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Content includes:
Printing image – Current position / Kosuke Kimura
Obvious space 72 – City / Masatoshi Naito; ②City / Scenery / Shuji Yamada
Prop Art – Mad Flag / Sadajiro Nakade + Kenji Ishiguro
Currently, magazine theory ① Approach to the magazine for men / Tetsuo Shimizu
Obscene space ① Entrance phobia / Tomomi Muramatsu; Photo: Takao Niikura
Series (2): Adventure of the Circle General Custer and Questions and Replies / Shinichi Kusamori; Illustration: Shinjiro Okamoto
Series (2) Dialogue between matter and form About mirrors and / or double countries / Koichiro Ishizaki
Serialization – Decorative space theory Swirl illusion / Hiroshi Unno
Serialization – Written words Book space ① / Koji Taki
Design Digest / Hisao Ishiwatari
ID reconsideration – Glass design / Tetsuo Arakawa
New issue introduction “Japanese store stance” / Minami Takahashi
Book Review “Thoughts of Evil” / Masaru Ichikawa
Book Review “Architecture, Action and Planning” / Minoru Takeyama
Reveal of all “lines” and “white” in “Ayao Yamana Illustration Works” / Yoshio Hayakawa

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Design No.154 February 1972. Cover design by Koji Kusafuka
Design No.154 February 1972. Cover design by Koji Kusafuka
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

Members Content

Jean Carlos Distefano is an Argentinian artist, designer and teacher. He designed a range of posters, programmes brochures and book covers alongside Juan Andralis, Humberto Rivas and Roberto Alvarado for the Instituto di Tella, Buenos Aires.
“They’ll never stand for that” and “It’s too modern” are, as George Plante aptly puts it, the restraintive thoughts which beset a commercial artist who tries to let himself go.

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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.
I have always loved the design work created for Olivetti. The colourful midcentury designs by Italian designer Giovanni Pintori, the minimal typographic poster by Swiss designer Walter Ballmer and my personal favourite the 1959 poster for Olivetti designed by Herbert Bayer. I recently found out Triest Verlag released a new book, Visual identity and branding at Olivetti which contains further work by Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante and Walter Ballmer.