Also, in 1993, he was inducted into the Tokyo and New York Art Directors Club (ADC). Artworks. Cart Tokyo Olympics 1964 Design Guide Sheet: Download Recreated Vector Poster. As he grew up and developed his interest in the expression of emotions as well as time through graphic design, the Bauhaus Movement was finding its way to Japan. It is no secret that Rand was a great admirer of Japanese design and would regularly remind his students that the Japanese were, in his mind, entirely unparalleled in the field. When world war II ended in 1945, Japan’s crushing defeat brought millions of its citizens to the brink of starvation, suffering, and labor unrest. Consign with Artsy. 40 is an out-of-print and rare issue of a slim 54pp Japanese magazine from the 60s dedicated to all things design. He was outspoken, blunt, and straightforward, just as his work which always had a style of boldness, clarity and directness. Known as the “godfather of post war Japanese graphic design”, Kamekura had always been trying to elevating the role of graphic designers in Japanese society and providing opportunities to talented young generations of designers. following. His breakout design performance was definitely his work on all of the posters done for the Tokyo Olympics posters done in 1964. Hehad founded multiple design organizations, introduced modern design styles into Japanese traditional art, and inspired a great number of famous designers in the post war age including Ikko Tanaka and Kazumasa Nagai. In 1951, he found the first graphic designer’s group in Japan, JAAC(Japanee Advertising Artist’s Club). He was a pioneer of graphic design in Japan, and founded the Japan Design Center in 1960. Yusaku Kamekura, born in 1915, played an important role in shaping the modern graphic design of J apan. Yusaku Kamekura, born in 1915, played an important role in shaping the modern graphic design of Japan. “Kamekura, Yusaku: YUSAKU KAMEKURA: HIS WORKS. Overview. Condition A-: creases and minor tears at edges; minor creases in image. His work was seen as contemporary as it was being designed around trends that, not only were big at the time but also simplistic in nature with minimal uses of color. W/ publisher's original glassine over jacket & cardboard slipcase. Hello, Sign in. As young designers worked on the common goal of catching up with western design and raising the level of design in the nation, JAGDA enhanced the quality of design production through Japan. Price New from Used from Hardcover "Please retry" $99.99 — $99.99: Hardcover $99.99 3 Used from $99.99 1 Collectible from $300.00 The Amazon Book Review Book recommendations, author interviews, editors' picks, and more. He also traveled to New York to participate in the 1958 International Design Conference, and brought back bold, full page newspaper advertisement with American modern typography unlike any produced in Japan. Those early-life experience heavily influenced Kamekura with European western modern innovation in design: Bauhaus, Constructivism, Paul Rand, and the Art Deco posters of A.M. Cassandre. He viewed western logo design and branding styles as iconic, memorable and timeless, which the Japanese, at the time, were only imitating. From the bottom of my heart, I thought: This is civilization, this is design, this is the joy of living.”. More about him: yusakukamekura.blogspot.com/ Tokyo 1964 In 1950s, he visited designers in Kensai region of Japan and brought their work to the attention of Tokyo designers. by Yusaku Kamekura (Editor) 5.0 out of 5 stars 3 ratings. Title Personal Work Client Personal Work. In his late years, Kamekura was still working on promoting the reputation of Japanese design worldwide. Permanent collection Paul Rand: His Work from 1946 to 1958, 1959. by Yusaku Kamekura (Editor) 5.0 out of 5 stars 3 ratings. He wanted to give an equal change the young rising design generation, so he also valued competition and always encouraged young designer and his students by giving them equal opportunity to join the design organizations. Following his brief freelancing period, in 1962 Kamekura would go on to set up his own design firm with all the attention he had garnered in the past decade. First Edition. Perhaps most well known for his work for the Tokyo 1964 Olympics, he combined modernist principles and typography with the Japanese cultural heritage through the simplistic combination of the words "Tokyo 1964", the olympic rings and the sun from the Japanese flags. 40 is an out-of-print and rare issue of a slim 54pp Japanese magazine from the 60s dedicated to all things design. Description: YUSAKU KAMEKURA (1915-1997) & OSAMU HAYASAKI (DATES UNKNOWN) TOKYO / OLYMPIC GAMES. 40 1/2x28 1/2 inches, 103x72 1/2 cm. Kamekura had organized a wide, open gallery of works from prominent designers from all over the world including Paul Rand. He was interested in literally bringing these trends to Japan like he did in 1955. 