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Content includes:
Design Policy of Dai Nippon Printing / Tatsuo FukushimaDai Nippon Printing’s PR personality / Yusaku KamekuraArt Cooley’s Words / Kozo Koike
Various Considerations on Design Presentation / GK Industrial Design Laboratory
Graphic Design in Living Design / Hiromu Hara
Designer Triple Mirror Where am I / Ryuichi Yamashiro
design digest
This design by Neil Fujita / Yusaku Kamekura
Visiting Design Schools in the World ② Royal College of Art, London / Masaaki Tanaka
Denmark Interior Exhibition / Katsuhiko Shiraishi
Addition, subtraction, multiplication and division in graphic design / Naomi Asakura

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Design (Japan), 56, 1964. Cover design by Kohei Sugiura
Design (Japan), 56, 1964. Cover design by Kohei Sugiura

 

Design Japan 56 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

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In the late 1950s, Hans W. Brose agency, with designers Pierre Mendell, Michael Engelmann, and Klaus Oberer, crafted a compelling, colourless campaign for Bols.

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Kinetic art refers to art the depends on movement for its desired effect and is closely related to op art. Upon scanning a few of the inner inserts from the Kinetics exhibition catalogue from the Hayward Gallery, London, 1970, I came across these five small manifestos on kinetic art.

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Many influential British designers have made their names in the history books. Abram Games, Alan Fletcher, Tom Eckersley and Derek Birdsall, to name a few. But one designer that has always influenced me, not only as inspiration from their design output, but as an example of the role of a designer and the importance of having strong ethics, is Ken Garland. He is known for his innovative and socially responsible approach to graphic design and his involvement in the design community through his teaching, writing and activism. In the second instalment of this series, I will discuss Ken Garland's magazine work from my collection.

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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.