This catalogue presents works that are chosen for the solo exhibition of Ikko Tanaka – the renowned Japanese graphic designer. The exhibition was held at the National Museum of Modern Art, Tokyo, in 1999.
Details
Format: Book
Designer/s: Ikko Tanaka
Year: 1999
Client/Publisher: The National Museum of Modern Art, Tokyo
Size: 208mm x 294mm
Ikko Tanaka was born in 1930 in Nara City. He graduated from the Kyoto School of Fine Arts in 1950 and worked for several companies, including the Osaka Economic Newspaper, before co-founding Nippon Design Center, Inc. In 1963, he established his own firm, the Ikko Tanaka Design Office.
Tanaka's awards include a silver medal from the Warsaw International Poster Biennial, the Mainichi Design Award, the New York ADC Award, the Tokyo ADC Membership Award, the Mainichi Art Award, and the Japan Cultural Design Grand Prix.
This catalogue presents works that are chosen for the solo exhibition of Ikko Tanaka - the renowned Japanese graphic designer. The exhibition was held at the National Museum of Modern Art, Tokyo, in 1999.
Ikko Tanaka was born in 1930 in Nara City. He graduated from the Kyoto School of Fine Arts in 1950 and worked for several companies, including the Osaka Economic Newspaper, before co-founding Nippon Design Center, Inc. In 1963, he established his own firm, the Ikko Tanaka Design Office.
Tanaka's awards include a silver medal from the Warsaw International Poster Biennial, the Mainichi Design Award, the New York ADC Award, the Tokyo ADC Membership Award, the Mainichi Art Award, and the Japan Cultural Design Grand Prix.
Industrial design was an American design magazine featuring furniture, ceramics, housewares, appliances, automobiles, buildings, radios, projectors, televisions, and many other objects designed for the postwar middle class. First published in the 1950s by Charles Whitney with Alvin Lustig as art director.
The Paris Poster Hoardings of 1938. Posters gleam forth accentuating the melody of this city as they direct the eye to articles of everyday use and above all to people who are the talk of the hour.
In Rau's case, the combination of graphic design and photo produces a particularly positive result, since he uses the photo not so much as an object of representation but rather as a suggestive means of expression.