Information

Opinion:
Editorial Eye 48 – John L. Walters
There are times when graphic design seems stuck in what Lorraine Wild called the Great Tao…
Cooper Black – Devotion, Armin Vit
Armin Vit admires the Cooper Black typeface
Getting it – correspondence, Letter to the editor,
Letter from Tracy J. Forman, General Manager, Arkitip
The design is the product – Letter to the editor, Todd St. John
The problem we share – Letter to the editor, Michael Johnson
Fetish and fantasy – Letter to the editor, Quentin Newark
Dismissal or criticism? – Letter to the editor, Christopher Wilson
A refreshing shock to the system – Monitor, Alice Twemlow
Jean Widmer, A Devotion to Modernism: Itinerary of a Designer from Zurich to Paris
Luxurious frugality by Rick Poynor
An in-flight magazine for bored bourgeois bohemians. Critique by Rick Poynor
Features:
826 Valencia by David Thompson
Chris Ware’s new mural tells the story of the human race
Protest banners by Jason Grant
Hand-made signs from an anti-war demo
Bring me the head of Nelson Mandela by Sean O’Toole
Activist; fugitive; prisoner; icon: the evolving face of a famous name
In any colour so long as it’s white by Daoud Sarhandi
Why does Mexican advertising look nothing like the Mexicans?
Punch cuts by Nick Shinn
The type and layout of a Victorian weekly anticipated Modernism
Retro-sexism by Judith Williamson
The bleak reality of sexism, however 1970s, or ‘cool’, demands a critique
Vector sex by Eye writers
Tracing the line from art for dummies to design for sexists
In my honey’s loving arms by Daniel Nadel
R. Crumb’s portraits reveal a tender side to the self-confessed misogynist
Reputations: David King by Christopher Wilson
‘You develop a visual style as you would a handwriting one … The content is what you concentrate on’
Reviews:
The New Typography: An Interdisciplinary Symposium

Details

Linked Information

Eye, Issue 048, Summer 2003
Eye, Issue 048, Summer 2003
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.