Kokusai International Travel is a client project documented in the professional archive of Japanese-American graphic designer Tomoko Miho (1931-2012), a 1993 AIGA Medalist known for her work with Herman Miller, the Museum of Modern Art, and other major cultural institutions.[1] The Kokusai International Travel materials, held in the Tomoko Miho collection at the Cary Graphic Arts Collection at RIT, include stationery, envelopes, holiday cards, business cards, brochures, tags, and logos.[2]
Design and History
The Kokusai International Travel project appears in the client-work series of Tomoko Miho’s archive, which contains the bulk of her project and client work.[3] The archival record does not assign a specific date to the project, listing it only as “n.d.” (no date).[2]
Tomoko Miho worked as a partner of Miho Inc. alongside her husband, fellow designer James Miho, on projects including work for the Smithsonian Institution’s National Air and Space Museum.[2] James Miho founded Miho Inc. in 1971.[4] The archive notes that some projects in Tomoko Miho’s collection were undertaken jointly with James Miho under their shared company name.[2]
Tomoko Miho established her own firm in 1974 and renamed it Tomoko Miho Design in 1982.[5] Her career included positions at the Centre for Advanced Research in Design in Chicago and New York, where she created designs for Herman Miller, ARCO, Neiman-Marcus, and Omniplan Architects, and earlier as a designer and head of the graphics department at George Nelson & Company.[6]
Meaning and Symbolism
No documented description of the Kokusai International Travel logo’s visual elements, symbolism, or design intent has been located in the available archival or published sources. The archive confirms only that logos were among the materials produced for this client, without describing their appearance.[2]
Typography and Design
No typographic or construction details for the Kokusai International Travel identity are documented in the available sources. Tomoko Miho is broadly recognized for her understanding of the relationship between space and object, a quality noted in her general design reputation.[7] However, no source provides specific information about the letterforms or layout used in the Kokusai International Travel materials.
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