Information

Content includes:
Picture Sugoroku Junji Takahashi
Digital Map Africa Experimental Transparent Map Nobuo Nakagaki
Approaching new spatial notation Tokyo Zokei University Environmental Training Group
Design for the Dead Masaru Katsumi
Type and Typography Helmut Schmidt
Works by Manfred Winter
Exhibition in Zurich Niklaus Frühler
Expo 3 Symbol Zone and Signage Plan Kenzo Tange, Taro Okamoto, Kyohei Tsuboi
Techne His Type Size Current Situation and Challenges

Editor-in-chief: Masaru Katsumi
Advisor: Hiroshi Hara
Editing: Atsuko Katsube, Ryoko Sasaki
Layout: Akio Kanda, Yukio Ota, Masayuki Ito
Editing Office: Graphic Design Company
Printing and binding: Toppan printing

Graphic Design / グラフィックデザイン, delved into the world of graphic design and visual culture. The magazine featured a broad range of content, including coverage of cutting-edge Japanese design and its history, as well as international graphic design.

Details

Linked Information

Graphic Design 38, 1970. Cover design by Kohei Sugiura
Graphic Design 38, 1970. Cover design by Kohei Sugiura
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

Graphis is one of the industries most long-standing magazines. It was first published in 1944 and founded by Walter Herdeg and Walter Amstutz in Zurich, Switzerland. It was released bimonthly and was trilingual, with articles in English, French and German.

Members Content

The typographic supplement from Der Druckspiegel, October, 1961 features typographic compositions designed by Herbert Bossin. Bossin has solely used the typeface Folio, to illustrate its flexibility and versatility alongside imagery provided by Lothar Blanvalet Verlag.

Members Content

They were many other designs who played an important role in IBM's graphic identity and implementation. Some of the other designers included Arthur Boden, Clarence Lee, Charles Keddie and Mary Beresford.
Last month (March 2022), I spoke to over fifty Graphic Design undergraduates about the archive and my passion for design history, after which the students had full access to items in the collection and participated in discourse amongst their peers and lecturers. As part of their critical studies unit, the students will be producing essays and content related to the impact, history and aesthetics of selected artefacts.