An illustrator with an exquisite sense of type and design, and a designer who can actually draw
Read more about George Hardie
Manual: A book about hands
by George Hardie
Exhibition: 13 Dec 2004-21 Jan 2005, Pentagram Gallery, London
Reviewed by Rian Hughes
Hipgnosis. Dark Side of the Moon. Hardie's iconic collaborations with Storm Thorgerson and co. for Pink Floyd, Black Sabbath, Genesis and other more obscure bands from the 1970s were for many of us image makers, then still at school and not sure what design was, our first introduction to the power and allure of the image - the graphic object as a totemic icon, imbued with latent meaning.
Our latest special stamp issue celebrates the centenary of the Magic Circle with five Îmagical' interactive stamps. Get up close and personal with these stamps and you won't believe your eyes. Scratch a coin over a stamp to show heads or tails, use the heat from your finger to reveal all, or challenge yourself with a few optical illusions. We've used a variety of ingenious printing techniques to conjure a variety of tricks. The Magic! issue follows on from the Weather issue and the Nobel Prizes issue - which were both interactive. Stamp designer Tatham Design worked closely with master illustrator George Hardie to achieve the distinctive look and feel of the issue - which references the graphic style of old magic manuals.
George Hardie's Rules
News release issued 17 February 2006
>From 14 March Vits©[not equal] and George Hardie will be exploring the invention of the standardised portable measuring system - the rule.
As Hardie says, "There are no rules for this collection. As a collector I am not a completist. By its nature this collection can never be completed. Drawing the line to nowhere."
Eye Magazine Feature Article
by Daniel Nadel
For George Hardie, illustration is a problem-solving process: collecting looking and drawing with exactitude.
Hardie does all the things that a professional illustrator should: he solves problems; he draws with exactitude; he makes images that delight because they are challenging. Hardie's consciously self-deprecating titles nod to a career spent working for clients of all kinds, one shaped mostly around, as he says, Îwanting to do good work. I never saw it as a career thing. But then, I was very lucky - things just fell in my lap.' But in image after image he achieves something beyond just professionalism: he doesn't just solve a problem or create a compelling image, rather he draws visual ideas that force viewers to Îwear a new pair of spectacles', and open up to a new visual experience of even the most familiar terrain.
Don't miss out - check George Hardie's seminar dates on his AGDA International Speaker Tour: