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Graphic Design History from Design Reviewed

Idea 313, 2005-11

Information

Content includes:
Special Feature: Graphics of Warp Record
Special Feature 2: 2×4 “12 ideas for Idea”
Special Feature 3: Namaiki A.R.S.E – Agricultural Research Super Extraordinary
Talk Session “Typography with love, uniqueness and affluence” Nobuo Nakagaki, Mitsuo Fukawa, Hirokazu Mukai
esign manierism vol.2 “Characteristica Universalis” by Hiroshi Takayama
When Pigs Design Vol.33 by Kyoichi Tsuzuki “How cool not to be cool is–Great airbrush painters Part.1”
Invisible Language vol. 17 An interview with Emma Clarke by Paul Elliman
Shinro Ohtake Original Serial Poster [2nd impact] Part 14 Side A(inside): At Marco, ’93 Side B:(outside): Police Journal

Details

  • Format: Magazine
  • Year: 2005
  • Client/Publisher: Seibundo Shinkosha Publishing Co
  • Size: 226mm x 297mm

Linked Information

Idea 313, 2005-11
Idea 313, 2005-11
More graphic design artefacts
Form, Internationale Revue 48, December 1969. Designed by Karl Heinz Krug
From the design archive:

Form, Internationale Revue 48, December 1969

  • Format: Magazine
  • Designer/s: Karl Heinz Krug
  • Year: 1969
View Artefact
Graphis 205, 1979/80. Cover design by André François
From the design archive:

Graphis 205, 1979/80

  • Format: Magazine
  • Designer/s: André François
  • Year: 1979
View Artefact
11 Painters, Stedelijk Museum, Amsterdam, 1976 designed by Wim Crouwel and Daphne Duijvelschoff (Total Design)
From the design archive:

11 Painters, Stedelijk Museum, Amsterdam, 1976

  • Format: Exhibition Catalogue
  • Designer/s: Wim Crouwel and Daphne Duijvelschoff (Total Design)
  • Year: 1976
View Artefact
Art and Industry magazine December 1948
From the design archive:

Art and Industry magazine December 1948

  • Format: Magazine
  • Year: 1948
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

Japanese Ephemera from the 1920/30s
  • Design Archive Feature, Ephemera, Illustrated Matchboxes, Members Only Content

A Collection of Japanese Ephemera from the 1920s and 30s

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

FUN, October 16, 1869
  • Design Archive Feature, Members Only Content

Victorian Graphic Design in Britain and America

Victorian Graphic Design left a mark on both British and American design history. In Britain, the ornate embellishments served as a symbol of prosperity and cultural values. Meanwhile, America embraced the combination of various design elements to navigate the complexities of a rapidly changing society driven by industrialisation and consumerism.

Members Content

What has been said about the styling of advertisements goes for the field of publicity for chemical and pharmaceutical products as well. Whether it is a soporific, an analgetic or a protein remedy for defects of malnutrition - nearly without a single word, the efficiency of the product in question is symbolically characterized in the composition and the choice of colours equally to the point, on the covers of these prospectuses. Suppositions for such achievements are the highest level and a freedom of artistic means which our businessmen, when employing commercial artists, are only too seldom ready to grant. Designs Matthew Leibowitz
  • Design Archive Feature, Members Only Content

Advertising Pharmaceuticals, A Comparison of German and American Advertising in 1950

As a chemist, I have an obligation to be curious – I grab a stack of our chemical journals and start with the advertising section. I start it, the walk through the sand. I don’t want to deny some oases. But soon I’m bored and tired.

Members Content

Scan 415
  • Design Archive Feature, Members Only Content

Manifestos on Kinetic Art

Kinetic art refers to art the depends on movement for its desired effect and is closely related to op art. Upon scanning a few of the inner inserts from the Kinetics exhibition catalogue from the Hayward Gallery, London, 1970, I came across these five small manifestos on kinetic art.