slanted 31 Tokyo E-Book

• Herausgeber: Slanted Publishers
• Kategorie: Geisteswissenschaft
• Serie: Slanted Magazine
• Sprache: Englisch

Seitenzahl: 286

Veröffentlichungsjahr: 2024

Beschreibung

2017, the Slanted team dove into Tokyo—with their friends Renna Okubo and Ian Lynam preventing them from drowning—to take an intense look at the contrasting design scene. The Japanese capital is a unique place. With its clean streets, punctual transportation and polite service at every turn, Tokyo is more than just a well-run city. It unites cultural extremes: it is a city where the futuristic meets the traditional and tranquility meets speed. With the valuable help of Renna and Ian Slanted met some of the most amazing creatives such as &Form, Shin Akiyama, Tatsuya Ariyama, Dainippon Type Organization, Terada Hideji, Hitomi Sago Design Office, Ian Lynam Design, IDEA, KIGI, MATZDA OFFICE / USIWAKAMARU, Nakagaki Design Office, OMOMMA, PULP, Yoshihisa Shirai, TSDO, Yosuke Yamaguchi and woolen. Not only can you find their brilliant works in this issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/tokyo Illustrations, interviews, and essays complement the issue thematically. Slanted #31 comes with contributions by AQ, Bunny Bissoux, DAIKANYAMA TSUTAYA BOOKS, Digiki, direction Q, Jesse Freeman, Sara Gally, heiQuiti Harata, Adrian Hogan, Yuki Kameguchi, Kamimura & Co., Toshiaki Koga, Dermot Mac Cormack, Akinobu Maeda, Gui Martinez, Luis Mendo, MISAKO & ROSEN, Eiko Nagase, Nakano Design Office, Naoko Nakui, Nanook, Taro Nettleton, Toshi Omagari, Louise Rouse, Michael Scaringe, Yoshihisa Shirai, Shotype Design, snöw, so+ba, Kohei Sugiura, Sumner Stone, Fumio Tachibana, Tetsunori Tawaraya, Patrick Tsai, Typecache, Dan Vaughan, Village, Makoto Yamaki, YamanoteYamanote, Ueda Yo, and Jody Zhou. Im Jahr 2017 stürzt sich das Slanted Team in die polarisierende Designszene Tokyos, um einen intensiven Blick auf die japanische Hauptstadt zu werfen. Dabei haben ihre Freunde Renna Okubo und Ian Lynam verhindert, dass sie gleich im Tumult untergehen. Tokyo ist mehr als nur eine leistungsfähige Stadt mit ihren sauberen Straßen, pünktlichen Verkehrsmitteln und höflichen Serviceleistungen an jeder Ecke – Tokyo vereint kulturelle Extreme: eine Stadt, in der das Futuristische auf das Traditionelle und Gelassenheit auf Geschwindigkeit trifft. Durch die wertvolle Hilfe von Renna und Ian war es dem Slanted Team möglich, einige der aufregendsten Kreativen der Stadt zu treffen wie &Form, Shin Akiyama, Tatsuya Ariyama, Dainippon Type Organization, Terada Hideji, Hitomi Sago Design Office, Ian Lynam Design, IDEA, KIGI, MATZDA OFFICE / USIWAKAMARU, Nakagaki Design Office, OMOMMA, PULP, Yoshihisa Shirai, TSDO, Yosuke Yamaguchi und woolen. Dabei findet die Leserin und der Leser nicht nur ihre Arbeiten im Magazin, sondern erhält auch durch die zahlreichen, kostenlosen Video-Interviews auf der Video Plattform www.slanted.de/tokyo einen tieferen Einblick in ihre Haltung und Schaffensweise. Die Ausgabe wird thematisch ergänzt durch Illustrationen, Interviews und Essays mit Beiträgen von AQ, Bunny Bissoux, DAIKANYAMA TSUTAYA BOOKS, Digiki, direction Q, Jesse Freeman, Sara Gally, heiQuiti Harata, Adrian Hogan, Yuki Kameguchi, Kamimura & Co., Toshiaki Koga, Dermot Mac Cormack, Akinobu Maeda, Gui Martinez, Luis Mendo, MISAKO & ROSEN, Eiko Nagase, Nakano Design Office, Naoko Nakui, Nanook, Taro Nettleton, Toshi Omagari, Louise Rouse, Michael Scaringe, Yoshihisa Shirai, Shotype Design, snöw, so+ba, Kohei Sugiura, Sumner Stone, Fumio Tachibana, Tetsunori Tawaraya, Patrick Tsai, Typecache, Dan Vaughan, Village, Makoto Yamaki, YamanoteYamanote, Ueda Yo und Jody Zhou.

