{"id":3153,"date":"2014-05-30T16:14:10","date_gmt":"2014-05-30T07:14:10","guid":{"rendered":"https:\/\/designmadeinjapan.com\/?p=3153"},"modified":"2015-05-21T17:45:46","modified_gmt":"2015-05-21T08:45:46","slug":"japanese-graphic-design-not-in-production-2","status":"publish","type":"post","link":"https:\/\/designmadeinjapan.com\/magazine\/graphic-design\/japanese-graphic-design-not-in-production-2\/","title":{"rendered":"Japanese Graphic Design: Not in Production 2"},"content":{"rendered":"

Japanese Graphic Design: Not in Production focuses on the activities of highly active designers, type foundries, distributors\/retail spaces and Japanese design publications from the past ten years. The goal of this section is to help promote cognizance of graphic design activity in Japan \u2014 acknowledgement of such activity is often hindered by the linguistic and social differences between Japan and the rest of the world, yet this gap is lessening.<\/i><\/p><\/blockquote>\n

\n

Matsuda Yukimasa<\/h2>\n

\"Matsuda<\/p>\n

Matsuda Yukimasa\u2019s books have\u00a0presence<\/em>\u00a0amid the veritable sea of published books in Japan. His works have a near-magnetic pull on bookshelves \u2014 slim in stature, handsome in finish, and painstakingly detailed in quality. As objects alone they resonate. The choice of fine papers, docked page edges, die-cut wraparound covers, and exquisite choice of colors and type speak to the tastes and vision of their creator. The form of his books always directly correlate to the content within \u2014 honoring it and extrapolating upon a visual theme in a contemplative, poetic, and non-literal way. To say they are \u201cbeautiful\u201d books is an understatement \u2014 they are the types of books that would make designers of yore weep in testament to their immaculate execution. This is not hyperbole \u2014 the work of Matsuda Yukimasa is rugged, assured and holistic in scope inside and out.<\/p>\n

Having first delved into the world of editorial design in the 1980s alongside Sugiura Kohei, Matsuda\u2019s path has been one that is ascendant, yet immersed in the development of private projects \u2014 unceasingly wide-eyed in his pursuit of research and exploration, applied form and deliberate choice. He creates work that pulls from history as much as contemporaneity to inform the structure of each page with an emphasis on functionality as much as beauty. Highy focused, yet wide-ranging in subject, they would sit easily in the Books On Books section as well as Graphic Design, Typography, Anthropology, or Art.<\/p>\n

Of particular note is his self-authored and designed\u00a0ZERRO<\/em>,<\/a> published in 2003. A compendium of extinct, exploratory, ubiquitous, and imaginative visual languages and symbols that ranges from the nonsensical to the exceedingly rare,\u00a0ZERRO<\/em>\u00a0displays the singular mind at work behind his Ushiwaka-maru publishing imprint. Each spread contains an example of a visual rubric, a short history of said collection and a visual example \u2014 some painstakingly redrawn and others reproduced immaculately. From Cree Script to the set of symbols deployed by the Japanese Navy to the Cipher of Alchemy to revisionist scripts from Japanese history at moments where orthographic reform felt so immediate and necessary to a handful of individuals,\u00a0ZERRO<\/em>\u00a0offers thousands of entry points for further research. At the very least, it is a neat collection of inspiring reductive visual form and at its most a virtual camera obscura looking unto the world of sign, symbol, and meaning.<\/p>\n

Each of the projects that Matsuda undertakes reveals his fascination and curiosity with language and natural form, with history and synthesis, and with curation and contemplation. Agnostic in style, yet florid in execution, his work is a wonder to behold \u2014 the books embrace life and experience in a way that few do.<\/p>\n

We are at a moment in the continuum of graphic design where self-initiated projects carry as much weight as client-based projects and Matsuda fits more than neatly into this. More an archetype than a follower, Matsuda\u2019s work enriches Japanese design culture in an active way \u2014 as a historian, a writer, an editor, a form-maker, a designer, and a publisher. His work is of near-utopian synthesis and each aggregate part is completed with acumen. For content, form and production to be so neatly folded together so tidily and yet so exuberantly is a treasure.<\/p>\n

