Japan’s Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986

Information

Shigeru Kobayashi / Sumio Hasegawa

Details

Linked Information

Japan's Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986
Japan’s Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986

 

Japan's Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986
Japan’s Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986

 

Japan's Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986
Japan’s Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986

 

Japan's Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986
Japan’s Trademarks & Logotypes in Full Color. Part 2, Graphic Sha, Tokyo, 1986
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

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.
Why Graphic Culture Matters is a compilation of 46 thought-provoking essays by renowned design critic Rick Poynor, delving into the realms of art, design, and visual communication.
Systematic Surface Design eliminating the hindrance of searching for strategies and starting points, allowing designers to quickly find optimal solutions.

Members Content

Walter Ballmer was a Swiss graphic designer born in Liestal, Switzerland in 1923. He worked across various design disciplines including advertising design, packaging, typography and exhibition design.