Text by Kazumasa Nagai, 1974
Quarterly Design was a Japanese publication. Fifty years on, it really captures and conveys the spirit of its time. It shares a lot in common with the renowned and still in print publication IDEA although only in Japanese and broader in terms of design, covering other disciplines such as architecture and interior design. Highlights of Issue 7 from the autumn of 1974 includes the striking cover by Toshihiro Katayama, and an incredible feature on the logos of Kamekura. As with many design publications of its time, this one mixes full colour images with black and white, and both uncoated and coated papers. The following is a translation of the article “Gorgeous and Delicate” written by Kazumasa Nagai on the work on Yusaku Kamekura, and was printed alongside 27 of his logos. For more graphic design history, click here.
Text by Richard Baird
IDEA / アイデア is a quarterly magazine dedicated to graphic design and typography. It was first published in 1953 in Tokyo, Japan by Seibundo Shinkosha Co.,Ltd, and originally art directed by Hiroshi Ohchi. It is still going strong today at number 391. Alongside regular issues, IDEA produced one-off books and a series of Extra Issues. Highlights for me so far have been Issue 323 on Wim Crouwel, Issue 123 on Burton Kramer Associates, and Idea vs The Designer’s Republic for 2000. This issue, Number 96, is one of the earliest copies I have to hand. It features a cover by and the feature on the renowned French designer Jacques Nathan-garamond, alongside pieces on Belgian Graphic Design and the Japanese designer Jitsuo Hoashi. To support the running of BP&O this magazine is available on the LogoArchive.Shop.
Text by Richard Baird
160 Faces is a new publication from Swedish artist Daniel Götesson working under the name Ekta, designed by Lundgren+Lindqvist and distributed under the studio’s publishing arm ll’Editions. The book collates 160 drawings made by the artist in 2019, and sequenced, rather than in logical pairs and with a curated rhythm, but by using an algorithm developed by the studio. Applied using modern print technologies, each book becomes a unique experience of unexpected outcomes. The viewer is thus involved in formulating meaning between human faces that were algorithmically paired, and outside of the hands of the artist. This intersection of machine generated results, a very human image and artistic expression, continues in the typesetting of title pages and colophon. Here, Lundgren+Lindqvist designed a basic framework for the artist, who wrote all the necessary text with the same crayon he used when creating the drawings.