Tsunehisa Kimura - Japanese Graphic Designer

Graphic Design 21, 1965

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Content includes:
Hiroshi Hara Rubbings of Xi’an Steilin
Eurasian Graphics Exhibition in Hawaii Kenneth Kingley Takashi Kono
Exhibition Isamu Kenmochi
Printing Design Laboratory/21 Max Huber Kindaisha Co., Ltd. Kogihan Co., Ltd.
Sunday newspaper layout Pieter Brattinga
East, West, South, North Masaru Katsumi
Print design exhibition that makes the most of paper
Shigeo Fukuda Design Exhibition “&”
Elsa Kula Works

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.

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Graphic Design 21, 1965. Cover design by Tsunehisa Kimura
Graphic Design 21, 1965. Cover design by Tsunehisa Kimura
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.
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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"Talking about myself as a designer is something that requires a powerful dialogue with my life experiences. In a radical way, I apply an exercise in which design forms become projections of life, extensions of meaning that constantly involve senses."

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The 1960s was an era characterised by political, social, and cultural shifts. The counterculture movement emerged as a response to the perceived failures of the mainstream establishment, sparking a wave of activism and alternative ideologies. And with these an array of printed matter. Counterculture publications, often referred to as the "underground press," became powerful platforms for dissent, expression, and the exploration of new ideas.

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A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.

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Little is known about the talented designer Günther Glückert. Born during the 1930s, a period that proved less than conducive to nurturing youthful artistic endeavours, did not halt Glückert's path of becoming a talented designer.