Idea 161, 1980-7

Information

Editor in chief: Yoshihisa Ishihara
Editorial Director: Noboru Sakamoto
Publisher: Shigeo Ogawa
Editorial Cooperation: Ohchi Design Office
Editorial Cooperation: Midori Imatake
Printers: Mitsumura Printing Co., Ltd.
Printers: Nishiki Printing Co., Ltd.
Printers: Dainippon Printing Co., Ltd.
Cover illustration: Elwood H. Smith

Content includes:
Elwood H. Smith’s Comics by Seymour Chwast
On Picture Books by Margriet and Annemie Heymans by Shigeru Watano
Illustration by Hiroko by Jerry Demoney
A Japanese American Designer full of vitaliry, Susumu Harada by Howard York, Arthur S. Congdon
Shigeo Fukuda’s space design by Kiyoshi Seike
Yoshio Hayashi and His Simbol Marks [sic] by Yoshiaki Yujobo
Lighting Design Exhibition by Kazumasa Nagai
Kohei Miura’s Logo and Mark by Tadasu Fukano
Collage by Dennis J. O’Donnell
Homage to the Palette
’80 Graduation Works of Graphic Design Students
Designers and House-organs
The 40th Annual Exhibition of Art Culture Association

Details

Linked Information

Idea 161, 1980-7. Cover design by Elwood H. Smith
Idea 161, 1980-7. Cover design by Elwood H. Smith
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Members Content

Many influential British designers have made their names in the history books. Abram Games, Alan Fletcher, Tom Eckersley and Derek Birdsall, to name a few. But one designer that has always influenced me, not only as inspiration from their design output, but as an example of the role of a designer and the importance of having strong ethics, is Ken Garland. He is known for his innovative and socially responsible approach to graphic design and his involvement in the design community through his teaching, writing and activism. In the second instalment of this series, I will discuss Ken Garland's magazine work from my collection.
Mark Bloom has designs for globally recognised brands, produces some of the finest, most accessible modern typefaces and heads up Mash Creative and CoType Foundry. His type foundry has always been a port of call for our studio's brand projects and he continues to develop these, each with a fantastic print specimen.
Marin Lorenz has had an amazing career, designing for clients such as ESPN and Nike, teaching at some of Europe's leading design schools and publishing books, such as Flexible Visual Sytems, documenting his research and approach to design practice.

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A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.