Word: graphical
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Dates: during 1960-1969
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Katayama came to Harvard in 1966 and has since been doing all the graphic and exhibition design at the VAC, as well as starting this year a course of his own on the theory and work-shop of graphic design, Vis Stud 136. He is shy about his command of English but need not be about the excellence of his work. His posters for the Center's lecture series and his exhibition designs in the hall on the third floor mark some of the finest work available in the greater Harvard area...
...recognition by the international journal of graphic design, Graphis, as being in the tradition of Josef Albers and Paul Klee seems hardly to do justice to the originality of the work he is now doing here...
Although Katayama has succeeded in graphically linking an architect to an industrial designer, he himself rejects the separation of artists into such categories as architect, graphic designer, sculptor and painter. He describes himself as a "designer of spaces," using colors and materials which are themselves less important than the spaces he creates and manipulates...
...this seemingly peripheral problem, which is crucial in terms of total space. He placed modern reproductions of the chairs along a wall of the room. Sitting in one of these chairs, a visitor ends his tour with a feeling for the interaction of Thonet, Katayama, and Le Corbusier.TOSHIRO KATAYAMA, graphic designer for the Visual Arts Center, designed the three posters above and arranged the Thonet exhibit...
...firm full of graphic designers, architects, photographers, and film makers seems like a hopelessly heterogeneous bunch. Freeman is not quite sure where the firm is going, but, like The Seven, his concerns are wide-range communications and planning for the complete environment...