Information

Opinion:
Editorial Eye 46 – Editorial, John L. Walters
This ‘Australian special issue’ of Eye marks the first time that the magazine has chosen…
Songlines – Inspiration, Nick Bell
The Songlines by Bruce Chatwin. Read and appreciated by Nick Bell
Telling the truth? – Monitor, Keith Miller
Does digital technology democratise the photographic image?
Instant content by Rick Poynor
Design is Kinky is a graphic design website that’s high on content, low on critical awareness. It’s a hit!
Features:
Karijini Centre
A visitor centre offers a pathto understanding the outback
Public toilet signage by Lynne Ciochetto
The particular in the universal
Look inward: graphic design in Australia by Rick Poynor
Is Australia’s global cultural impact reflected in its graphic design?
Mambo: good taste is fine for some by Tim Marshall
Mambo is crude, rude and a global brand. Can it remain subversive?
Reg Mombassa by Rick Poynor
Mambo theology
Political clout: Australian posters by Roger Butler
Screenprints gave both activists and artists a means of direct expression
Form follows purpose: Inkahoots by Rick Poynor
Does this Brisbane studio offer a role model for socially concerned design? [EXTRACT]
Douglas Annand by Anne McDonald
Annand’s pavilion for the New York World’s Fair in 1939 was a triumph
Reputations: Stephen Banham by Rick Poynor
‘Helvetica has become the generic default, a safe formula under the guise of Modernism. It’s all smoke and mirrors.’

Details

Linked Information

Eye, Issue 046, Winter 2002
Eye, Issue 046, Winter 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.