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Opinion:
Editorial Eye 53 by John L. Walters
Every now and then I run into an old acquaintance from my musical past – a…
Written all over the body by Rick Poynor
An ‘encyclopaedia’ of Russian prison tattoos exposes a complex graphic subculture. Critique by Rick Poynor
French library under threat – correspondence, Letter to the editor, Caroline Archer
Letter from Caroline Archer, Director, St Bride Printing Foundation
Unintended accidents – Letter to the editor, Eric Kindel
Art Without Boundaries – Letter to the editor, Philip Thompson
A glimpse of graphic hell – Agenda, Adrian Shaughnessy
Whatever ideological stance they take, designers must at least believe in design
Features:
The holiday of a lifetime by David Evans
In 1936, Herbert Bayer was faced with a difficult brief: promoting the Third Reich
Rubber stamps by Tim Easton
Rubber stamps. Collected and used by Tim Easton.
The steamroller of branding by Nick Bell
Art and culture are open to interpretation. Why must we give them fixed identities?
Brand discipline by Rob Camper
Branding is not design and it is not marketing. Branding is a discipline we have to define
A waking dream by David Thompson
The notion of the brand and its plausible functions have been derailed and abstracted
Reading On Brand by Terry Eagleton
A fresh look at Wally Olins’s highly regarded branding manual, now in paperback
The floating signifier by John O’Reilly
Branding a nation may be just a matter of saying everything there is to say about nothing
Reputations: Cal Schenkel by Dan Nadel
‘They were Frank’s identities, and he controlled them … I was really just satisfying these various concepts.’
Penguin crime by Rick Poynor
Romek Marber’s 1960s paperback identity is a landmark of independent British design
It is what it is by Steven Heller
Scott Stowell’s Open brings innovation, style and plain speaking to broadcast design
Dope cards from Amsterdam by Chris Vermaas
The image of Holland has switched from tulips to hemp in one generation
Reviews:
About Face: Photography and the Death of the Portrait
Saul Bass
Had Gadya: The Only Kid
Guide to Ecstacity
Add. 17469: A Little Dust Whispered
Karel Martens: Counterprint
Plop: Recent Projects of the Public Art Fund
The Fat Baby: stories by Eugene Richards
Afrikan Alphabets: The Story of Writing in Afrika
Bram de Does, Typographer & Type Designer
Motion Blur: Onedotzero: graphic moving imagemakers
I Love my India. Stories for a City
Conscientious Objectives: Designing for an Ethical Message
Shelf Life
Ed Ruscha
Working Title: Piet Gerards, Graphic Designer
S Book Two

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Eye, Issue 053, Autumn 2004
Eye, Issue 053, Autumn 2004
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.