Graphic Design 99, 1985

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Content includes:
Design focus
・35th Aspen Conference / Enomoto Ryoichi
・19th SDA Awards Grand Prize Winner NTT / Sakano Nagami
・The Miracle of Genoa: The Future of the Japanese Avant-Garde / Yamaguchi Katsuhiro
・Tahara Keiichi’s “Fin de Siècle” Exhibition / Miyake Riichi
・Landscapes with Letters: Sha-Ken Photography Contest / Otsuji Seiji
・Kitagawa Yoshiko’s Package Exhibition / Aoba Masuteru
・Vivid Light: Two Orthodox Exhibitions / Hayakawa Yoshio
Special feature: Total Scanner System Considerations of digital creativity
What is a total scanner system?
– Color printing and scanners
– Process flow
– Composite
– Tone change
– Gradation
– Rotation, inversion, multi-image
– Multi-cut, transformation
– Brushing
– Mosaic
Future total scanner systems
Japanese peace posters / Awazu Kiyoshi
Art direction by Mizutani Takatsugu / Nagai Kazumasa
Graphic design by Toda Tsutomu / Miyasako Chizuru
Communication design by Gregotti
1st World Poster Triennale Toyama 1985 / Kamijo Takahisa
Ecograda Series ⑪ United States, Australia
Activities of the Japan Graphic Designers Association

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Linked Information

Graphic Design 99, 1985
Graphic Design 99, 1985
Issue 99 of the Japanese magazine Graphic Design (グラフィックデザイン) published in 1985.
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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Karl Oskar Blase was born in 1925 in Cologne, Germany. He was a prolific painter, designer, sculptor and exhibition curator. His work included magazine covers, for publications such as Form and Gebrauchsgraphik, stamp designs for the German Postal Service and film posters for companies such as Atlas Films.

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Advances in production and 1950s chewing gum marketing. From Wrigley's iconic "Spearman" ads to Hiroshi Ohchi's designs for Harris Chewing Gum.

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Ootje Oxenaar designed the summer stamps for the Netherlands using an assignment from De Nederlandsche Bank based on banknotes. The assignment resulted in the collaboration of Oxenaar, the printer, the laboratory and the banking specialist, in which they experimented with the design of securities on printed matter.

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Giovanni began his work with Olivetti in March 1938, and his work was showcased in various exhibitions and had a clear distinctive style that amplified the Olivetti brand image. His design defined the company’s visual image, and the iconic geometric designs are still as powerful and engaging today as they were in the 1950s.