Information

Cover Design: Ryohei Kojima
Editor in chief: Fumio Sudoh
Editorial Director: Ko Konishi
Publisher: Shigeo Ogawa
Editorial Cooperation: Midori Imatake
Editorial Cooperation: Ohchi Design Office
Editorial Cooperation: Masuteru Aoba

Content includes:
The Soviet Revolutionary Poster: The Soviet Poster Avant-Garde by Jan Rajlich
Rick Eiber Interviewer: Sam A. Angeloff
Kang Yi, Illustrator by Mary Yeung
Joseph Ciardiello
Deborah Attoinese: Fashion Photographer
Gould & Associates Inc., Packaging, Product Design and Trademark
Suntory Art Poster by Junji Ito
David Quary: Lettering Graphic
Manuel Garcia
Editorial Design of K2 by Shuji Shimamoto
Charles Gibson – Young Graphic Designer in U.S.A.
Takenobu Igarashi’s Series of Sign by Susumu Kitahara
Jennifer Hewitson
Chuck Byrne
Urban Environment and Signs in Quebec and Montreal by Raymond Vézina, Jutaro Itoh
Formative Prospects in Computer Art by Shichiro Saguchi
Series 6: Art in New York Today, Mark Di Suvero, a Pioneer of Urban Jungle by Shoichiro Higuchi
Advertising Photography Nagoya in New York by Shin’ichiro Tora
Bidjan Assadipour by Fazlollah Rowhani

Details

Linked Information

Idea 208 1988 5
Idea 208, 1988-5. Cover design by Ryohei Kojima

More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

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Joseph Binder established his studio, Wiener Graphik, in Vienna. One of the first clients was the City of Vienna’s Music and Theater Festival, followed by many other posters and logos for clients in Austria and beyond.
"Talking about myself as a designer is something that requires a powerful dialogue with my life experiences. In a radical way, I apply an exercise in which design forms become projections of life, extensions of meaning that constantly involve senses."

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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.
Among the young graphic artists of Berlin, who set to work after the war, Hans Adolf Albitz and Ruth Albitz-Geiß can claim special attention. In a short time, at a period when economic conditions were pretty unfavourable, they worked themselves so to the fore that their names came to mean something in Berlin publicity, and in western Germany their posters are known and appreciated, too.