Linked Information

Eye, Issue 022, Autumn 1996
Eye, Issue 022, Autumn 1996
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.