Eye Magazine | Author | Richard Hollis

Richard Hollis

Recent articles by Richard Hollis

My friend David KingIssue 101, Summer 2021
Feature

	The book David King: Designer, Activist, Visual Historian is a comprehensive account of the work of a unique figure in graphic design history. Here Richard Hollis, witness to King’s development as designer, artist, collector and pioneering author-designer of dazzling books of social and political history, recalls his friend and fellow designer. By Richard Hollis
            
One hundred years newIssue 99, Autumn 2019
Review

                                                Jeremy Aynsley’s Graphic Design in Germany 1890-1945 was published almost twenty years ago. Professor Rössler’s…                        
A message for modernityIssue 92, Summer 2016
Review

                                                In the late 1950s I had tea in London with László Moholy-Nagy’s former secretary, surrounded…                        
Weimar volumesIssue 91, Spring 2016
Review

                                                The musical Cabaret gave a popular view of Berlin between the two world wars; the…                        
History of pictures worth readingIssue 90, Summer 2015
Review

                                                Benoît Buquet, a teacher of the theory and history of contemporary art, sees no reason…                        
Absent insightsIssue 88, Summer 2014
Review

                                                By its title, L’Écartelage reveals its focus on Surrealism in the work of Pierre Faucheux…                        
Design history disciplinedIssue 85, Spring 2013
Review

                                                What kind of discipline is graphic design history? Catherine de Smet provided one answer in…                        
The designer as programmerIssue 43, Spring 2002
Review

                                                ‘Swiss’ is still a style. In the crudest terms, the style was, and is, Helvetica…                        
Swiss radicalIssue 64, Summer 2007
Feature

	Whether commercial or political, the work of Theo Ballmer was underpinned by craft, precision and passion
            
Infiltrating the avant-garde into British postersFeature

Le Corbusier’s hand in book designFeature

Play and playbillIssue 70, Winter 2008
Feature

	Theatre programmes present designers with a challenge that can be turned into a dramatic opportunity
            
The 'third way' to micro- and macrotypographyFeature

From high art to high street shopFeature

A guided tour of the memoryFeature

Trees obscured by billboardsFeature

The power of the posterFeature

The evidence is in the postFeature

A mailbag full of moderismFeature

Stories from a new wave iconFeature

Design pioneer in full colourFeature

Tschichold: contention and celebrity [EXTRACT]Issue 71, Spring 2009
Review

                                                Jan Tschichold: Master Typographer is 350 big pages of heavy paper, hundreds of illustrations, decorative…                        
The chemistry that created a winning Swiss formulaIssue 72, Summer 2009
Review

                                                Where did the ‘Swiss style’ come from? The book Corporate Diversity answers the question: it…                        
Instruments of radical changeIssue 26, Autumn 1997
Review

                                                Rodchenko, Lissitzy and Moholy-Nagy were founding fathers of modern graphic design. Art historians have assured…                        
Aicher’s Heroic AspirationsIssue 63, Spring 2007
Review

                                                When the German designer Otl Aicher died in 1991, a particular kind of graphic design…                        
Building a graphic languageIssue 28, Summer 1998
Feature

	From the 1930s to the 1960s, The Architectural Review's eclectic methods made it a landmark in magazine design
            
A sign of moral degeneration?Issue 36, Summer 2000
Review

                                                Is the swastika so tainted by the horrors of Nazism that it cannot, should not…                        
Language unleashedIssue 16, Spring 1995
Feature

                                            Massin’s pioneering book designs of the 1960s used graphic devices to make the spoken word visible and enhance the text’s meaning
            
The image as evidenceIssue 29, Autumn 1998
Feature

                                            The career of Germano Facetti is exceptional in its range. As art director of Penguin Book covers in the 1960s and as a designer, he was a powerful influence on book and information design, throwing a special light on Modern Movement aspirations and on attitudes to illustration. Facetti has maintained the concept of “documentary” and diagrammatic illustration to induce understanding, to express emotion, or to accumulate information in a more memorable way.
            
Revolutionary languageIssue 32, Summer 1999
Feature

                                            “A revolutionary graphic language must seek to expose the meaning by presenting a chain of ideas, images, structures in as much of their complexity as is economically feasible.” Robin Fior in The Designer, journal of the society of industrial artists and designers, London, May 1972.
            
Multiple meaningsIssue 24, Spring 1997
Feature

                                            Uwe Loesch’s posters have the linguistic subtlety and precision of conceptual art. They demand attention, then release their significance bit by bit.
            
Permanent innovationIssue 19, Winter 1995
Feature

	With his ‘livre objets’ for the French book clubs, Pierre Faucheux invented a new genre
            
Have you ever really looked at this poster?Issue 13, Summer 1994
Opinion

	A critical design history should explore the relationship of form, content and production, argues the author of a new concise history.