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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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Linked Information

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.
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
Triest Verlag für Architektur, Design und Typografie are a Swiss independent publisher producing specialist design books in the realms of typography, graphic design and architecture. Their books provide valuable insights and the print production is of exceptional quality. I interviewed the founders, to find out more about their books.

Members Content

Collected Japanese ephemera From the late 1920s to the mid-1930s, from Japan's transformative period, with its robust industrial force accompanied by an increase in consumer culture.

Members Content

Wolfgang Weingart's artistic design delved into the intricacies of Swiss typography, skillfully dissecting its elements while venturing into texture and type experimentation. His layered montages radiated dynamic kinetic energy, standing in stark contrast to the minimalist approach of his instructors, embracing a more maximalist aesthetic.

Members Content

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.