Leseprobe

東京

Works

WORKS

Slanted 31—Tokyo

1

→252

Graphic Trial

Design by Naoko Fukuoka woolen

2010

Poster

東京へ

ようこそ

佐藤卓

佐藤卓デザインオ

フ

ィス

Slanted 31—tokyo

WORKS

2

→251

Taku Satoh

TSDO

Taku

Satoh

佐藤卓

佐藤卓デザインオ

フ

ィス

PLEATS PLEASE

ISSEY MIYAKE “ANIMALS”

2015

Art Direction: Taku Satoh

Design: Shingo Noma

Photo: Koji Udo

WORKS

→251

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3

TSDO

佐藤卓

佐藤卓デザインオ

フ

ィス

Slanted 31—tokyo

WORKS

4

→251

BAO BAO

ISSEY MIYAKE

2016

Campaign, Website

Photos: Ayumi Okubo & Yasuhito Nakagawa

TSDO

5

佐藤卓

佐藤卓デザインオ

フ

ィス

WORKS

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5

→ 251

Rebuild

TAKARA SHOCHU SUPER JUN, ZENA, LOTTE GREEN GUM, SUPER CAN CHU-HI

1993

Posters

TSDO

佐藤卓

佐藤卓デザインオ

フ

ィス

Slanted 31—tokyo

WORKS

→251

6

TSDO

佐藤卓

佐藤卓デザインオ

フ

ィス

WORKS

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7

→251

MIYAKE ISSEY EXHIBITION:

