Kōhei Sugiura
[2] Throughout his career, Sugiura has been a pioneer within the design world using processes that enables the visualization of consciousness in his large body of work that ranges from record jackets and posters, to books, magazines, and exhibition catalogues, to diagrams, stamps, and more.
For Sogetsu, he worked with other notable designers Tadanori Yokoo, Kiyoshi Awazu, and Makoto Wada to create materials promoting music related events for contemporary artists and musicians including John Cage and David Tudor.
Magazines Kōhoku (広告, "advertising") (1960); Kōgei nyūsu (工芸ニュース, "industrial art news"), Sūgaku seminā (数学セミナー, "mathematics semina")（第１期）1962-1970, and Shin Nhon bungaku (新日本文学, "new Japanese literature") (1964-1966) also featured covers conceived through the mechanics of self-proliferation design.
Through the overlaying, crossing, and cropping of concentric circles and other geometric shapes, Sugiura felt he had developed a design that could capture a sense of movement or rhythm and act as a visual embodiment of acoustics and noise.
[16] In the case of architectural magazines such as SD (1966-1968) and the Toshi-Jutaku (都会住宅, "the monthly journal of urban housing") (1968-1970), Sugiura opted for covers that were unprecedentedly text heavy in an attempt to appeal to the reader-base of architects (whom he felt were more concerned with verbal and textual expression/communication versus visual).
[20] Sugiura's longest running involvement with a single publication, Ginka (季刊銀花, "quarterly silver flower") (1970-2010) underwent a new design schemata every year based on a unique theme.
[21] Sugiura's dedication to explorative design is also evidenced in the experimental and cross-disciplinary publications Uwasa no Shinsō (噂の眞相, "truth of rumor") (1980-2004) and Yu (遊, "play") (1971-1979).
Sugiura selected new artists every year and assigned them a theme, similar to Ginka — however the constant stylistic evolution of Uwasa no Shinsō was an intentional choice to emulate the temporality and elusiveness of rumors.
His involvement in photobooks grew significantly from the late 1960s to 1980s, during which Sugiura worked with famed photographers based both in and outside of Japan, including Eikoh Hosoe, Ikko Nakahara, Yutaka Takanashi, and Robert Frank.
When all four panels, the reader can see have words, related to images’ content, printed in a list wrapping around the circumference of the book — though the orientation of the text would require one to rotate the entire case in order to read it.
In his all black book depicting the cosmos, Summa Cosmographica (1979), an image of either the Andromeda Galaxy or Flamsteed's chart of the constellations is revealed on trim edge depending on the tilt of the pages.
In the case of multivolume collections, such as the writings of Gottfried Wilhelm Leibniz (ライプニッツ著作集) (Kōsakusha, 1988–1999) or Louis-Ferdinand Céline (セリーヌの作品集) (Kokusho Kankōkai, 1978–2003), multiple images are printed on the spines so that the combined display of all the volumes doubles as a visual showcase of the writers.
The regional breadth of his research interests speak to one of the core tenets of his theories — many of the multilayered symbols and iconography of various Asian countries have shared origins that are independent from Western traditions.
[30] 広告 (1960) 工芸ニュース [Industrial Arts News] 数学セミナー（第１期）1962-1970 [sugaku seminar] デザイン (1964) 新日日本文学 (1964-1966) [sin nihon bungaku/ nova japana literature] SD (1966-1968) [Space Design] 都会住宅 (1968-1970) [the TOSHI-JUTAKU] パイデイア (1969-1972) 法学セミナー (1964-2004) 朝日アジア・レビュー (1969-1978) インセクタリュム (1970-2000) 数学セミナー （第２・３・４期）(1970-2004) a+u (1971) [Architecture and Urbanism] 遊 (1971-1979) objet magazine 日本の将来 (1971-1972) 労働法律旬報 (1972-) Asian Culture (1972-1987) エピステーメー（第１期）(1975-1979) Dolmen (1989-1991) 自然と文化 (1983-2005) エピステーメー（第２期）(1984-1986) リブラリア (1988) 墨スペシャル (1989) 日本語 (1989–90) 文 (1985-) ３セミ (1985-1991)