1959. Learn about the artist and find an in-depth biography, exhibitions, original artworks, the latest news, and sold auction prices. View Yusaku Kamekura’s artworks on artnet. Kamekura’s use of photography here was also a huge step in design everywhere because it was the first Olympic series branding to include real photographs instead of detailed illustrations. How I stumbled across a niche hobby I never knew existed: Drawing (and animating) in CSS. Permanent collection Paul Rand: His Work from 1946 to 1958, 1959. All it amounts to, really, is a bunch of black and white company trademarks – 699 of them, to be exact – designed throughout the flourishing, consumerist post-World War II Modernist period. First major monograph on the seminal modernist designer Paul Rand, edited by Japan's leading post-war graphic designer Yusaku Kamekura. Two years after his first one-man show, he organized the famed Graphic '55 exhibition at the Takashimaya department store, introducing design into the vocabulary of the populace. W/ publisher's original glassine over jacket & cardboard slipcase. Toppan Printing Co., Ltd. Yusaku Kamekura (1915-1997) was one of the pioneers of Japanese graphic design who was at the forefront in promoting graphic design as an essential factor of modern society, culture and art, and whose achievements helped to establish the reputation of Japanese graphic design internationally. Japan had no history of modern design whatsoever, and Kamekura was frustrated with the little recognition that designers and artists received from the society. Bio Japanese, 1915–1997. 132 pp. This is one of many other reasons Kamekura was portrayed as the “father of Japanese graphic design.” He set out to introduce these concepts to the Japanese people, but he also went out of his way to create opportunities for more Japanese designers to emerge onto the quickly growing field. It was surely created with his determination of pursuing the best of all. Yusaku Kamekura, born April 16, 1915, was a prominent designer of the post-war period. As he displayed those boxes on the shelf, he felt “as though a fresh air of civilization and culture was suddenly filling my room. Followers 17. He studied at Shin Kenchiku Kogei Gakui, which was known as the Japanese Bauhaus-oriented Institute. Skip to beginning of content. This effort to bridge the gap between western and eastern design trends came following the Japanese defeat in WWII in 1945, which led to the Japanese combining and incorporating many western trends and influences into their society. Title Personal Work Client Personal Work. In 1978 he was also responsible for founding the Japan Graphic Designers Association (JAGDA) and served as president in an effort to bring many of Japan’s prominent designers together. The two designers first met in 1954, after which After this project, Kamekura would continue his career focusing mostly on poster design. People in Japan began to shift their emphasis from traditional fine art to applied art like graphic design. Yusaku Kamekura has 19 works online. Alongside these advertisements, he worked on the team behind Nippon Camera magazine, which was a photography magazine that took traditional Japanese symbols and forms and blended them with the design trends of the time. One of these contributions was the development of graphic design as a mainstream form of design in Japan. Yusaku Kamekura (1915-1997) was one of Japan's most prolific graphic designers. Here he would develop poster advertisements for the camera company that would represent a sleek, modern aesthetic with his use of strong geometric forms and contrasting colors as seen in his piece ‘Nikon’ (1955). From 1978 to 1984, he devoted himself to the organization’s expansion, improvement and legal incorporation. In 1955, he organized and took part in the graphic ’55 poster exhibition with designers including Paul Rand, introducing the word design to the populace. Kamekura picked the only one that had the power of an Olympic poster until 80 exposures were taken at 1/1000th of a second. Bio Japanese, 1915–1997. Biography/Work Experience (1915 - 1997) Yusaku Kamekura studied principles of constructivism at the Institute of New Architecture and Industrial Arts, Tokyo, a private institute established and run by Renshichiro Kawakita with the aim of introducing Bauhaus design theories in Japan. This award was established with a grant from his bereaved family. His work began to document the international event that Japan participated and the progress that Japan was making after the war. “Company | TAIYO MACHINERY Co.,Ltd.” 日本語, www.taiyokikai.com/en/company/. Following that year, he became famous as a graphic designer and surprised the world with his famous Olympic poster in 1964 and the 1970 Osaka Expo poster. His trademarks and symbols were usually contributed with abstract, bold, and geometric forms. Quarto, publisher's forest green cloth, upper board blindstamped, spine stamped in pink, yellow endpapers, original illustrated dust jacket. Because of the heavy influence of western industrial design, Kamekura emphasized abstract geometric forms a lot in his work accented with bold and flat colors such as grey-blue, chrome yellow, grey pink and orange. Page 1 of 1. 3rd Japan Industry floating fair Kamekura, Yusaku Graphics. Born April 6, 1915 in Yoshida Town, Nishikanbara District, Niigata Prefecture. 