Poster for Nikon, 1957
Yusaku Kamekura (1915-1997), a Japanese graphic designer, was a pivotal player in postwar Japanese graphic design. His dominance in the field earned him the moniker “Boss.”
Yusaku Kamekura’s poster emphasises the brilliance and clarity attained with the Nikon lens and the technical perfection of his client’s camera by using brilliant optical patterns and powerful, white letter forms against an intensely dark background. In 1954, Kamekura created his first poster for Nikon, marking the start of a long and fruitful collaboration. He helped shape the company’s image with a comprehensive graphic programme that included posters, packaging, signs, and logos.
While graphic designers and corporate clients in the West, such as Giovanni Pintori with Olivetti (no. 215) and Paul Rand with IBM (no. 381), were already producing coherent visual identification programmes, Kamekura and Nikon were the first in postwar Japan to develop this kind of sympathetic relationship. Nikon provided Kamekura with the opportunity to create a modern and fresh public image, which he later credited with helping him build his artistic personality. This poster, which was published in Graphis Annual in 1957, brought Kamekura and Japanese graphic design to international recognition, followed by the programme Kamekura designed for the Tokyo Olympics only a few years later.
More Yusaku Kamekura
Hiesinger, K. B., & Marcus, G. H. (1995). Landmarks of twentieth-century design: an illustrated handbook. Abbeville Press.
KAMEKURA, Y. (1983). Trademark designs of the world. DOVER PUBLICATIONS. Retrieved September 28, 2022, from https://amzn.to/3fj7ajb.
Sakane, S. (1984). Graphic design in Japan. vol. 4. Kodansha International. Retrieved from https://amzn.to/3BWTi66.
Timmers, M. (2012). A century of olympic posters. V & A. Retrieved September 28, 2022, from https://amzn.to/3foUsQ5.
More Japanese Design
Poster for Nikon (1957) by Yusaku Kamekura
Yusaku Kamekura’s poster emphasises the brilliance and clarity attained with the Nikon lens and the technical perfection of his client’s camera by using brilliant optical patterns and powerful, white letter-forms against an intensely dark background.
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Japanese Publication: Monthly Cosmopolitan. Cover
Japanese Publication: Monthly Cosmopolitan. Aoyama Nozomi and Wakida Asuka (Cosmopolitan). 2015.
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Harue Koga delightful illustrations and paintings ♥︎
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Shiro Kuramata’s inventive transformations of everyday industrial materials, including steel mesh, terrazzo, corrugated aluminium, and steel cables, pushed material technology to new design limits. Read More >
‘A Strong Identity is an Icon’ Says the Designer Behind the Uniqlo Logo
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Japanese Shower Curtain – Sakura Bloom Design
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Hinoki Wood Bath Mat
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Hello Kitty a Japanese media franchise
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6 Works That Explain Yayoi Kusama’s Rise to Art World Stardom
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Japanese Cast Iron Teapots
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Japan from Anime to Zen: Quick Takes on Culture, Art, History, Food . . . and More
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Ukiyo-e inspired gifts – available now
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Utagawa Hiroshige Art that Impressed the Impressionists
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Kimono, Vanishing Tradition: Japanese Textiles of the 20th Century
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Japanese Design: Art, Aesthetics & Culture (Hardcover)
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Ceramics by En Iwamura
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Takenobu Igarashi Pushed the Parameters of Typography with His Hand-drawn 3D Letterforms
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Adachi Museum Gardens
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Born January 13, 1930 Education Kyoto University Known for Graphic Design Ikko Tanaka (1930 – 2002) was a Leading Graphic Designer in Japan. He had an enormous impact on the post-war visual culture in Japan. He is widely thought of as the Father of Japanese graphic design.
by Gian Carlo Calza (Author), Tanaka Ikko (Author) Tanaka Ikko (born 1930 in Nara) is a well-known master of graphic design. His work combines influences from the East and the West, acknowledging the vocabulary of European Modernism while remaining distinctively Japanese.
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