LogoArchive returns with its fifth collaborative Extra Issue: Logo Redux, dedicated to the fascinating theme of Renaissance printers’ marks. These marks, many drawn from the 15th century, appear somewhat modernist in nature. As such, this Extra Issue functions as a “prequel” to previous LogoArchive issues, and positions printers’ marks as a precursor to the modernist corporate trademarks of the mid-century.
Conceptualised by designer, educator and researcher Darren Leader, working in collaboration with Unlocking The Archive, the University of East Anglia and editor Richard Baird, this Extra Issue intends to revive interest in printers’ marks and the inventive typography of renaissance publishing.
Logo Redux is a Limited Edition run, these can be ordered at logoarchive.shop.
LogoArchive returns with its fourth collaborative Extra Issue and first bi-lingual release, documenting the forms of Japanese logo design. Through the distinctive smaller format of the bound booklet LogoArchive seeks to surprise and delight with each new issue, introducing new collaborators to offer unexpected interpretations of the ubiquitous logo book. For this Extra Issue, Hugh Miller orchestrates graphic impact and material nuance to honour the unique visual legacy and craft associated with Japan. In addition, the words of Tokyo-based designer and writer Ian Lynam, and his assistant Iori Kikuchi, offer an introduction into Japanese symbols.
LogoArchive の第4号目となる増刊号で は、日本のロゴデザインの形を記録し た 初 の バ イ リ ン ガ ル 版 を 発 行 し ま す 。小 冊子という独特のフォーマットを通し て、LogoArchive は毎号、新しいコラボレ ーターと共に、お馴染みのロゴブックへ の思い掛けない解釈を提案しながら、驚 きと喜びを追求しています。
今号では、Hugh Miller (ヒュー・ミラー) が、グラフィックのインパクトと素材のニ ュアンスの交差点を探り、日本にまつわ るユニークな視覚的遺産と工芸品を称 えています。さらに、東京を拠点に活動す るデザイナーであり作家でもあるイエン・ ライナムと、彼のアシスタントである菊地 伊織の言葉で、日本のシンボルを紹介し ています。
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.