Idea 357, 2013-3

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Special Feature: The Development of Architectural Media in Japan
20th Century Editorial Odyssey Vol. 8: Printed Punks
Margins of Design Vol. 6 Daijiro Ohara
Cultural History of Japanese Typefaces Vol. 2 “Scene with Gothic-tai”
Editorial Cooperation by Shohei Iida, Photo by Kenta Hasegawa
Contemporary Media on Architecture
TOO MUCH:Magazine of Romantic Geography
The Evolution of Graphic Representation on Architecture
Chronological Table of Japanese Architecture Magazines
Interview with Boredom, Kyoranshyokan, Harumi Yamazaki, Fifth Column
Cultural History of Japanese Typefaces
Vol. 2 “Scene with Gothic-tai”

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Idea 357, 2013-3
Idea 357, 2013-3
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Many designers played an important role in IBM's graphic identity and implementation including Arthur Boden, Clarence Lee, Charles Keddie and Mary Beresford.

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The designer is unstated on these postcards, which were designed during the mid to late 1970s, but these playful illustrations alongside what looks to be Frankfurter Bold definitely fit the criteria of friendliness and efficiency

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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.
In the late 1960s, IBM was one of the world’s pre-eminent corporations, employing over 250,000 people in 100 countries. While Paul Rand’s creative genius has been well documented, the work of the IBM staff designers who executed his intent outlined in the IBM Design Guide has often gone unnoticed.