Graphic Design 47, 1972. Cover design by Hitoshi Ejima

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Content includes:
Edo yukata pattern / long masterpiece
Yoshio Hayakawa’s internal landscape/cylinder
Munich Reminiscences / Masaru Katsumi
Munich 1972 Olympic Design Policy / Masaru Katsumi
Thai picture book
The first step towards Asian typography / Hiroshi Hara
Young Generation ⑤ Takahisa Kamijo His Intellectual Jokes / Ikko Tanaka
East Germany poster / Masaru Katsumi
Griffs News Book Review

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 47, 1972. Cover design by Hitoshi Ejima
Graphic Design 47, 1972. Cover design by Hitoshi Ejima
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:
More graphic design history articles

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Albrecht Ade's students produced some great typographic compositions and print work in his typography class, here's a selection of the work and information about Albrecht Ade.
The UK’s first vintage poster market is to launch as a 3-day pop-up at the Copeland Gallery in Peckham 14-16 May. Entry is free.

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The dedication of Gebrauchsgraphiks editors and publishers significantly influenced the spread and impact of graphic design, documenting countless designers who might otherwise have been forgotten over the last century since its first issue hit newsstands. Design magazines play a crucial role in supporting the design profession and remain vital resources for designers and historians alike.

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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.