Content includes:
Harada tsunao’s historical illustrations – black and white – Anno mitsumasa
Global new waves in 70s France
Jean Alessandrini/Cathy Millet/Michel Guiré-Vaka/Patrick Arlet/Michel Quarez ads in Fortune magazine 1930-34 – Watanabe shinichi
Klaus Moritz and European scenes from Yamamura gasho’s “Plants” – Katzumie masaru
Discussion on Tokyo Designers Space
Pictorial symbols/feature: man
V.C. – Sakano osami


Linked Information

Graphic Design 66, 1977
Graphic Design 66, 1977. Cover design by Nobuo Nakagaki
Issue 66 of the Japanese magazine, Graphic Design (グラフィックデザイン) published in 1977.
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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Little is known about the designer Günther Heil. he established his graphic studio in Berlin and designed many advertisements for 8mm and 16mm film distributor Bruno Schmidt in the 1960s. These were created in the same era as the film distributor Atlas Films was sending films to art-house theatres and were hiring designers Hans Hillmann, Hans Michel, Günther Kieser, Wolfgang Schmidt and Karl Oskar Blase.

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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.
The first American university to accept graphic designers as members of the faculty was the Massachusetts Institute of Technology, called M. I. T, for short. The work created by the design group reflects the high level of instruction, the realistic setting of the training and the progressive philosophy of this institute.

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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.