The Work of Miyake

2016

Posters, Exhibition, Goods

The National Art Center, Tokyo

Photos: Masaya Yoshimura & Yasuhito Nakagawa

TSDO

Nobuo

Nakagaki

中垣信夫

Slanted 31—tokyo

WORKS

8

→249

Nobuo NaKagaki

中垣信夫

Map of major figures of the Italian Renaissance

2014–Today

Poster

personal project

bell sign

9

WORKS

→249

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Nobuo Nakagaki

中垣信夫

Diagram series for Voice magazine 1980

Infographics

Ushio Publishing

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WORKS

→249

10

Nobuo Nakagaki

中垣信夫

From the Object Books exhibition featuring members of Nagakaki’s design office

1991

Ginza Graphic Gallery

Multi-layered map of Africa

1970

Graphic Design magazine

WORKS

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11

→249

Atlas of Europe

1996

Heibonsha

Nobuo Nakagaki

丸山新

Slanted 31—tokyo

WORKS

12

→246

Arata Maruyama

&Form

Arata Maruyama

丸山新

WORKS

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13

→246

Studio View

Ichigo Sugawara—Daylight|Blue

2013

Book Design

WOW / BNN

Motion by WOW

&Form

丸山新

AnyTokyo

2015

Visual identity, Print,

Exhibition design

Slanted 31—tokyo

WORKS

→246

14

&Form

丸山新

Japanese Red Cross Society

2014–16

Visual Identity, Print, Digital,

entrance Redesign

WORKS

→246

Slanted 31—Tokyo

15

&Form

丸山新

Slanted 31—tokyo

WORKS

16

→246

Studio View

Meiji—The Cacao Night

2016

Printed matter

&Form

丸山新

WORKS

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17

→246

METoA Ginza

2016

Visual identity, Digital

Mitsubishi Electric Corporation

&Form

イ

エ

ン

・

ラ

イ

ナ

ム

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WORKS

18

→247

Ian Lynam

Ian

Lynam

イ

エ

ン

・

ラ

イ

ナ

ム

Google Tokyo Office Interiors

2013

interior graphic design (in collaboration

with Klein Dytham architecture),

Wayfinding, Signage,

Custom Wallpaper Design

WORKS

→247

Slanted 31—Tokyo

19

IAN LYNAM

イ

エ

ン

・

ラ

イ

ナ

ム

Start Somewhere

2016

zine suggesting

how designers might start to write

Author: Ian Lynam

Publisher: Wordshape

Kanto Tour Guide

2015

bilingual series

of tour guide

and pamphlets

Parting It Out

2015

book of essays about graphic design

Author: Ian Lynam

Publisher: Wordshape

Slanted 31—tokyo

WORKS

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20

IAN LYNAM

イ

エ

ン

・

ラ

イ

ナ

ム

WORKS

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21

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Pivotal Tokyo

2016

Interior graphic design,

supergraphics

Pivotal

IAN LYNAM

イ

エ

ン

・

ラ

イ

ナ

ム

Slanted 31—tokyo

WORKS

22

→247

Huis Ten Bosch

2016

Identity, signage, wayfinding

Huis Ten Bosch,

amusement park in Nagasaki

IAN LYNAM

イ

エ

ン

・

ラ

イ

ナ

ム

WORKS

Slanted 31—Tokyo

23

→247

Letterfirm

2013

exhibition devoted to typography

held in conjunction with TypeCon photos: Bitna Chung Photography

IAN LYNAM

秋山伸

Slanted 31—tokyo

WORKS

24

→250

Shin Akiyama

Shin Akiyama

秋山伸

WORKS

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25

→250

Studio View

Shin Akiyama

秋山伸

26

photocopy by Go Itami

2017

Book Design

Publisher: Rondade

Design In Collaboration with

Atsushi Kurosaki / edition.nord

Slanted 31—tokyo

WORKS

→250

Shin Akiyama

27

this year’s model (special edition) By Go Itami

2014

Book Design

Publisher: Rondade

Design in Collaboration with Genki Abe / edition.nord

In Cooperation with Design Issue & Shimokitazawa-Generations

WORKS

→250

Slanted 31—Tokyo

秋山伸

27

Shin Akiyama

秋山伸

Slanted 31—tokyo

WORKS

28

→250

Richard Prince: New Portraits

2016

Book Design

Design In Collaboration with edition.nord

Publisher: Blum & Poe

Shin Akiyama

秋山伸

Phase 1; Book ≈ Buku: Shin, Buku and edition.nord

Phase 2; Shin Akiyama and edition.nord:

Display from The 27th Brno Biennial 2016 + Recent Works

2016, 2017

Poster, Flyer

Design in collaboration with EDition.nord

Publisher: Nadiff a/p/a/r/t, inframince

Photos: Shin Akiyama, Masahito Yamamoto

WORKS

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29

Shin Akiyama

秋山伸

30

Slanted 31—tokyo

WORKS

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Composition No. 1–10 and the derivatives, 2001–2016

(First edition / extended version), 2016

Author: Buku Akiyama, Design: In Collaboration with edition.nord, Publisher: Rondade

Photos: Buku Akiyama, Kiyotoshi Takashima, Masahito Yamamoto

Edited, printed and bound by Buku Akiyama

Shin Akiyama

秋山伸

WORKS

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31

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Shin Akiyama

テラダヒデジ

Slanted 31—tokyo

WORKS

32

Hideji terada

→247

Hideji Terada

テラダヒデジ

WORKS

Slanted 31—Tokyo

33

→247

Hideji Terada

for-p Bull Backpack

2015

Visual Identity, Product Design

テラダヒデジ

34

Slanted 31—tokyo

WORKS

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scrap-graphic

2010

Slanted 31—tokyo

WORKS

34

Hideji Terada

テラダヒデジ

Various posters

2014

WORKS

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35

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Hideji Terada

テラダヒデジ

Slanted 31—tokyo

WORKS

36

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Hideji Terada

shooting team zuko5

2017

BI, Graphic Design, Web

booklet

2010

テラダヒデジ

WORKS

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37

→ 247

shooting team zuko5

2017

BI, Graphic Design, Web

Hideji Terada

山口洋佑

Slanted 31—tokyo

WORKS

38

→252

Yosuke Yamaguchi

Yosuke Yamaguchi

卓

山口洋佑

Studio View

Yosuke Yamaguchi Exhibition“invisible lady”

2012

book

WORKS

→252

Slanted 31—Tokyo

39

Yosuke Yamaguchi

山口洋佑

Joanna Newsom Japan Tour

2016

flyer, poster

Sweet Dreams Press

Slanted 31—tokyo

WORKS

40

→252

Nobuyuki Nakajima, his life and music vol. 1, 2013

leaflet

No Longer Human

Yosuke Yamaguchi

山口洋佑

Yosuke Yamaguchi exhibition

“katsutenohanashi”

2013

book

WORKS

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41

→252

Yosuke Yamaguchi exhibition

“invisible lady”

