Rudolph de Harak, also Rudy de Harak (April 10, 1924 – April 24, 2002), was an American graphic designer. De Harak was notable as a designer who covered a broad spectrum of applications with a distinctly modernist aesthetic. He was also influential as a professor of design.
De Harak was born in Culver City, California. After serving in World War II, de Harak was influenced by two lectures given by Will Burtin and György Kepes which compelled him to pursue graphic design. Along with Saul Bass, Alvin Lustig and others, de Harak helped found the Los Angeles Society for Contemporary Designers before he moved to New York City to become art director for Seventeen for just 18 months.[1] At the same time, de Harak drew illustrations for Esquire and soon began his long tenure in teaching.[2] De Harak served "as the Frank Stanton Professor of Design, for a quarter century at the Cooper Union, and visiting professor at Yale, Alfred University, Parsons, Pratt Institute and other schools."[1]
He designed a three-story digital clock installed on the exterior of 200 Water St. (previously 127 John St.) in New York City. The clock consists of "72 square modules with numerals that light according to date, hour, minute and second". He also designed a neon-illuminated entrance and a scaffold covered with brightly covered canvas outside.[3]
De Harak was a member of the 1989 Art Directors Club Hall of Fame.[4] He was the recipient of a 1992 AIGA Medal.
De Harak's work was influenced by modernism and the International Typographic Style. He was also influenced by abstract expressionism, Dada, op art and pop art.[5]