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Graphic Design History from Design Reviewed
Yusaku Kamekura - Graphic Designer - Japan

Graphic Design 05, 1961

Information

Content includes:
Prints by Yozo Hamaguchi
Designer’s collection Ryuichi Yamashiro
Müller Brockmann Works Collection Masaru Katsumi
Print Design Laboratory 5 / Noh Ikko Tanaka
Light and shadow of Noh Akira Maruoka
Nikon and Yusaku Kamekura Jun Hamamura
Kotobukiya’s design policy Hideo Mukai
One side of Fortune magazine design policy
Show window display / Wako and Kenji Ito Noboru Kawazoe
Book review
Portfolio World Bibliography

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.

Details

  • Format: Magazine
  • Designer/s: Yusaku Kamekura
  • Year: 1961
  • Client/Publisher: Diamond publishing
  • Size: 260mm x 300mm
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

Graphic Design 5, 1961. Cover design by Yusaku Kamekura
Graphic Design 5, 1961. Cover design by Yusaku Kamekura

 

Graphic Design 5, 1961.
Graphic Design 5, 1961.

 

Graphic Design 5, 1961.
Graphic Design 5, 1961.
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.
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
Herbert W. Kapitzki, Design - Method and Consequence, 1997
From the design archive:

Herbert W. Kapitzki, Design: Method and Consequence, 1997

  • Format: Book
  • Designer/s: Herbert W. Kapitzki
  • Year: 1997
View Artefact
Typografia, ročník 66, 03, 1963. Cover design by Antonín Ernest
From the design archive:

Typografia, ročník 66, 03, 1963

  • Format: Magazine
  • Designer/s: Antonín Ernest
  • Year: 1963
View Artefact
Zimní pohádka designed by Ludislav Sutnar
From the design archive:

Zimní pohádka

  • Format: Advertisement
  • Designer/s: Ludislav Sutnar
  • Year: 1941
View Artefact
Werbeform 2, Annual Review Of Advertising And Design, 1958
From the design archive:

Werbeform 2, Annual Review Of Advertising And Design, 1958

  • Format: Book
  • Year: 1958
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

The Swiss designer Adrian Frutiger (1928–2015) created some fantastic typefaces such as Univers, Avenir, and Frutiger, alongside posters, catalogue designs and architectural lettering. He began his career at Deberny & Peignot in Paris as a type designer and set up his own studio in 1960 in Paris focusing on typography and advertising design. Working alongside André Gürtler and Bruno Pfäffli, Frutiger designed many logo designs. Here is a selection of the designs which were featured in Der Druckspiegel, December 1961. I have also translated and rewritten the descriptions to provide more depth. When describing the work of Adrian Frutiger, Kurt Weidemann states, “We live in a time of increasing abstraction,” says Frutiger, in a time of visual, intellectual symbols. If a miller wants a company logo, then a windmill or watermill does not provide a sufficient symbol of his profession. Rather, its job is to crush grains between two masses. Finding a pictorial metaphor for this process might be more difficult, but also more expressive, more apt and timeless. Memorable shapes are simple. A mark that can be immediately drawn in the sand by a child is good. The accompanying typography must not compete with the brand; it must be brought into harmony with it, supporting its expressiveness.) - Der Druckspiegel, October, 1961 (Translated from German) Logo for the advertising agency Arma Publicité. The symbol is based on the letters A R and M. The logo has an emphasised flatness that corresponds to the essence of advertising thanks to its black and white contrast. The triangle shape is a symbol of advancement and dynamism. The embossed form is used in cases requiring discretion. Lettering for the title of a scientific journal. The letterforms are made of straight lines and circles in the spirit of the exact measurements and structures in science. Small and capital letters are mixed together as a deliberate move away from tradition. Business brand for the Brancher Frères paint factory. On the one hand, it is based on the letters B and F, and on the other hand, the silhouettes of the paint can, seen from the side and from above (square and circle). The logo is designed more to the colour than to the formal expression. Original colours: grey, green and blue. Lettering for a printing company. The close sequence of circular elements makes one think of printing cylinders and ink rollers. Logo for the Scripta pantograph milling machine. The arrangement of the arms and joints of the machine have resulted in this S-shape. Right angles were avoided to evoke mobility. The contrast of the strong arms to the fine white space indicates the solidity of a precision device. Company lettering and signs for the Hermann scientific bookstore. The basic element that provided the impetus was the construction plan for the new business facility. Monogram for Jacqueline Iribe, designer of modern decorative fabrics. Irish favourite motifs are rectangles and triangles; the symbol attempts to symbolize this style in the letterform. Original colours: cobalt blue for j, broken cobalt blue for i. Two designs for a sign for the Prache bookbindery. The speciality of this house is spiral and ring binding. The first draft is a name made up of wire, interlocking letters in a circle shape. The second draft follows the same principle but is only based on the P. The rectangle (book, sheet of paper) was included. Monogram for the French architect Georges Johannet. Its architecture is strictly based on geometric elements, in very finely coordinated spatial proportions. Ipreig is the official abbreviation for the Institut professionel de recherches et d'études des industries graphiques. With a view to serving professional progress, it seems justified to give the symbol of this institute the character of an experiment that could be renewed from time to time. (Design not executed).
  • Design Archive Feature, Members Only Content

Logos and Lettering by Adrian Frutiger, André Gürtler and Bruno Pfäffli

Working alongside André Gürtler and Bruno Pfäffli, Adrian Frutiger designed many logo designs. Here is a selection of the designs which were featured in Der Druckspiegel, December 1961. I have also translated and rewritten the descriptions to provide more depth.
Me (Matt Lamont) in front of a selection go the archive
  • Design Archive Feature

Collecting Graphic Design History and Design Reviewed

Graphic design continues to be documented and an increase in individualised documentation and curated social media accounts are furthering our knowledge of design from a worldwide historic standpoint. I would not feel complete without the collected design that spans the shelves of my archive. It’s my identity, my passion and my hobby.

Members Content

Unimark International and the visual identity of South-African manufacturer, DEFY.
  • Design Archive Feature, Members Only Content

Unimark International and the visual identity of South-African manufacturer, DEFY.

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.

Members Content

Norman Granz presents Kid Ory, Programme, 1959. Designed by Hans Michel + Günther Kieser. Art Director Horst Lippmann
  • Design Archive Feature, Members Only Content

Jazz Programmes designed by Hans Michel and Günther Kieser

After researching further into the work designed by their practice, I found ten programmes designed between 1958 and 1960. These programmes were designed for a variety of live jazz events in Germany and all followed the same format.