Master's Degree In Graphic Design

Master's Degree In Graphic Design – Richard Pollin pays tribute to the iconic American graphic designer and hopes to share his rich, diverse and vibrant portfolio with a wider audience.

Born in Culver City, California in 1924, Rudolf de Harak was strongly influenced by the masters of modernism in art and architecture. Although his practice is based on a highly systematic approach, de Harak infuses his designs with color, intelligence and warmth. He once said, “I tried to develop forms that encompassed the entire emotional spectrum and were flawless in their sense of order. For me, it was modernism, because I wanted to create a lot of stars that could convey content themselves. Stephen Heller has described his work as “a close link between American and Swiss modernism … a model of the simplest form with conceptual content.”

Master's Degree In Graphic Design

During his five-year career, he brought this sensibility to everything from record sleeves and magazine covers to exhibition and construction surfaces, through furniture, corporate identities and illustrations, not to mention the Metropolitan Museum of Art’s iconic paper shopping bag. His book covers the period’s Penguin cover under the visual influence of McGraw-Hill’s rivals. However, his work has largely flown under the radar. A new book from Tom aims to change that, written by respected graphic design guru Richard Pullin. Here, Richard de Harak writes about his “good” writings on ethics and influence, and selects five of his works for further study.

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New Objectivism dominated graphic design in the United States in the post-war period of the 1950s. At the turn of the 20th century, lacking the style and outdated influence of the art movements dominated by Art Nouveau and Art Deco, modernism became a powerful and comprehensive vision. During the same period, a joint graphic design movement emerged from Switzerland and Germany that became one of the most influential design movements of the century.

Rudolph de Farack was one of the first American graphic designers to adopt the formal principles of modernism and the international typographic style, enthusiastically assimilating the ideas of the hard and the rational while pushing the boundaries of his design concepts. At the same time he was also influenced by the artistic trends of the time – Abstract Expressionism, Dada, Op Art and Pop Art. Throughout his career, he has consciously and constantly explored the potential of abstraction, geometry and color, experimenting with photography and different photographic techniques in new and exciting ways.

De Farak felt that his way of working was independent and not part of our visual world. He wants his work to always be an emotional experience that transforms familiarity into expression. His work has always been reductive, symbolic, interpretive, imaginative, impressionistic, non-representational, non-objective, non-figurative, purely his own creation. In his work, he consistently relies on intelligent simplification as a means of conveying visual information that viewers can connect with directly, indirectly, and most importantly, emotionally.

Between 1953 and 1958, Esquire magazine art director Henry Wolfe commissioned de Harak’s most notable work to date, a series of monthly advertising illustrations for the magazine. This extraordinary compilation, 16 in all, was created over the course of five years, and Derac calls it “a jazz-like improvisational and 1950s genre.” Comprised of found print ephemera, photographs and drawings she has collected and/or created over the years, these impromptu compositions reflect her interests in abstract expressionism, photographic experimentation and visual communication.

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De Harak’s work for Esquire magazine early in his career demonstrated his ability to experiment and explore a variety of methods, techniques, photographic processes, color plates, typography, and geometric and abstract forms.

Between 1959 and 1961, de Charak designed around 50 album covers for Westminster Records. Westminster has always been known for its technically superior recordings, which became very popular with a growing audience, especially when the company began releasing stereo recordings in the late 1950s. With this work, de Harak allows careful consideration of the different hard, constrained geometries and soft, hand-drawn ethereal shapes and forms. This is the first time in his career that he has attempted to discover the “hidden order” of each genre, in this case a set of recorded album covers – by developing a conceptual image that evokes the emotional and melodic nature of each. Item. Musical composition.

For example, with the album cover of Sounds from the Alps, de Farac created a three-volume brush that symbolizes the Swiss Alps while conveying melodic waves. In a similar vein, he created a dynamic composition of multi-colored squares with the Vienna State Opera Orchestra that served as a contemporary visual and emotional counterpoint to Antonio Vivida’s Italian Baroque ensemble Vivida Gloria.

De Harak’s work at Westminster Records predated his subsequent book jackets and covers for publications such as Meridian Books, New Directions, Holt Rinehart & Winston and Doubleday. This eventually led to his pioneering journey of more than 400 book covers for McGraw-Hill Paper, which explored visual form in detail through color, typography, optical illusions and photography.

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Modern graphic design practice expanded beyond the printed page in the 1960s to environmental graphics and navigation systems. Collaboration between designers and graphic designers has become the norm, creating a more holistic approach to design among like-minded professionals. De Farak is one of the first in his profession to lead this collaboration.

Completed in 1968, 127 John Street was one of de Harak’s first large-scale, multifaceted projects, and in this design he literally changed the identity of a cold, unsettled, and faceless 32-story commercial office building located in New York’s financial district. An unforgettable visual experience full of “joy, humor and excitement for people”.

Even before entering the building, visitors are greeted by a 12.2-meter-high, 15.2-meter-wide digital clock (the largest in the world at the time) covering the facade of Water Street. This dynamic digital super image is timed with a series of backlit light boxes arranged in a grid of 72 boxes, each 1.2m – 12 hours, 60 minutes and seconds. The clock’s solid composition and impressive scale first captured de Harak’s modernist principles in an architectural context, which he made memorable in his miniature print projects.

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The structure, composed of tubular stainless steel beams, supported by brightly colored stretched canopies and multi-level platforms, acts as protection and solar installation, as well as provocatively framing the building’s entrance. At street level, graceful benches of welded, folded steel painted in bright primary colors rested pedestrians. De Harak also reclaimed the building’s other street furniture, such as bicycle racks, red telephone booths, and trash cans, for a vibrant and engaging public square.

Entering the building from Fulton Street, a 76-foot-long galvanized steel tunnel, illuminated by several loops of blue argon gas-filled piping, welcomes and guides visitors to low and high elevators. The end result is one of de Harak’s most humane projects, attracting pedestrians, enlivening the faceless street, dramatically elevating the building’s architecture, and ultimately redefining what a modern street-level entrance can be for a speculative office building.

From 1975 to 1983, the Metropolitan Museum of Art undertook a major program of redesign, renovation, expansion, and reconstruction of the Lila Etcheson Wallace Gallery of Egyptian Art. Considered the finest and most comprehensive in the Western Hemisphere, the museum’s collection of ancient Egyptian art consists of approximately 45,000 pieces of art, history, and cultural significance, dating from antiquity to the Roman period (641 BC).

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De Harak and his staff were responsible for designing all of the project’s three-phase display, explanatory graphics, didactic signs, maps and exhibition information sheets. The project envisages exhibiting all 45,000 objects in 32 galleries in chronological order, combining all materials from a particular period.

All galleries are equipped with extensive educational and interpretive materials in the form of information sheets and extended notes, introducing basic concepts of ancient Egyptian art and culture, as well as describing individual exhibits. The bulletin board and housing are made of polished stainless steel and glass. The show’s text and signature are screen-printed on the second side of the glass case for legible yet unobtrusive reading and easy maintenance. De Farak believes that viewers should always know the content of an exhibition immediately

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