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Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
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  • Load image into Gallery viewer, Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
  • Load image into Gallery viewer, Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
  • Load image into Gallery viewer, Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
  • Load image into Gallery viewer, Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
  • Load image into Gallery viewer, Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]
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Igarashi Space Graphics: Design for Communication... [Takenobu Igarashi]

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Igarashi Space Graphics: Design for Communication, Design for Environment, Design for Design by Takenobu Igarashi, 1st ed., 1983. Shoten Kenchiku-sha Co., Ltd., Tokyo, Japan. , 8.75 x 11.75, pp. 206. Beautifully printed in Japan.

Takenobu Igarashi is a prolific Japanese commercial designer and artist celebrated for his three-dimensional, sculptural and architectural objects and designs. “Both design and art, for me, are problems of the same dimension.”

His lavishly illustrated book features fascinating sections, contents and works devoted to: environmental alphabets, graphic systems, grids, dot, image collection, signage, Chromacom, color, komon, the unit, logos, onomatopoeia, visual transformation and much more. Text throughout introducing most concepts with an essay titled “Beyond Corporate Identity: The Design of the Future”. Includes a profile, portrait photograph, selected client list, designer acknowledgments and staff descriptions and studio photographs.

A very good plus softcover with light wear. The printed jacket has a few small tears and a sunned spine and the publisher's cardboard slipcase has been lightly marked and handled. Six double-sided pages (123-136) are detached from the binding but still included. Despite this, still a hard to find monograph.