2012

book

Yosuke Yamaguchi

山口洋佑

Slanted 31—tokyo

WORKS

42

→252

Zanzibar ghost stories

by Kotaro Iizawa

2013

book illustration

SHODENSHA Publishing

Yosuke Yamaguchi

山口洋佑

WORKS

Slanted 31—Tokyo

43

→252

Tokyo Solo

by André Mehmari

2014

CD

design, illustration

NRT

Yosuke Yamaguchi

植原亮輔

渡邉良重

Slanted 31—tokyo

WORKS

44

→248

Yoshie Watanabe & Ryosuke Uehara

KIGI

植原亮輔

渡邉良重

WORKS

Slanted 31—Tokyo

45

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Studio View

KIGI

d-bros

2003–2017

Product Design

KIKOF

2014

Product Design

46

植原亮輔

渡邉良重

Slanted 31—tokyo

WORKS

46

→248

D-BROS calendar series

2017

seven Calendars, five diaries,

handed out by six designers

KIGI

47

植原亮輔

渡邉良重

WORKS

Slanted 31—Tokyo

47

→ 248

D–Bros Cup and Saucer Set

2015

porcelain (Hasami-yaki),

palladium decoration processing

Product Design, Graphics

KIGI

植原亮輔

渡邉良重

Slanted 31—tokyo

→ 248

WORKS

48

Feeling Parco

2013

Art Direction

Photo: Rika Suzuki

KIGI

植原亮輔

渡邉良重

WORKS

Slanted 31—Tokyo

49

→248

Specimen of Time

2007–ongoing

Self-initiated

KIGI

福岡南央子

Slanted 31—tokyo

WORKS

50

→252

naoko fukuoka

Naoko Fukuoka

Naoko Fukuoka

WORKS

Slanted 31—Tokyo

51

→ 252

福岡南央子

Fukumitsuya

RICE MILK

2017

packaging

Fukumitsuya × foodcreation

emotional essence

2010

packaging

福岡南央子

Naoko Fukuoka

Sekai-no-Kitchen-kara 2007,2017,2016

advertisement

art direction: Kirin Beverage

Slanted 31—tokyo

WORKS

→252

52

福岡南央子

Naoko Fukuoka

147 PPI

angefragt

WORKS

Slanted 31—Tokyo

53

→252

KOISURU-BUTA LABORATORY

2012

visual identity

左合ひとみ

Slanted 31—tokyo

WORKS

54

→247

Hitomi sago

Hitomi

Sago

左合ひとみ

Hitomi Sago

The Olive Oil

2008

Packaging

Shodoshima Healthyland

coconca

2015

Packaging

Fujiiya

kasiko

2007

Packaging

Brand logistics

WORKS

Slanted 31—Tokyo

55

→247

56

左合ひとみ

Hitomi Sago

enn

2007

Brand Identity

from kitchen

2005

Packaging

DIC Color and Design

Slanted 31—tokyo

WORKS

→247

56

左合ひとみ

Hitomi Sago

Olive Forest

2012

Packaging

Shodoshima Healthyland

Nagara & Wara

2016

Packaging

Yamakawa Brewery

WORKS

Slanted 31—Tokyo

57

→247

松田行正

Slanted 31—tokyo

WORKS

58

→248

Yukimasa Matsuda

Yukimasa Matsuda

松田行正

Yukimasa Matsuda

WORKS

Slanted 31—Tokyo

59

→248

GET BACK …NAKED: 21 days that rock ’n’ rolled

the Beatles in 1969

By Fujimoto Kunihiko

2016

Ushiwakamaru

松田行正

Yukimasa Matsuda

Slanted 31—tokyo

WORKS

60

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POWERS OF TWO

2014

book

Ushiwakamaru

卓

松田行正

Yukimasa Matsuda

WORKS

→XXX

Slanted 31—Tokyo

61

WORKS

→248

Slanted 31—Tokyo

61

B: Plastic Beatle—Playing the Beatles

2013

book

Ushiwakamaru

松田行正

松田行正

Yukimasa Matsuda

160 billionth of the solar system

2012

book

Ushiwakamaru

Slanted 31—tokyo

WORKS

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62

松田行正

Yukimasa Matsuda

WORKS

Slanted 31—Tokyo

63

→248

JEANFELT

2017

paper sample book

TAKEO Co., Ltd.

アイデア

室賀清徳

Issue 2017/01

Graphic designers and exhibitions

cover design: Kensaku Kato, Seigo Kitaoka (LABORATORIES)

Direction: Tetsuya Goto and Idea

Slanted 31—tokyo

WORKS

64

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IDEA

MAGAZINE

アイデア

室賀清徳

WORKS

Slanted 31—Tokyo

65

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Kiyonori Muroga

Kiyonori Muroga

アイデア

室賀清徳

IDEA No. 369

Yellow Pages Vol. 3

2015/04

Text: Tetsuya Goto

Associate Editing: Javin Mo

Design: Sulki and Min

IDEA No. 373

Post Independent Magazine

2016/04

SPREADPAGE

IDEA No. 374

Detour, the 13 movies of Juzo Itami

2016/07

SPREADPAGE

Slanted 31—tokyo

WORKS

66

IDEA MAGAZINE

→248

アイデア

室賀清徳

IDEA No. 374

Detour, the 13 movies of Juzo Itami

2016/07

SPREADPAGE

IDEA No. 376

2017/01

Graphic designers and exhibitions

SPREADPAGE

IDEA No. 378

Gastronomy & Graphic Art

2017/07

cover design: Kensaku Kato, Seigo Kitaoka (LABORATORIES)

IDEA No. 375

Phenomenology of Koichi Sato

2016/10

cover design: T. Onishi

(direction Q)

IDEA No. 373

Post Independent Magazine

2016/04

cover design: Toshimasa Kimura

WORKS

Slanted 31—Tokyo

67

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IDEA MAGAZINE

アイデア

室賀清徳

IDEA No. 372

Daijiro Ohara Song Lines

2016/01

Typogravity

Artwork: Daijiro Ohara

IDEA No. 377

Sprout of Japanese graphic design—Attitudes of 21 young designers

2017/04

cover design: Kensaku Kato, Seigo Kitaoka (LABORATORIES)

