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Cover Design: Domenic Geissbühler
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:
AGI ’88 TOKYO by Masuteru Aoba
Illustrators 30th Annual Exhibition by Shin’ichiro Tora
Taylor & Browning Design Associates
American Typography in New York by Shin’ichiro Tora
Works of Kaoru Kasai by Shohei Shinada
Georges Mailler / Calendar for RHÔNE-POULENC Group by Gerard Mugler, Carol d’Hardivillé
Minale, Tattersfield & Partners Limited by Hiroshi Ohnishi
The Dimentional Illustrations by Kathy Jeffers, Nick Aristovulos, Raymond Ameijide, Margaret Cusack, Walter Einsel, Judith Jampel, Ellen Rixford
The Trick by Shigeru Fukuda
Peter Hendrie, Photographer
Tokyo ADC Prize Winning Works for 1988 by Susumu Sakane
QU4TRO Arquitetos by Claudio Ferlauto
JPDA’s Japanese Package Design Exhibition in New York by Shin’ichiro Tora, Takeo Yao
Series 10: Art in New York Today, Bridge to Heaven by Cristos Gianakos by Shoichiro Higuchi
Art Camp, Hakushu Natsu Festival Text:Kazue Kobata, Photo: Yoshio Takase
Morteza Momayez Interviewer: Firouzeh Saberi
The Best of International Design in China by Shin’ichiro Tora, Tang Hong
Andrzej Kot, The King ‘Cat’ of Graphics by Paul Peter Piech
Computer-aided Portrait by Nancy Burson by Shoichiro Higuchi

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Linked Information

Idea 212, 1989-1. Cover design by Domenic Geissbühler
Idea 212, 1989-1. Cover design by Domenic Geissbühler
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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Members Content

Jazz Journal was first published in 1946 by Sinclair Traill, who also had some of his photographs used on the covers. The magazine is now online but remained in print for several decades, as Britain's longest enduring jazz magazine.

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Victorian Graphic Design left a mark on both British and American design history. In Britain, the ornate embellishments served as a symbol of prosperity and cultural values. Meanwhile, America embraced the combination of various design elements to navigate the complexities of a rapidly changing society driven by industrialisation and consumerism.

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The typographic designs produced for the National Theatre by Ken Briggs are not only iconic and depict the Swiss typographic style of the time, but remain a key example of the creation of a cohesive brand style.