Join the Mailing List

Membership

Graphic Design History from Design Reviewed
Kazumasa Nagai - Graphic Design - Japan

gq 03 – A Quarterly Review of the Graphic Work, 1973

Information

Details

  • Format: Magazine
  • Designer/s: Kazumasa Nagai
  • Year: 1973
  • Client/Publisher: gq Publishers
  • Size: 255mm x 304mm
Kazumasa Nagai was born in 1929 in Osaka. He left the Tokyo National University of Fine Arts and Music in 1951 and co-founded the Nippon Design Center in 1960. Nagai achieved notable recognition by winning first place in the design competitions for the official symbols of the Sapporo Winter Olympic Games (1966) and EXPO Okinawa (1972). Between 1960 and 1988, he received numerous prestigious awards, including the JAAC Award, Asahi Advertising Award, Mainichi Advertising Award, Yamana Award, and multiple accolades from the Tokyo ADC Show.

Linked Information

gq 03 - A Quarterly Review of the Graphic Work, 1973. Cover design by Kazumasa Nagai
gq 03 – A Quarterly Review of the Graphic Work, 1973. Cover design by Kazumasa Nagai
Kazumasa Nagai was born in 1929 in Osaka. He left the Tokyo National University of Fine Arts and Music in 1951 and co-founded the Nippon Design Center in 1960. Nagai achieved notable recognition by winning first place in the design competitions for the official symbols of the Sapporo Winter Olympic Games (1966) and EXPO Okinawa (1972). Between 1960 and 1988, he received numerous prestigious awards, including the JAAC Award, Asahi Advertising Award, Mainichi Advertising Award, Yamana Award, and multiple accolades from the Tokyo ADC Show.
More graphic design artefacts
Beyond Tradition: An Exhibition of Ikko Tanaka's Posters, National Museum of Modern Art, Tokyo, 1999
From the design archive:

Beyond Tradition: An Exhibition of Ikko Tanaka’s Posters, National Museum of Modern Art, Tokyo, 1999

  • Format: Book
  • Designer/s: Ikko Tanaka
  • Year: 1999
View Artefact
André Volten, Stedelijk Museum, Amsterdam, 1966 designed by Wim Crouwel and Ben Bos (Total Design)
From the design archive:

André Volten, Stedelijk Museum, Amsterdam, 1966

  • Format: Exhibition Catalogue
  • Designer/s: Wim Crouwel and Ben Bos (Total Design)
  • Year: 1966
View Artefact
Typografische Monatsblätter, 2, 1995
From the design archive:

Typografische Monatsblätter, 2, 1995

  • Format: Magazine
  • Year: 1995
View Artefact
Gebrauchsgraphik, 03, 1952
From the design archive:

Gebrauchsgraphik, 03, 1952

  • Format: Magazine
  • Year: 1952
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

Idea 46, 1961. Cover design by Hiroshi Ohchi.
  • Design Archive Feature, Members Only Content

Hiroshi Ohchi. Japanese Graphic Designer | 1908 – 1974

Hiroshi Ohchi was a prominent Japanese designer, known for his playful and imaginative illustrated poster and packaging designs. He often combined bright colours with simple geometric forms and illustrated people and humanistic elements.

Members Content

Scan 415
  • Design Archive Feature, Members Only Content

Manifestos on Kinetic Art

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.

Members Content

Sketches by Jan Slothouber and William Graatsmas for the Cubic Children’s Stamps of 1970. Scanned from nederlandse postzegels 1970, Staatsbedrij der PTT, 1970
  • Design Archive Feature, Members Only Content

Jan Slothouber and William Graatsma’s Cubic Children’s Stamps of 1970.

The stamps for the 1970 editions were designed by Jan Slothouber and William Graatsma in collaboration with the Centre for Cubic Constructions (CCC) in Heerlen.  Every stamp displays a different corner point of the same block, highlighting eight distinct corner points, with four chosen for their unique identities.
Graphic Design History Workshop
  • Workshops and Lectures

Inspiring students from Leeds Beckett University

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.