IDEA No. 372

Daijiro Ohara Song Lines

2016/01

Drawing: Daijiro Ohara

Photographer: Taro Hirano

Slanted 31—tokyo

WORKS

68

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IDEA MAGAZINE

Titel

Jahr

Projektart

Kunde

Credits

WORKS

→XXX

Slanted 31—Tokyo

WORKS

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Slanted 31—Tokyo

69

アイデア

室賀清徳

IDEA MAGAZINE

IDEA No. 375

Phenomenology of Koichi Sato

2016/10

SPREADPAGE

IDEA No. 378

Gastronomy & Graphic Art

2017/07

SPREADPAGE

大原大次郎

Slanted 31—tokyo

WORKS

70

→250

Daijiro Ohara

Omomma Daijiro Ohara

大原大次郎

WORKS

Slanted 31—Tokyo

71

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Ryosen—Geographical lines

2011–2014

drawing and composition: Daijiro Ohara

photos: Takashi Homma

publisher: between the books

In cooperation with Yama-kei Publishers

Omomma

大原大次郎

Omomma

Slanted 31—tokyo

WORKS

72

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Song Lines—The line sings,

Shaped a song

2015–2016

Mobile sculpture for IDEA No. 372

material: Wires, Conductor cables, Papers, Strings

photoS: Taro Hirano

大原大次郎

大原大次郎

Omomma

WORKS

73

Typogravity

Layered Line

2012—2013

material: Wires, Strings, Dermatograph

→250

Slanted 31—Tokyo

ヤマ

ノテヤマ

ノテ

Yamanote

Yamanote

Slanted 31—tokyo

WORKS

74

→252

Julien Mercier & Julien Wulff

ヤマ

ノテヤマ

ノテ

Yamanote Yamanote

WORKS

Slanted 31—Tokyo

75

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YamanoteYamanote

poster project

2016–today

29 Train Stations, 2 Visions, 58 Posters

J. Mercier: Hamamatsuchō

J. MERCIER: Gotanda

J. wulff: TAMACHI

J. WULFF: GOTANDA

J. wulff: Akihabara

J. Mercier: KANDA

J. wulff: Yūrakuchō

J. Mercier: ōsaki

76

ヤマ

ノテヤマ

ノテ

Yamanote Yamanote

76

Slanted 31—tokyo

WORKS

→ 252

Julien wulff

Meguro

Julien Mercier

Meguro

Julien mercier

tamachi

ヤマ

ノテヤマ

ノテ

Yamanote Yamanote

WORKS

Slanted 31—Tokyo

77

→252

Julien mercier

Yūrakuchō

Julien wulff

Shinagawa

Julien mercier

Shinagawa

羽良多平吉

Slanted 31—tokyo

WORKS

78

→247

heiQuiti harata

Heiquiti Harata

羽良多平吉

Heiquiti Harata

Japonaiserie

1987

magazine

Korinsha

Eureka

2010–today

magazine

Seidosha

WORKS

→247

Slanted 31—Tokyo

79

白井敬尚

Slanted 31—tokyo

WORKS

80

→250

Yoshihisa Shirai

Yoshihisa Shirai

白井敬尚

Yoshihisa Shirai

WORKS

Slanted 31—Tokyo

81

→250

Studio View

Slanted 31—tokyo

WORKS

→250

82

白井敬尚

Yoshihisa Shirai

IDEA DOCUMENT No. 304

Letter and Typography

Typography Review

2015

Seibundo Shinkosha

Slanted 31—tokyo

WORKS

82

白井敬尚

白井敬尚

Yoshihisa Shirai

BIBLIOTHECA APOSTOLICA VATICANA EXHIBITION II: Books, the Doors to the Renaissance

2015

Exhibition Catalog, Toppan Printing

WORKS

→250

Slanted 31—Tokyo

83

白井敬尚

白井敬尚

Yoshihisa Shirai

→250

Slanted 31—tokyo

WORKS

Typographic Composition

2017

Poster

84

白井敬尚

Yoshihisa Shirai

Tentou Mishima—

LINE STYLE

Blues Interactions

2009

Book

WORKS

Slanted 31—Tokyo

85

→250

Tadanori Yokoo: Complete Book Designs 1957–2012

2013

Book

PIE International

大輪秀樹

PULP

Hideki OWA

Slanted 31—tokyo

WORKS

86

→250

hideki Owa

大輪秀樹

PULP

Windowology 10th

Anniversary ExhibitioN

2017

website

Window Research Institute

WORKS

→250

Slanted 31—Tokyo

87

大輪秀樹

大輪秀樹

PULP

Snoopy Museum Tokyo

2016–2017

website

Slanted 31—tokyo

WORKS

→250

88

PULP

大輪秀樹

WORKS

Slanted 31—Tokyo

89

→250

sumally pocket

2015

Visual Identity, Website, App

UI Design in Collaboration with Kenta Ohsugi

Illustration: Bunpei Ginza

PhotoS: Satoshi Minakawa

Sumally

大日本タイポ組合

秀親

+

塚田哲也

Slanted 31—tokyo

WORKS

90

→246

Hidechika & Tetsuya Tsukada

Dainippon Type Org.

