Graphic Design 92, 1983

Information

Content includes:
Design focus
・ICOGRADA Dublin report / Sakane Susumu
・Bauhaus stamp series / Katsumi Masaru
・1st International Design Competition Award
・Flyer for Osaka International Design Festival / Tanaka Ikko
’83 JAGDA Peace Poster Exhibition / Fukuda Shigeo
J. Bertin’s “Semiology of Figures” / Morita Takashi
Saito Makoto’s Graphic Design / Kazumasa Nagai
Illustrations by Iku Akiyama / Ikko Tanaka
Hiroshi Morishima Washi Series Food / Hiroshi Morishima
Osamu Yoshimura Weaving Pictures / Osamu Yoshimura
Design East and West Kenji Ito / Ryuichi Yamashiro
5th Lahti Poster Biennale
Icograda Series ④ Korea/Belgium
・Young-Je Cho
・Serge Bahi
Activities of the Japan Graphic Designers Association

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Linked Information

Graphic Design 92, 1983
Graphic Design 92, 1983. Cover design by Makoto Saito,
Issue 92 of the Japanese magazine Graphic Design (グラフィックデザイン) published in 1983.
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
Why Graphic Culture Matters is a compilation of 46 thought-provoking essays by renowned design critic Rick Poynor, delving into the realms of art, design, and visual communication.

Members Content

The 1960 awards presented 420 poster entries from Swiss designers. Notable winners included Robert Büchler's typographic poster for the Museum of Applied Arts Basel and J. Müller-Brockmann’s Der Film poster for the Museum of Applied Arts and Gerstner + Kutter's asymmetric typographic poster for National-Zeitung SA Basel.

Members Content

This 1,500 word essay is about the life and work of Willem Sandberg and is illustrated with part of my collection of over 100 pieces of Sandberg’s work, including books, Stedelijk Museum catalogues, and various individual printed items.

Members Content

Japanese modern design was heavily influenced by European art movements, particularly modernism and the Bauhaus school. As Japan's advertising industry expanded, it increasingly drew from Western culture, especially television and film, resulting in designs that were eclectic, vibrant, and infused with modernist energy.