Graphic Design 96, 1984

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Content includes:
Design focus
・Official mark and mascot of the ’88 Seoul Olympics / Cho Young-je
・Japanese Design: Traditional and Contemporary Exhibition, Moscow / Tanaka Ikko
・Great Cover Contest / Charles M. Helmken
・Trends in signs as seen in the 18th SDA Awards / Sakano Nagami
・Re-experiencing the ’60s: My view of ’60s illustrations / Wakao Shinichiro
・Tokyo Gallery and Sugiura Kohei
・New protagonists in the alcoholic beverage survival race / Hiroshi Sano
Restaurant Graphics Tokyo / Hiroshi Kojitani
’84 JAGDA Peace Poster Exhibition / Yusaku Kamekura
Sun-Ad Japan / Yusuke Kaji, Takehiko Kamei, Mutsuo Takahashi, Takashi Nakahata, Yoshiya Nishimura
11th Brno Biennale / Mitsuo Katsui
Jacek Kawalerowicz / Shinzo Aoki
Design East and West Kiyoshi Awazu/Kazumasa Nagai
Record jackets from minor labels
Icograda Series 8 Norway/German Democratic Republic
・Knut Ilan
・Axel Bertram
Activities of the Japan Graphic Designers Association

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Graphic Design 96, 1984
Graphic Design 96, 1984. Cover design by Hiroshi Kojitani

 

Graphic Design 96, 1984. Kazumasa Nagai Feature
Graphic Design 96, 1984. Kazumasa Nagai Feature

 

Graphic Design 96, 1984. Kazumasa Nagai Feature
Graphic Design 96, 1984. Kazumasa Nagai Feature
Issue 96 of the Japanese magazine Graphic Design (グラフィックデザイン) published in 1994.
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When Fritz Gottschalk and Stuart Ash joined forces in Montreal, it was a partnership ideally suited to the city's hybrid environment. Gottschalk's training in graphic design in Switzerland, Paris and London was rigid, his background European; Ash, Canadian born and educated, was trained in the North American fashion, though he was influenced by his work with European designers
An advertising programme is fully integrated only when its effect is powerful enough to play a major part in determining a corporate image. Geigy advertising is an example of this successful integration.
I have always loved the design work created for Olivetti. The colourful midcentury designs by Italian designer Giovanni Pintori, the minimal typographic poster by Swiss designer Walter Ballmer and my personal favourite the 1959 poster for Olivetti designed by Herbert Bayer. I recently found out Triest Verlag released a new book, Visual identity and branding at Olivetti which contains further work by Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante and Walter Ballmer.
Theo Häussler's commercial art is distinguished by its clear and disciplined form and its distinct advertising message.