大日本タイポ組合

秀親

+

塚田哲也

Dainippon Type Org.

WORKS

Slanted 31—Tokyo

91

→246

TOYPOGRAPHY

2007

Poster, Installation

kokuyo

大日本タイポ組合

秀親

+

塚田哲也

Dainippon Type Org.

Slanted 31—tokyo

WORKS

92

→246

Lego, 2008

Poster, Installation

Artwork for Exhibition

大日本タイポ組合

秀親

+

塚田哲也

Dainippon Type Org.

The Magical Hiragana World, 2017

Children’s Book

Fukuinkan Shoten Publishers

WORKS

→246

Slanted 31—Tokyo

93

大日本タイポ組合

秀親 + 塚田哲也

Dainippon Type Org.

YMC201500

2015

Poster

Artwork for Exhibition

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大日本タイポ組合

秀親 + 塚田哲也

Dainippon Type Org.

WORKS

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No Future Without

2005

Poster, video

NEUT

有山達也

Tatsuya Ariyama

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Tatsuya Ariyama

有山達也

Tatsuya Ariyama

one table two chairs meeting

Poster, 2016

Za-koenji (public theater)

one table two chairs meeting

Poster, 2017

Za-koenji (public theater)

WORKS

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Studio View

有山達也

Tatsuya Ariyama

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98

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Studio View

有山達也

Tatsuya Ariyama

WORKS

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Taiyo Band

2016–2017

FLyers

Photos: Aya Iwai

100

有山達也

Tatsuya Ariyama

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Kumo no Ue

2006–2017

Free Magazine

Kita-Kyushu City

Isao Makino & Tatsuya Ariyama

& Momoko Tsuruya & Michiko Otani

有山達也

有山達也

Tatsuya Ariyama

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WORKS

Kumo no Ue

2006–2017

Free Magazine

Kita-Kyushu City

Isao Makino & Tatsuya Ariyama

& Momoko Tsuruya & Michiko Otani

Studio View

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Advertising

slanted.de/shop

Fontnames Illustrated

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Fontnames Illustrated

fontnames

illustrated

130

Yo Ueda

Adrian Hogan

Bunny Bissoux

Luis Mendo

Nanook

Tetsunori Tawaraya

Yuki Kameguchi

Sara Gally

Makoto Yamaki

書体イラスト

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Yo Ueda

Fine

上田よう

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Adrian Hogan

Rodin Cattleya

エ

イ

ドリアン

・

ホーガン

133

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Sara Gally

Kokin Hige

サラ

・

ガリー

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Taiposu

Yuki Kameguchi

亀口ゆき

135

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Samurai Cab Co.

Nanook

ナヌーク

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136

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Tetsunori Tawaraya

Skip

俵谷哲典

137

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Luis Mendo

Faux Japanese

ルイス

・

メ

ンド

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Bunny Bissoux

Hiragino Kaku Gothic

バニー

・

ビスー

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Makoto Yamaki

ShinseiKai

山木誠

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の

質

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の

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え

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Takasuke Onishi — direction Q

Fumio Tachibana

Kamimura & Co.

Akinobu Maeda

Yuki Masuko — snöw

Rikako Nagashima — Village

Takeo Nakano — Nakano Design Office

Naoko Nakui

Kunihiko Okano — Shotype Design

Akira Yoshino — Typecache

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by

citizens

of tokyo

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ANSWERS

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1

Please present

yourself:

Who are you,

what do you do?

What is your

background?

Takasuke Onishi / direction Q

I am representative director of direction Q and art director, working on both, commercial and cultural projects. I’m interested in the field of cultural anthropology and running different ac-tivities related to that topic, such as online shops and small exhibitions. There are still so many things to learn from ethnic minorities around the globe.

Fumio Tachibana

I was born in 1968 in Hiroshima and graduated from the Visual Communication Design Division of Musashino Art University. Now I’m a Japanese artist and graphic designer who is working as a professor at Joshibi University of Art and Design.

Kamimura & Co.

Kamimura & Co. is a multidisciplinary design stu-dio founded by art director Makoto Kamimura and studio manager Sachi Kamimura. The studio was originally set up as Makoto’s own project in 2011, and was then incorporated in 2018. We are working on various projects, focusing on vis-ual identities and typeface design. Our mis-sion is to contribute to the progress to make the world better through design.

