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Opinion:
Porn? by Rick Poynor
Can sexual image-making escape the stigma of porn? Critique by Rick Poynor
Editorial Eye 45 by John L. Walters
Though Eye 45 began its life as a ‘typography special’, we thought it fairer –…
Agenda
Jesus Ali
A list of four ‘don’ts’ for young designers
Features:
Air-sickness bags by Daniel Nadel
Air-sickness bags. Collected and appreciated by Helene Silverman (as told to Dan Nadel).
Postcard backs by Martin Soames
The normally ignored verso of the common postcard is put under the spotlight
Smartest letterer on the planet by Steven Heller
Chicago’s comic book hero has a finely tuned gift for hand-lettering
A cast of thousands by Phil Baines
The future of type design
The ABCs of J-FP by Petra Černe Oven
A passion for classic typefaces drives Porchez’s innovative fonts
A designer and a one-man band by Rick Poynor
Cranbrook’s song and dance man goes back to college with a bang
File under Archis by Stuart Bailey
A perverse assembly of borrowed layouts redefines this magazine
Visual cleaning in Athens by Minos Zarifopoulos
An ‘urban facelift’ challenges the Greek city’s visual mosaic
Reputations: J. Abbott Miller by John L. Walters
‘We could be more aware of the civility of design, of how it can be constructive in a poetic sense, not just like a sneeze of capitalist excess’
A Flock of Words by Deborah Burnstone
Typography meets sculpture on a windy English seafront
Milton Glaser meets Massin by Jeanne Verdoux
Encounter of two giants
Reviews:
TypoGraphic Writing

Details

Linked Information

Eye, Issue 045, Autumn 2002
Eye, Issue 045, Autumn 2002
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.