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Opinion
The mote in our own eye – Letter from Matt Dawson
The riddle of the spine – Letter from John Hubbard
Factory production lines – Letter from Rod Clark
Double decode – Letter from Johannes Bergerhausen
Dancing and demolition in old Beijing by Steve Rigley
The destruction of ancient Chinese alleyways undermines the Olympic ideals of harmony and progress In…
Another way to draw the line by Jamie Hobson
As long as design education maintains its focus on a narrow, aesthetics-based curriculum, it cannot…
Body of work – Wellcome Collection, Rick Poynor
Extraordinary content and sensitive design establishes the Wellcome Collection as one of London’s essential museum stops
Features:
South Bank show by Robin Kinross
The Royal Festival hall has regained the thoroughly English lettering of its origins in the Festival of Britain – on one side only
No strings attached by Clare Walters
A random collection of discarded labels reveals traces of past journeys
Through thick and thin: fashion and type by Abbott Miller
Fashion’s obsessions are mirrored in its typography, from Vogue’s femme serifs to butch Chanel and the hybrid YSL logo
Do it again by Aaron Seymour
Jenny Grigg’s covers, literary but not literal, were perfect for Peter Carey. Which helped when she had to design them a second time
Documents of the marvellous by Rick Poynor
The authentic spirit of Surrealism lives on – in projects based on curious collections that celebrate the strange and numinous
Grow your own by Luke Prowse
At last, an easy-to-use tool that lets designers generate unique images and animations. And it’s free
Little, British… by David Brittain
With contributors such as Ballard and Paolozzi, Ambit is a literary magazine that has always punched above its weight
A place in the sun by Steven Heller
An Art Deco warehouse in Miami Beach throws unexpected light on the dark arts of design
Fleet Street of walls by David Crowley
Wall newspapers, with a chequered history stretching from propaganda to protest, are populist and powerful.
Eine’s walls: notes from a vandal by John L. Walters
The summer of 2007 brightened up when Vandalism appeared in Holywell Lane

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Linked Information

Eye, Issue 065, Autumn 2007
Eye, Issue 065, Autumn 2007
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.