Visible Language, Vol 06, 04, Autumn 1972

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Content includes:
One Second of Reading, Philip B. Gough
The Typographic Element in Cubism, 1911-1915, Susan Marcus
Changing Responsibilities of the Typographic Designer, G. W. Ovink
Program for Developing Visual Symbols Ed Bedno
Words about Ed Ruscha, David Bourdon

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Visible Language, Vol 06, 04, Autumn 1972
Visible Language, Vol 06, 04, Autumn 1972
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From the design archive:
From the design archive:
From the design archive:
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More graphic design history articles

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A 1,500 essay on the transformative era of graphic design from the 1970s to the 1990s. Moving beyond the constraints of modernism, designers like Wolfgang Weingart and April Greiman redefined visual communication through bold experimentation with type, colour, and early computer graphics. This essay highlights how postmodernism and New Wave design introduced complexity, individuality, and digital innovation in to graphic design.
Systematic Surface Design eliminating the hindrance of searching for strategies and starting points, allowing designers to quickly find optimal solutions.

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Ikko Tanaka (田中一光, 1930–2002) was a celebrated Japanese graphic designer. His client list included Mazda, Hanae Mori and Issey Miyake, Expo '85 in Tsukuba, World City Expo Tokyo '96, and the Victoria and Albert Museum.

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Yoshio Hayakawa is one of Japan’s most influential post-war poster designers. His work represents a fusion of traditional Japanese art and European modernism often using soft, poetic brushstrokes and refined colour palettes and capturing the elegance of Japanese aesthetics while integrating the clean lines and bold visual language of Western design.