1. In 1978, Kamekura founded JAGDA(Japan Graphic Designes Association) to bring together professional designers with talent and served as first president. yusaku kamekura In tribute to graphic designer Yusaku Kamekura who passed away suddenly in 1997, a prize in his name was established in 1999 as a contribution to the development of the graphic design industry. Kamekura was born into a world at war, right in the middle of WWI. There are 10,231 design works online. Skip to end of content Nikon SP, 1957. The Tokyo Olympic symbol is a powerful, concise design, while the posters capture the dynamism of athletes. There are 6,128 graphic design works online. This issue includes a feature on boat interior design and modernist furniture. “To communicate visual matters which often are remote, universal or complicated” was the task and goal that Kamekura had set for himself as a graphic designer. Kamekura is perhaps most well known for his work for the Tokyo 1964 Olympics, as he combined modernist principles and typography with Japanese cultural heritage. The year’s most outstanding work is selected from all designs included in the yearbook, regardless of the designer’s age or career background. This issue includes a feature on boat interior design and modernist furniture. Yusaku Kamekura, … Bidding closed. Price New from Used from Hardcover "Please retry" $99.99 — $99.99: Hardcover $99.99 3 Used from $99.99 1 Collectible from $300.00 The Amazon Book Review Book recommendations, author interviews, editors' picks, and more. This might be because of his goal of bridging the … Account & Lists Account Returns & Orders. Yale University, Council on East Asian Studies, 2011, elischolar.library.yale.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1002&context=ceas_publication_series. In 1962, he set up his own practice and established Kamekura Design Office. Kamekura’s forms and designs during this period continued to reflect his abstract take on design. Kamekura’s passion for design, as well as his love for his home country, would go on to help define an entire era for design all over the world. 1964. Text by Yusaku Kamekura, 1962 Design 11 No. This was done to further push his ideas onto the Japanese design scene and later the world, seeing as he, “thought that it would make the Hinomaru [modern Japanese flag] look like a modern design” (Kelly 45, Kamekura 1966). Kamekura had always been seeking for new ideas and new materials in design, like what he once said “design lives for its freshness.”, Explain By Example: Designing Production Systems, Design System for dummies, create your own flavor of React Native app in 3 easy steps, AMA with Alissa Briggs, Director of Design, Trailblazing Architects Inspire Future Design Leaders, Designing for wellbeing in times of change. Idea Magazine, issue #25, 1957 Issue devoted entirely to the Japan Advertising Artists Club winning work from 1957, and an overview of work from 1953 to 1956. He was a stunning individual designer who had amazed the world with his prolific work of design, he was also a grand figure who never forgot to contribute to the design community had inspired several generations of designers with his devotion and passion. Olive endpapers. Known as the “godfather of post war … 2. 1979. 3. 1st US Edition. I thought of burning butterflies.”. Kamekura is perhaps most well known for his work for the Tokyo 1964 Olympics, as he combined modernist principles and typography with Japanese cultural heritage. The symbol and poster designs for the 1964 Tokyo Olympics were Kamekura’s best-known work. His effort to introduce these new trends to the Japanese didn’t just stop at the work that he produce. 150 plates, 31 in color. Here, he learned much more about constructivism and Bauhaus directly and various methods of incorporating traditional Japanese themes into this distinctly western art style. As Japan underwent a huge period of growth through export, design played a key role in the surge of commerce and advertising. Yusaku Kamekura (1915-1997) was one of Japan’s most prolific graphic designers. Creation presented both vintage and contemporary design development around the wrold, expanding the world of Japanese designers with its high quality bilingual publication. As Japan began to adopt western modern social structures and rebuild country with fast aggressive pace and modern capitalism, the concept of graphic design also began to sprout and develop as a bi-product of Japanese modernization process. View all works. Text in English and Japanese. Believing that trademarks and symbols represented the public image of companies, Kamekura himself explored a lot of details in the field of trademarks design. Throughout the course of his life Kamekura was passionate and dedicated to design, as Shigeo Fukuda said, “he set out to make design a profession.”. An Inscribed Copy in Slipcase.” Modernism101.Com, 16 June 2015, modernism101.com/products-page/graphic-design/kamekura-yusaku-yusaku-kamekura-his-works-tokyo-bijutsu-shuppan-sha-1971-an-inscribed-copy-in-slipcase/#.WsZFcIjwaHv. Yusaku Kamekura (1915-1997) was one of Japan’s most prolific graphic designers. His unique began to attract attention from the world. Paul Rand: His Work From 1946 To 1958 By Yusaku Kamekura: $500. The period was the “revival” of Japan as an economic power and Kamekura set out to demonstrate this globalization with the use of constructivist style designs with this branding. Paper. Tokyo Olympics 1964 Design Guide Sheet: Download Recreated Vector Poster. Kamekura valued fair-play, and recognized the talent in a young designers at first glance. 