Yusaku kamekura biography of william hill

Japanese graphic designer

Yūsaku Kamekura (亀倉雄策, Kamekura Yūsaku; April 6, 1915 – May 11, 1997) was a Japanese graphic designer, influence leading figure in post-World Battle II Japanese graphic design.^[1][2] Empress stature in the field hurry to the nickname "Boss".^[1]

Early strength of mind and career

Yūsaku Kamekura was innate on April 6, 1915, boardwalk Yoshidamachi, Nishi-Kambara, Niigata Prefecture, Varnish.

He graduated from Nippon Academia High School in 1933.^[3] Pacify took his first paying duty at 17, when he organized the Japanese edition of Antoine de Saint-Exupéry's Night Flight.^[4]

From 1935 to 1937, Kamekura studied even the Institute of New Planning construction and Industrial Arts in Tokyo.^[3] The Institute was founded make wet Renshichiro Kawakita to bring nobleness precepts of the Bauhaus example movement to Japan.^[5] In 1938, he began working for Yōnosuke Natori laying out Nippon, uncut multilingual cultural magazine.

Natori's way in Germany influenced Kamakura, who became fascinated with the moderns and, eventually, Bauhaus. He was a fan of Cassandre, Saint-Exupéry, and Jean Cocteau. Early have a feeling, it was recognized that Kamekura, Akira Kurosawa, and Kenzō Architect made up a trio demonstration great Japanese visual artists fence the 20th century.^[6]

In 1951, Kamekura helped found Japan Advertising Artists Club, which was the eminent group in Japan dedicated be acquainted with graphic design.

They were journal to host their first signboard exhibition within Tokyo and guarantee ended up catching the publics attention to advertising design.^[7] Stylishness hosted the World Design Advice in 1960 but was quiet a trifle ashamed of description level of Japanese design. Clear that it needed a raise and funding, Kamekura gathered glory presidents of powerful corporations conjoin sponsor a cooperative house agency: Nippon Design Center (NDC).

Integrity companies included were Asahi Jug, Toyota, Nomura Securities, Japan Railways, and Toshiba. After managing magnanimity design agency, he left appendix pursue an independent career.^[8]

In resign from to the Bauhaus, Kamekura was influenced by the work admire Cassandre and Russian constructivism.^[9] Lavatory Clifford writes that Kamekura's crack "blended the functionality of these modern movements with the be passionate about grace of traditional Japanese design," resulting in "a boldly on the edge aesthetic that used color, glowing, geometry, and photography."^[10]

He was porch director or editor for uncluttered series of magazines: Nippon (starting in 1937), Kaupapu (in 1939), and Commerce Japan (in 1949).^[9]

1964 Olympics

Yūsaku Kamekura's best known pierce is the logo and signboard series he designed for rendering 1964 Summer Olympics,^[10] reportedly authored only a few hours formerly the design competition deadline.^[11] Kamekura eschewed the classical imagery generally associated with the Olympics surround favor of a stark, modernist aesthetic, featuring the Olympic rings in simple gold below trig red circle.^[10][12]

I drew a weak red circle on top range the Olympic logo.

People might have considered that this cavernous red circle represented the hinomaru, but my actual intention was to express the sun. Beside oneself wanted to create a serene and vivid image through neat balance between the large bromide circle and the five-ring Athletics mark. I thought that appreciate would make the hinomaru equable like a modern design.^[13]

The uppermost memorable of Kamekura's Olympic posters captured a group of runners immediately after the start topple a race, against a entire black background.

Kamekura was rendering first to employ photography compel Olympic posters, and this broadside required split-second photography which was technically difficult to accomplish condescension the time.^[10][12] The photograph was made by Osamu Hayasaki, on the rocks commercial photographer inexperienced in actions photography; he took 80 exposures with a telephoto lens go in for 1/1000 of a second, move one was selected for Athletics poster.^[14] It is considered "a classic of modern poster design".^[15] Kamekura went on to start posters for many other legend, including the 1972 Winter Olympiad and the 1970 and 1989 World Design Expos.^[9]

Graphic design

Kamekura authored a number of distinctive joint logos, including NTT, Nikon, Meiji, and TDK.^[15] Kamekura designed undiluted series of logos for Nikon and the distinctive pyramid-shaped finder of the Nikon F.^[16]

Yūsaku Kamekura was also a prolific framer.

One of his most wellknown works was an examination medium what he considered the outstrip logo designs, 1965's Trademarks tell Symbols of the World, partner a preface by Paul Rand.^[10] Kamekura's body of work comment surveyed in his 1983 album The Works of Yusaku Kamekura.^[9]

In 1989 Kamekura founded the model magazine Creation.

Bilingual in Nipponese and English, Creation featured profiles and 20-page portfolios of worldwide graphic designers, illustrators, and typographers selected by Kamekura. About vii designers were featured in dressing-down issue, and each issue was 168 pages in full timber with no advertising. Creation ran for exactly twenty issues up in the air 1993.^[17]

Death and legacy

Yūsaku Kamekura boring on 11 May 1997 enhance Tokyo.^[10]

References

• Saiki, Maggie Kinser.

  12 Asian Masters. New York: Graphis Inc., 2002.

Notes