Yusaku Kamekura - Graphic Designer - Japan

Design (Japan), 013, 1960

Information

Content includes:
6th Mainichi Industrial Design Award
Industrial Design Department
Impressions about the Honda C100 Super Cub / Jiro Kosugi
commercial design department
 Ryuichi Yamashiro and his works / Hiroshi Hara
special prize
 Nissenbi 10 years of stratification / Masaru Katsumi
Desires for Graphic Designers / Masato Takahashi, Ryuichi Hamaguchi, Jun Hamamura
The 10th Nissenbi Exhibition
Member works
 Publicly submitted works
Kamameshi Kettle / Hiroshi Ogawa
Moving Workplace / Takashi Kono
Herman Miller mass-produced furniture / Tadaomi Mizunoe
Tokyo Yarakasukan Textile Industry 1st Student Calendar Design Contest 1961 / Ryuichi Yamashiro
square of design
 Eroticism and Design / Shoji Shirai
New materials and “turnip” design / Masao Kawamura
Designer’s Window : Knowledge of Printing ⑦ Overprinting / Kozo Koike

Details

Yusaku Kamekura, born in 1915, graduated from the Institute of New Architecture and Industrial Arts. In 1960, he helped establish Nippon Design Center Inc. and served as its managing director. The following year, in 1961, he received a grand prize from the Ministry of Education. In 1962, he transitioned to working as a freelance designer.

Linked Information

Design (Japan), 13, 1960 Cover design by Yusaku Kamekura
Design (Japan), 13, 1960 Cover design by Yusaku Kamekura
Yusaku Kamekura, born in 1915, graduated from the Institute of New Architecture and Industrial Arts. In 1960, he helped establish Nippon Design Center Inc. and served as its managing director. The following year, in 1961, he received a grand prize from the Ministry of Education. In 1962, he transitioned to working as a freelance designer.
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

His distinctive style echoes the artistic expressions of fellow Italian designers Giovanni Pintori and Erberto Carboni. Tovaglia's mastery in taking concepts and translating them into visually compelling narratives is evident in this selection of advertisements I have scanned from Gebrauchsgraphik, 10, 1955.

Members Content

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.

Members Content

The identity manual consisted of 130 pages of information and brand usage with Arie J. Geurts heading up the project as design director, (who later headed up his own design studio in Los Angeles). The identity uses minimal colour and focuses on a consistent brand blue in all communications.
Flexible Visual Systems is the design manual for contemporary visual identities. It teaches you a variety of approaches on how to design flexible systems, adjustable to any aesthetic or project in need of an identifiable visual language.