TRADEMARKS AND SYMBOLS OF THE WORLD
Yusaku Kamekura, Paul Rand Rand [preface]
Yusaku Kamekura, Paul Rand Rand [preface]: TRADEMARKS AND SYMBOLS OF THE WORLD. New York: Reinhold, 1965. First edition. Quarto. Full oatmeal cloth titled in black. Printed dust jacket. Black endpapers. 292 pp. 763 color and black and white illustrations. Elaborate graphic design throughout. Jacket edgeworn with chipping to spine ends and corners. Interior unmarked and very clean. Out-of-print. Size and subject matter conspire to make this a useful and therefore abused collection. An exceptional copy of a book rarely found in collectible condition: a very good or better copy in a good or better dust jacket.
10.75 x 11.25 hardcover book with 292 pages and 763 color and black and white examples of trademark design from around the world. Beautifully designed by Kamekura and printed in Japan by the craftsmen at Zokeisha Publications Ltd. in Tokyo.
The best trademark anthology I have seen -- my highest recommendation.
This volume includes work by the following Graphic Artists: Paul Rand (many examples), Saul Bass (many examples), Primo Angeli, Walter Ballmer, Lester Beall, Joseph Binder, Max Bill, Studio Boggeri [Italy], Brownjohn Chermayeff and Geismar, Erberto Carboni (many examples), Wim Crouwel, the Design Research Unit, Olle Eksell, Fletcher Forbes Gill, Piero Fornasetti, Karl Gerstner, George Giusti, Franco Grignani, Irving Harper [George Nelson], F. H. K. Henrion, Max Huber, Marcel Janco, Matthew Leibowitz, Stig Lindberg, Raymond Loewy Associates, Richard Lohse, Herb Lubalin, Herbert Matter,George Nelson (many examples), Hans Schleger (Zero), Ettore Sottsass, Ladislav Sutnar (many examples), Bradbury Thompson, George Tscherney, Benno Wissing, Tadanori Yokoo and hundreds of other graphic designers from around the globe.
Yusaku Kamekura first met Paul Rand in 1954. As well as seeing the "genius" in Rand's work, Kamekura also recognized something essentially Japanese in his style: "When we Japanese look at Paul Rand's work and ponder the futility of our struggle to absorb western culture, we are stunned to recognize traditional Japanese styles - styles which we Japanese have long forgotten - running beautifully and refreshingly through them (From Yusaku Kamekura: His Works. Bijutsu Shuppan-sha, 1971.)." 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 the field.
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. His designs included a wide diversity of projects such as logos, packages, books, and page layout, but some of his most memorable achievements were in posters, many of which can be seen in this book.
The symbol and poster designs for the 1964 Tokyo Olympics were Kamekura’s best-known work. The Tokyo Olympic symbol is a powerful, concise design, while the posters capture the dynamism of athletes. The poster design also incorporated photos, marking the first time that a photograph was used in an Olympic poster. Kamekura's other well-known poster designs include Hiroshima Appeals, a poetic image of falling, burning butterflies; Expo '70 in Osaka; and a series entitled, I’m Here.
Aesthetically, Kamekura’s style is characterised by powerful, clear-cut designs using abstract forms, planes, and lines, as well as photography. With colour, Kamekura favoured bright, mixed hues and only rarely used primary colours. His skilful use of black in the background, for the image or the title, gave his work strength and tranquility.
After his death in 1997, Japan Graphic Designers Association (JAGDA) honoured Kamekura in 1999 with a design award in his name, recognising him as a key leader of JAGDA and for his "profound influence on design both at home and abroad." The Yusaku Kamekura Design Award is offered to a Japanese or international designer "producing the most outstanding work of the year, regardless of age or career."