Akinobu Maeda

I’m an art director / graphic designer based in Tokyo where I head a design studio. Primarily, I handle art direction and design in a diverse range of genres, running the gamut from CI to advertis-ing, editorials, and web content. To cite a few specific examples, I’ve overseen the design of magazines such as Too Much Magazine and POPEYE, and recently have been responsible for the annual visuals for the professional Japanese baseball team, the Yokohama DeNA BayStars.

Yuki Masuko / snöw

I’m a graphic designer / art director in Tokyo, run-ning a small graphic design business with a good friend of mine. I was born in Japan, worked and spent some time in Australia and the US.

Rikako Nagashima / Village

I’m a graphic designer and graduated from the Visual Communication Design Department at Musashino Art University. I’m working in various fields of design while keeping graphic design as a key focus: Examples include VI planning, sign design for architecture, book design, and scenog-raphy. Simultaneously, I’m creating a series of works irregularly as my autonomous project, which takes the primary state of the human mind as a part of nature as a subject. I call it “HUMAN NATURE.” It’s about the resources and energy, which become invisible because of our mass con-sumption society, about the real value, which be-comes invisible because of money as a fiction, about the chaos, which becomes invisible be-cause of the order of the urbanism, and about the nature within humans, which becomes invisible because of the speed and framing of city life.

Takeo Nakano / Nakano Design Office

I am a graphic designer and studied Visual Com-munication Design at Musashino Art University. After I graduated, I worked as an art director /graphic designer, at Mitsuo Katsui for four years and became a freelance graphic designer after-wards. Now I am a representative of Nakano Design Office. My working field is mainly design on paper media such as editorial design, book design, total graphic direction of exhibitions, creating identities for museums, etc. In recent years, I was working passionately on creating vis-ual images based on data such as infographics and data visualization. I am also an associate pro-fessor at Musashino Art University and therefore spend much time on design education.

Naoko Nakui

I’m a book designer. Books in Japan are “dressed” in various papers such as covers and wraparound bands. My part in shaping these books is select-ing the papers, designing words written vertically and horizontally on them, directing illustrations and photographs, etc. I used to be a child good at handicraft.

Kunihiko Okano / Shotype Design

I’m a freelance type designer based in Tokyo. I usually get commissional work from Japanese type foundries to make the Latin counterpart of a Japanese typeface. Sometimes I create logo-types or the Japanese part of a Latin typeface, or

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do consulting work for type foundries in western countries about choosing a Japanese typeface that will fit a Latin typeface. When I was an art college student in the mid-90s, I was fascinated by Latin alphabets, then became interested in making a digital font. I found a Macintosh where Fontographer was installed, in a studio in the col-lege, so I dove into making a font with them. Unfortunately, I could not find a job as a type designer when I graduated from college, so I worked in a small design office as a packaging designer. While working on packaging design projects, I continued making Latin fonts as pri-vate work. After ten years, I finally got a chance to join a Japanese type foundry in Tokyo and started my career as a type designer. I started running my own design studio called Shotype Design in 2008. In 2011 I graduated from the Type and Media course at KABK in The Hague.

Akira Yoshino / Typecache

I mainly work for a publisher in Tokyo. Besides, I’m a moderator on the WhatTheFont forum of Myfonts.com, run Typecache, on which we in-troduce typefaces, type designers, and type foundries, and write articles about typography in design magazines. When it comes to my main job, I used to work as a novel editor—there I sometimes had to design as well and therefore have been into typefaces and design since then.

2

Why should

designers aspire

to an approach

rather than a style?

Takasuke Onishi / direction Q

Even if the style is new at that time, it always be-comes obsolete. That is not bad, but the design is determined by the amount of thoughts.

Fumio Tachibana

I think the most important thing is to construct and observe one’s perticular point of view. So it takes time.

Kamimura & Co.

What we do is not to decorate something, but to visualize people’s will and vision. So designers should approach to cope appropriately with so-cial change in all periods of history.

Akinobu Maeda

Right. After all, designers aren’t artists. Although, everyone has his own approach to work, in its contemporary connotation, the word “design” is understood to mean the act of dissemination rather than the act of production. I think it’s stan-dard for one’s style to vary depending on the object of dissemination. But I will say that it’s difficult for a single person to output a multi-tude of styles. You’re going to unavoidably end up with some degree of semblance across your work. I think this common denominator could be deemed someone’s style.

Yuki Masuko / snöw

Personally, I think, if designers stick to a style, they stop thinking about the options to approach the design. An approach should always come first before a style.

Rikako Nagashima / Village

In the final analysis it boils down to the question of what are you living for, I think. Style is what appears on the surface as a result of work that continues on and on. On the other hand, ap-proach is thought which equals a way of living in itself and that is not on the surface, but within yourself.