More: http:\/\/www.matzda.co.jp<\/a><\/p>\n

\n

Torinoumi Osamu\/Jiyu Kobo<\/h2>\n

\"Torinoumi-Osamu_Jiyu-Kobo\"<\/p>\n

Born in 1955. Graduated from Graphic Design Course of Tama Art University. In 1989 Torinoumi founded Jiyu Kobo with Suzuki Tsutomu and Katada Keiichi, where he now works as both the CEO and type designer.<\/p>\n

Torionumi has designed typefaces like Hiragino series (for Dainipon Screen Mfg., Ltd.) and the commissioned Koburina Gothic. He also designed more than forty typefaces, focusing on text type designs, as well as producing his own house brand\u00a0The Yu-shotai Library<\/em>\u00a0whose releases include the Yu-Mincho family, the Yu-Gothic family, Yu-tsuki Midachi Mincho, and Yu-Kyokashotai M.<\/p>\n

Jiyu Kobo received the first Keinosuke Satou award for its activities, the Good Design Award in 2005 for their Hiragino family, and the Tokyo TDC Type Design Award in 2008. Torinoumi teaches in the graphic design course at Kyoto Seika University.<\/p>\n

More:\u00a0http:\/\/www.jiyu-kobo.co.jp<\/a><\/p>\n

\n

Too Much<\/h2>\n
\"Too-Much-magazine-Romantic-Geography\"
\u00a9 Three Thousand<\/a><\/figcaption><\/figure>\n

Subtitled the \u201cMagazine of Romantic Geography,\u201d\u00a0Too Much<\/em>\u00a0focuses on cities through the lens of urbanism and the poetic. Founded by Tsujimura Yoshi of\u00a0OK Fred Magazine<\/em>\u00a0and Cameron McKean of\u00a0Paper Sky Magazine<\/em>,\u00a0Too Much<\/em>\u00a0treads an edgy path through the bywaters of global cities.<\/p>\n

Excerpted from an interview with Cameron McKean:<\/p>\n

After leaving New Zealand and moving to Tokyo in 2007 my ideas about what constituted \u201cdesign\u201d ballooned out, past all the commercial projects I\u2019d done or seen, past art-making, and this ballooning-out eventually popped sometime around 2008. This was when I started writing as a way of taking things back to the beginning \u2013 just thinking and words. Later I started taking photos. My \u201cpractice\u201d is one of demotivation and finding a single solid place to start from rather than a desire for interdisciplinarity or variety. Although we might have forgotten lots of the practical general skills our grandfathers knew, it seems that creative freelancers these days are generalists of a different kind \u2014 there are just too many possible spaces for design to exist in. Having a varied practice is just a necessary evil these days \u2014 how nice it would be to truly specialize!<\/p><\/blockquote>\n

More: http:\/\/toomuchmagazine.com<\/a><\/p>\n

\n

Utrecht<\/h2>\n
\"utrecht
\u00a9 Nieves Books<\/a><\/figcaption><\/figure>\n

Situated in Tokyo\u2019s bustling Omotesando neighborhood, Utrecht focuses on small publishing, both releasing their own titles and their bookshop housing a wide array of design \u2014 and art-oriented publications from all over the world.<\/p>\n

More: http:\/\/www.utrecht.jp<\/a><\/p>\n

\n

Shirai Design Studio<\/h2>\n
\"shirai-design-studio\"
\u00a9 Thinking Form<\/a><\/figcaption><\/figure>\n

Acting art directors and designers of Idea Magazine<\/em>, Shirai Yoshihisa\u2019s studio team are typographically rigorous, formally evocative, and gentle in treatment of ornament. Projects for Robundo, Ryobi, Seibundo Shinkosha and many other private concerns make up their body of work, celebrated in their recent book Typography Suite<\/em> and the accompanying exhibition of the past two decades of graphic design work. Shirai is faculty at Musashino Art University.<\/p>\n","protected":false},"excerpt":{"rendered":"

Japanese Graphic Design: Not in Production focuses on the activities of highly active designers, type foundries, distributors\/retail spaces and Japanese design publications from the past ten years. 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