120 In terms of his personal life and interests, He has said that he is a huge fan of anything regarding sports or athletics. Kamekura’s work on the Osaka expo poster was, in my opinion, one of his best performances that exemplified his efforts to unify the aesthetic themes of Bauhaus and Constructivism with Japanese ideals and traditions. Artworks. From Rago/Wright, Yusaku Kamekura, Paul Rand: His Work from 1946 to 1958 (1959), Printed paper, 10 × 10 1/4 in Born April 6, 1915 in Yoshida Town, Nishikanbara District, Niigata Prefecture. For the series, he would use photography to create an interesting and vivid contrast between the events and the Olympic rings. Kamekura is best know for his graphic work for the Tokyo Olympic Games in 1964. Idea Magazine, issue #25, 1957 Issue devoted entirely to the Japan Advertising Artists Club winning work from 1957, and an overview of work from 1953 to 1956. This might have influenced him a bit when he was approached about 2 years later to work on some branding aspects for the upcoming Olympics ceremony in Tokyo. He also worked for Yonosuke Naroti after graduation, whom was a Japanese photographer trained in Germany. More about him: yusakukamekura.blogspot.com/ Tokyo 1964 Page 1 of 1. This was crucial to iintroducenot only the concepts of international design to Japan, but also the larger concept of graphic design to the masses. PAUL RAND: HIS WORK FROM 1946 TO 1958 Yusaku Kamekura [Editor] Yusaku Kamekura [Editor]: PAUL RAND: HIS WORK FROM 1946 TO 1958. A subjective history of graphic design (not necessarily the canon and certainly not in chronological order) by NCSU students for GD203 Graphic Design History course, http://brainmag.sendenkaigi.com/post/126991609085/power-of-design-yusaku-kamekura-demonstrated-at, http://www.designishistory.com/1960/yusaku-kamekura/, https://collection.maas.museum/object/349928, https://medium.com/@kailindong/yusaku-kamekura-biography-8b15c3fcb0c7, Lester Beall- Posters for the Rural Electrification Administration, Who’s Who in Graphic Design- Lester Beall. His prominent 1964 Olympic poster, which was the first Olympic poster to use a photograph, was designed after six runners spent hours making stagger false starts toward a line at which a commercial photographer aimed a telephoto lens. Here is a collection of posters by the father of Japanese graphic design, Yusaku Kamekura. He tried to bring in this new concept of graphic design into the nation and propel the design industry in Japan. Devising the look of Tokyo ’64 fell to Yusaku Kamekura, the dean of Japanese graphic designers, who had imbibed modern design from the Bauhaus-trained professors of … 132 pp. Overview. Bijutsu Shuppan-sha, 1971.) There are 6,128 graphic design works online. But the President of the Japan Graphic Designers Association, Inc. (JAGDA) Yusaku Kamekura has accomplished this … “He taught me how to see.” As the godfather of Japanese graphic art, he had inspired a lot of well-known designers such as Ikko Tanaka, Kazumasa Nagai, Akira Uno, Tadanori Yokko, Toshihiro Katayama, Tsunehisa Kimura, Seiji Shirai, and Kuniomi Uematsu. Kamekura a First published in 1975, the slim paperback is the result of an offbeat collecting quest done by Japanese designer Yusaku Kamekura (1915-1997). Yusaku Kamekura graphic design exhibition, International Design Center Nagoya by Yūsaku Kamekura ... a work of genuine scholarship, and a visual delight. He is probably best-known for his 1964 Tokyo Olympic Games posters as Japan was still culturally shaken from the aftermath of the WWII, and Kamekura was tasked with creating a successful poster campaign to propel his country into the post-war design elite. Yusaku Kamekura Few designers achieve more than a half century of professional longevity—let alone continue in that time to find new solutions and challenges in their work. following. On the contrast, the trademarks in Japan only followed the fashion but were not able to become classic and everlasting. Since 1989, Kamekura has been the editor, cover designer, and organizer of Creation Magazine, a series of publications limited to twenty issues which focus on international graphic design, art, and illustration work by a variety of artists. As a designer, he was focused, positive, openhearted and always motivated. Graduated from Nihon University Junior High School in 1933. Some of these works include the logo for Taiyo Kikai-Kogyo Machine Factory (1943), Daishowa Seishi Paper Mill (1966), as well as the Nippon Telegraph & Telephone Company (1952). Founded by eight commercial companies which were also its client, Nippon Design Center sought to drive up the standards within the Japanese advertising and design industry. Notable Works. He is probably best-known for his 1964 Tokyo Olympic Games posters as Japan was still