Information

Opinion:
Irony is not enough by Rick Poynor
When design’s concerns form the content of an artist’s book, does ‘good design’ matter? Critique by Rick Poynor
Editorial Eye 55 by John L. Walters
The editor summarises the contents of the latest issue of Eye
Copyleft and copyright – Agenda, David M. Berry, Marcus McCallion
Time to examine the debates about the ownership of intellectual property
Features:
Love the Internet
Accessibility, usability, the W3C … are graphic designers finally coming to terms with the Web?
Lost worlds by Val Williams
Vernacular photography. Innocence regained? Or just another kind of fiction?
The Crafty Linotyper by Kerry William Purcell
Made in 1941 for AD magazine, Herbert Matter’s ‘typographic ballet’ is a dreamlike curiosity
The Initial Teaching Alphabet by Jeremy Hall
An idealistic experiment to help children read with an augmented, phonetically consistent alphabet
Security logos by Sean O’Toole
A startling array of incongruous motifs and icons are used by private security companies in South Africa
Truth and distortion
Can caricature ever regain its power to savage and mock the blunderers in high office?
Looking for clues by Rick Poynor
Notebook in hand, Paul Davis works like a journalist, trying to figure out what makes us tick
On the road by Deborah Burnstone
Think Don’t Think – a series of poetic graphical interventions on the zebra crossings of Paris
Reiver records by Henry Miles
Reiver records. Collected by Gordon Young
Reviews”
Manual: A book about hands
Communicate: Independent British Graphic Design since the Sixties
Avant-Garde Graphics 1918-1934
Chris Ware

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Linked Information

Eye, Issue 055, Spring 2005
Eye, Issue 055, Spring 2005
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.