Mister 1
Number five by Taiyo Matsumoto
Brother of Japan by Taiyo Matsumoto (new japanese edition)
Takesmistu Zamurai by Taiyo Matsumoto (cover for novel version)
Teresa Oman
(Source: i--feelinfinite)
(Source: calitoti)
Tekkon Kinkreet by Taiyo Matsumoto (japanese pocket edition volume 2)
Tekkon Kinkreet by Taiyo Matsumoto (japanese pocket edition volume 1)
fetishista:/Larissa Hofmann
(Source: yumwatch)
The Savage Young Beatles in Hamburg 1961
(Source: musoasis)
![tezukainenglish:
Next up, logos for three of Osamu Tezuka’s most well-known series: Astro Boy [鉄腕アトム] (1952-68), Princess Knight [リボンの騎士] (1963-66), and Black Jack [ブラック・ジャック] (1973-83).
Again, the tone and style of each of these very different series is clearly evident from the graphic design of logos.](http://25.media.tumblr.com/tumblr_mc5b1ne7Dx1rbye5lo1_1280.jpg)
Next up, logos for three of Osamu Tezuka’s most well-known series: Astro Boy [鉄腕アトム] (1952-68), Princess Knight [リボンの騎士] (1963-66), and Black Jack [ブラック・ジャック] (1973-83).
Again, the tone and style of each of these very different series is clearly evident from the graphic design of logos.
![tezukainenglish:
Finally, let’s consider the logos for Apollo’s Song [アポロの歌] (1970), Ode to Kirihito [きりひと讃歌] (1970-71), and The Book of Human Insects [人間昆虫記] (1970-71).
The sharp straight lines and round balls of Apollo’s Song [アポロの歌] give it a very sci-fi feeling, something you can see being appealing to the story’s Queen Sigma. While the plain, yet elegant lines of Ode to Kirihito [きりひと讃歌] make it almost feel like it was written on a medical chart. However, I think The Book of Human Insects [人間昆虫記] is actually the most interesting of the bunch. Although some versions of this logo are slightly more organic or “insect-like”, here Tezuka stacks the characters in an almost harsh manner. Visually it makes the reader climb, almost like using a ladder, to the top of the pile before it can be read. In a way, it reflects Toshiko Tomura’s insatiable need to reach the top of the social/corporate ladder.](http://25.media.tumblr.com/tumblr_mc5cagcAaU1rbye5lo1_1280.jpg)
Finally, let’s consider the logos for Apollo’s Song [アポロの歌] (1970), Ode to Kirihito [きりひと讃歌] (1970-71), and The Book of Human Insects [人間昆虫記] (1970-71).
The sharp straight lines and round balls of Apollo’s Song [アポロの歌] give it a very sci-fi feeling, something you can see being appealing to the story’s Queen Sigma. While the plain, yet elegant lines of Ode to Kirihito [きりひと讃歌] make it almost feel like it was written on a medical chart. However, I think The Book of Human Insects [人間昆虫記] is actually the most interesting of the bunch. Although some versions of this logo are slightly more organic or “insect-like”, here Tezuka stacks the characters in an almost harsh manner. Visually it makes the reader climb, almost like using a ladder, to the top of the pile before it can be read. In a way, it reflects Toshiko Tomura’s insatiable need to reach the top of the social/corporate ladder.
![tezukainenglish:
Although he almost never gets credit for it in the English-speaking world, Osamu Tezuka did a lot of very solid graphic design work. He spent a great deal of time and effort in creating logos that graphically represented and resonated with his work.
We’ll start with three works many English-speaking fans will be familiar with: Phoenix [火の鳥] (1967-88), Dororo [どろろ] (1967-69), and Barbara [ばるぼら] (1973-74). Each of them is a very different series, and this clearly comes through in their logo designs. In his logo design for Phoenix [火の鳥], Tezuka conveys a sense of grandeur and majesty befitting his generation-spanning masterpiece, while Dororo’s [どろろ] nearly oozes with the eeriness of a samurai-era ghost story. On the other hand, Barbara’s [ばるぼら] logo, without a single straight edge or angle, clearly demonstrates the organic and “rolling along” nature of the story, without falling into the trap of being overly whimsical.](http://24.media.tumblr.com/tumblr_mbzzxlesmf1rbye5lo1_1280.jpg)
Although he almost never gets credit for it in the English-speaking world, Osamu Tezuka did a lot of very solid graphic design work. He spent a great deal of time and effort in creating logos that graphically represented and resonated with his work.
We’ll start with three works many English-speaking fans will be familiar with: Phoenix [火の鳥] (1967-88), Dororo [どろろ] (1967-69), and Barbara [ばるぼら] (1973-74). Each of them is a very different series, and this clearly comes through in their logo designs. In his logo design for Phoenix [火の鳥], Tezuka conveys a sense of grandeur and majesty befitting his generation-spanning masterpiece, while Dororo’s [どろろ] nearly oozes with the eeriness of a samurai-era ghost story. On the other hand, Barbara’s [ばるぼら] logo, without a single straight edge or angle, clearly demonstrates the organic and “rolling along” nature of the story, without falling into the trap of being overly whimsical.