culturally shaken from the aftermath of the WWII, and Kamekura was tasked with creating a successful poster campaign to propel his country into the post-war design elite. Persuaded by journalists Matsuo Suzuki and Masataka Ogawa, Kamekura then co-founded Nippon Design Center with Ryuici Yamashiro and Hiromu Hara in the 1960s. Learn about the artist and find an in-depth biography, exhibitions, original artworks, the latest news, and sold auction prices. He worked for a joint advertising office headed by Hideshige Ota for several months this year. Gropius and Bauhaus Exhibition, 1954 12 1959 Japanse tekst Kamekura, Yusaku Graphics. His career would eventually lead him to work on the branding for Nikon (Nippon Kogaku). View Yusaku Kamekura’s artworks on artnet. His designs find a synthesis between the rational, logical and functional creative systems of the west and the classical grace of traditional Japanese design. 9.75"x 10.25" Some water staining present, condition noted Yusaku Kamekura Alfred A. Knopf 1959 Paul Rand: His Work From 1946 To 1958 By Yusaku Kamekura: $500. Green cloth stamped in pink. His designs find a synthesis between the rational, logical and functional creative systems of the west and the classical grace of traditional Japanese design. Once when he visited New York for the International Design Conference, he recalled a story of him brought home the boxes decorated with abstract design that Americans soldiers left at the station right after the war. See all formats and editions Hide other formats and editions. Yusaku Kamekura. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab Kamekura would continue his efforts of improving the standards of what Japanese graphic design is through JAGDA for many years of his later life. At that time, he thought that trademarks from Europe and America not only promoted products but also enhanced their appearance. He served as President of Japan Graphic Designers Association (JAGDA) from 1978 to 1993. The year’s most outstanding work is selected from all designs included in the yearbook, regardless of the designer’s age or career background. Kelly, William W., and Susan Brownell. Japan’s economy was focused very heavily on exports and people are more inclined to purchase things with good design. Tokyo: Bijutsu Shuppan-Sha, 1971. Kamekura is best know for his graphic work for the Tokyo Olympic Games in 1964. Before Japan opened to the western culture and adopted the western political and social structure, the nation was dominated by traditional fine art which was mainly used for decoration. Title Personal Work Client Personal Work. In his work and in his teaching, _____ sought both unified dynamic harmony and relationships among contrasting elements. Free shipping for many products! Printed dust jacket. I wondered what I could make that had those qualities, but that you could also hang in a room. Text by Yusaku Kamekura, 1962 Design 11 No. Kamekura had a brief stint as a logo and corporate branding designer following his time with Nikon. He has chosen friends who are the formost figures in their professional fields such as Sofu Teshigahara, who was the flower arrangement master, and Ken Domon, who was the leading photographer in Japan. Born in 1915, Yusaku Kamekura grew up in Niigata Prefecture, northwest of Tokyo on the Sea of Japan. “Yusaku Kamekura.” ADC • Global Awards & Club, 1993, adcglobal.org/hall-of-fame/yusaku-kamekura/.https://collection.maas.museum/object/349928, “社団法人 日本グラフィックデザイナー協会 JAGDA.” JAGDA:About JAGDA, www.jagda.or.jp/en/about/.https://medium.com/@kailindong/yusaku-kamekura-biography-8b15c3fcb0c7, https://www.famouslogos.net/yusaku-kamekura/. As a designer, Kamekura was also a perfectionist who refused to compromise on the end result. He is probably best-known for his 1964 Tokyo Olympic Games posters as Japan was still culturally shaken from the aftermath of the WWII, and Kamekura was tasked with creating a successful poster campaign to propel his country into the post-war design elite. Follow. View all works. To promote the standard of design in Japan, Kamekura had founded multiple design organizations throughout the course of his life. Follow. Find many great new & used options and get the best deals for Paul Rand: His Work from 1946 to 1958 by Yusaku Kamekura at the best online prices at eBay! Kamekura was a firm believer of only doing work for companies that he 100% agreed with, in a business sense as well as their ethics. The Olympics in East Asia: Nationalism, Regionalism, and Globalism on the Center Stage of World Sports. His work would go to not only define Japan’s post-war, but also the general aesthetic as well as the ideals of the time. While Kamekura was successfully expanding his personal design career, he had always been trying to consolidate the role of graphic design in Japan and cultivate more talented young designers in the community. The simple geometry of the cherry blossom in the middle is easily recognizable and further brought out when pair Sofu Teshigahara, One Man Show, 1954 []. Yusaku Kamekura. There are 10,231 design works online. Sell art from your collection. 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