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Cover Photo: Ryszard Horowitz
Editor in chief: Yoshihisa Ishihara
Editorial Director: Hisao Matsumoto
Publisher: Shigeo Ogawa
Editorial Cooperation: Ohchi Design Office
Editorial Cooperation: Midori Imatake

Content includes:
Vivienne Flesher: with Fresh Sense of Colors by Shinichiro Tora
Ryszard Horowitz: A Highly Talented Photographer by Pieter Brattinga
New Paradigm for Communication from GK Graphics by George Nelson
Tom Lennon: Art Director of “Emergency Medicine” by Tom Lennon
The Silver Bridge: 25th Sister City Anniversary Tokyo / New York Week, 1985 by Edward Koch, Shinichiro Tora
Designer’s Life of Jun Toyoda in the U.S. and Japan by Jun Toyoda
“Art Direction: Japan Today” in New York by Hideo Mukai, Masuteru Aoba, Takahisa Kamijo, Ryohei Kojima, Keisuke Nagatomo, Shin Matsunaga, Shinzo Higurashi
Working Women by Jessica Strang by Shigeru Watano
Kenji Ito who Pursues the Authentic Path by Kazumasa Nagai
Works of Tadanori Yokoo in West Berlin and in Genova by Sumie Haerdter
Society of Illustrators’ 27th Annual Exhibition by Shinichiro Tora
Special Feature: Type Directors Club 31st Annual Exhibition by Marilyn Marcus, Minoru Morita, Kenzo Nakagawa, Minoru Niijima
Works of Norman Moore
The Good Design Guide-100 Best Ever Products Exhibition at the Boilerhouse
Fornasetti’s Artistic Bicycle-represents his Creativity in Multiple Phases
Mead Paper’s Top Sixty 1984 Show
Salary Report U.S.A. by Midori Imatake
The Symbol Mark of the Day of Writers for Peace International P.E.N. by Masurô Okuyama
Book Review, The Works of Hiromu Hara by Koichi Nakai
Domestic News, Book Review

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Idea 193, 1985-11. Cover design by Ryszard Horowitz
Idea 193, 1985-11. Cover design by Ryszard Horowitz
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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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Before ascending to fame within the contemporary art scene, Warhol enjoyed a thriving career as a commercial artist. His illustration work was commissioned by various magazines, including The New Yorker, Vogue, and Harper's Bazaar.

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The advertising has a certain contrast of hand-drawn and mechanical. Produced entirely in black, it reminds us that the absence of colour can be highly effective. Hans Michel and Günther Kieser's illustrations bring a sense of both playfulness and a stylistic approach to a corporate client.

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In my previous article about the design work produced for Insituto di Tella, I touched upon the artists Juan Carlos Distéfano, Ruben Fontana and Juan Andralis. After further research, I found a suite of other designs they had produced, including exhibition posters, concert programmes and record sleeves.

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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.