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Content includes:
Special Feature: Illustration Japanese Wisdom
Encounter of Illustration and Text / Yusuke Kaji
Rock-paper-scissors / Kiyoshi Awazu + Jun Sonai
Tattoo / Akira Uno + Yusuke Kaji
Zabuton / Kazuo Harada + Kazuko Koike
Geisha / Yoshitaro Isaka + Kazuko Koike
Kampo Medicine / Yuzo Yamashita + Kyo Naito
Human soul / Makoto Wada + Koichi Tsuchiya
 Hearse / Tadanori Yokoo + Keizaburo Fujii
49th / Shinta Cho + Haruo Katayama
Saisen box / Yoshiro Yamashita + Mutsuo Takahashi
Denentoshi / Isaburo Nishijima + Kyo Naito
 Haiku / Shuichi Nakahara + Mutsuo Takahashi
Delivery / Ryohei Yanagihara + Kyo Naito
Address / Takao Abe + Jun Sonai
 Fumidai / Kazuyuki Goto + Jun Sonai
Fusuma / Takashi Mizuno + Kazuko Koike
Ozashiki Strip / Yuito Nadamoto + Yusuke Kaji
Mosquito Repellent Incense / Harumi Matsumoto + Jun Sonai
Cairo / Kanji Sasaki + Haruo Katayama
Pachinko / Hiroshi Manabe + Haruo Katayama
Yakuza / Akira Mohri + Mutsuo Takahashi
Cheering Team / Yoji Kuri + Yusuke Kaji
Ad Balloon / Ryokichi Ozawa + Haruo Katayama
Various Considerations Concerning Design: The Consciousness of an Architect / Hirozo Shiraishi
Designed by Rodolfo BonettoIndustrial Design and Its Market in Italy / Rodolfo Bonetto
Introduction of the Bonet Office / Kazuko Sato
For Mr. Bonnet / Kenjiro Ikeda
Visiting design schools around the world (1) Cooper Union, New York / Masaaki Tanaka
Designer Triple Mirror Seed and Land / Yusaku Kamekura
design digest
Addition, subtraction, multiplication and division in graphic design / Naomi Asakura

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Design (Japan), 55, 1964. Cover design by Kohei Sugiura
Design (Japan), 55, 1964. Cover design by Kohei Sugiura

 

Design Japan 55 1964 back

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

Bäumer gave the company a unique brand image amplifying its graphical image after a time of post-war economic recovery. This style of advertising composition can be seen across many 1960s campaigns, especially from other German designers such as Anton Stankowski.

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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.
How design can transcend the logics, structures, and subjectivities of capitalism: a framework, theoretical grounding, and practical principles. A new book published by MIT Press written by Matthew Wizinsky.

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Both the And So To Embroider & And So to Sew bulletins were published by the Needlework Development Scheme. Established in 1934 and operating until 1961, the scheme was a partnership between educational establishments (Scottish art schools, Aberdeen, Dundee, Edinburgh and Glasgow) and industry.