Takeo Nakano / Nakano Design Office

I think style was very important in the 20th cen-tury (I am using the word “style” as a social move-ment, like International Style / Swiss Typography and not in personal characteristics.) Style was not a superficial problem, but something appearing when tangling with social issues like technology, economy, politics, and philosophical thoughts. So style was established through complexed contexts and that process defines what mod-ern styles were. On the other hand, in our time so-ciety is much more complex, and it’s much harder to capture the totality or integrality. Therefore styles cannot solve the contemporary issues. Styles in current times are merely the sampling elements. Tools like Pinterest prevail and people are referring styles without contexts behind them. Persisting on styles nowadays means liv-ing in a modern illusion. To handle the contem-porary issue, which is much more complex than modern ones, I believe that designers have to take individual approaches to reconstruct a methodology.

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Naoko Nakui

Designing is working to come up with the natural condition that “likely fits” what we’re creating, and because what we create is different every time, we won’t be able to handle it all if we per-sist with one style … I guess.

Kunihiko Okano / Shotype Design

Designing something starts with a purpose. To achieve a goal, a designer needs to find an ap-proach to it. Through finding a different approach, every design / designer has a different style.

Akira Yoshino / Typecache

If you keep following styles, you could not create something innovative. Even if you keep follow-ing styles and create something good, it might not be the best. You might want to think by your-self what a client wants and what the problems are, and might want to solve them. Anyone can follow styles. Designers should solve problems by themselves to add value to themselves.

3

What would you

say are your

strongest skills,

and how have you honed those skills over

the years?

Takasuke Onishi / direction Q

Being able to design by using both logical and emotional thinking is maybe my strongest skill. This skill was brushed up by interacting with peo-ple of various professions.

Fumio Tachibana

Gazing at, observed on, watching at all of the world.

Kamimura & Co.

We always work with wide perspective and crafts-manship. Encountering the diversity of the world is a pleasure to us. We never get tired of that, and we also want to give something back to the di-versity of the world by creating something new. Our studio’s core is craftsmanship of creating a variety of details. Makoto has been improving his skill over a decade. You’ll see it, especially on our typeface designs.

Akinobu Maeda

That’s a tough question. With a mix of modesty and embarrassment, I confess that it’s hard to subjectively pinpoint a strongest skill. However, I’m often told that my work is unique and origi-nal. Thus, I’ll defer to this objective feedback. Lately, I’ve also been thinking more about what would constitute a specialized skill in the context of design. Tools change depending on the era, and the definition of specialization itself is in flux with the times. Rather than raw skills or sensibil-ities, I think insight / perceptivity is the most im-portant quality in the design realm.

Yuki Masuko / snöw

I think my strongest skill in my work would be communications between Japanese and English. From my experience of working and spending some time in overseas, I’ve been having more English or bilingual projects.

Rikako Nagashima / Village

To make a view of the world, which recipient can step into, and to condense the interpretation of thought of the subject which I design and make it into a “dot” as a graphic element. Through mak-ing a surface with those dots by expanding it in various ways, I can create a situation where peo-ple can get the same thoughts through the “dots.” Since it is necessary for identity design and branding work, it’s one of the things I’m good at.

Takeo Nakano / Nakano Design Office

I pursuit constructive design based on analysis and organization of various data. Editorial design and infographics seem to be categorized in dif-ferent fields superficially, however they have similarity in handling information constructively, therefore I recognize them as the same design field. I don’t have much confidence in my expres-sive sense and have always been inactive about composing colors and elements by intuition. I think, the education I received at Musashino Art University had a strong influence on it. They regard researching elaborately on history, en-vironment around us, etc. as a very important process. When I come up with an idea or feel right about a composition, I’m being influenced by stimulations of outside information. Since then, how much I observe, analyze, and think deeply on the subject, decides the quality of the output image.

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Naoko Nakui

I think I can say grasping the production pro-cesses of papers and probing deeply into the re-lations of printing and processing are my strong-est skills. It’s the fruit of my constant efforts of observing paper making plants. (Not only the plants in Japan, I’ve also been observing plants in Italy, China, and so on.)

Kunihiko Okano / Shotype Design

I have the skills to make both Latin and Japanese typefaces and have been training hand draw-ing skills based on my experiences doing Type-cooking at TypeMedia. After I came back to Tokyo in 2011, I started making a Japanese typeface that goes well with the Latin typefaces that I made when I joined the courses. I realized the Typecooker method with a recipe also works to make a Japanese typeface. Thanks to these experi-ences, I won the gold prize at the Japanese cate-gory of the Morisawa competition in 2012 and won the Honorable mention in the Latin cate-gory in 2014. I think I want to be a type designer to serve as a bridge between Japanese and Latin typefaces.

Akira Yoshino / Typecache

I’m good at identifying typefaces. I’ve done type IDs at the WhatTheFont Forum of