Choosing a niche topic for the dissertation has proven to be a challenging yet rewarding process in writing and in developing my understanding of graphic design.
Japanese post-war poster's unique characteristics and inspirations sets it apart from any other 'genre' and is predominantly the reason for the researches undertaking.
It's heavy references to traditional art and Japanese culture has resulted in a design aesthetic that is blurs the line between design and art. And because it is so unlike the conventions in Western design, learning about Japanese design and Japan in general has opened up new perspectives to further my practice. It encourages basing design decisions on intuition and feeling rather than to be entirely rationale, to look at more artistic sources for inspiration and to occasionally put form over function. These aspects can be taken further for exploration in extended practice.
The problem however, with this being a niche subject, is that the breadth of research conducted was only limited to secondary sources. Japanese post-war design is not a popular topic for critical writing. Finding relevant resource material that had significant analysis was difficult and relatively sparse. It also doesn't help that the dissertation was written outside of Japan and the fact I am not Japanese. This is significant, as to truly understand Japanese design, a medium that has its culture so intertwined with its practice, and to design in a 'Japanese' way, one must be Japanese for “time separates us from our subject, and culture is nothing if not lived at the time” (Saiki, 2002, p.9).
There should have been references made to opinions on the role of design as a whole rather than specifically towards Japanese design. This would help provide an understanding as to whether design itself can be a reflective of a period.
Nevertheless the practical outcome does demonstrate an application of the themes and subjects discussed in the dissertation. And much like how those post-war poster designs were reflective of modernisation on Japan, the poster series is a reflection of the dissertation.
Friday, 19 January 2018
Synthesis
The following poster series is a visual representation of the understanding and application of Japanese post-war poster design and a reflection of Japan societal change through the depiction of her distinct periods, discussed in the dissertation.
Each poster is designed around representing a significant cultural aspect of Japan and a geometric form. Emptiness, Impermanence and Modernity are fundamental in understanding the Japanese sensibility and on Japan's societal change. They are part of the reason as to why the Japanese are so unique.
Representing these qualities through geometrical forms are a reference to the Modernist design traits the designers took on in developing post-war Japanese design as well as representing simplicity, which is important in Japan as "the feature of Japanese traditional art lies in the simplicity and charm of variety where unimportant details are omitted and only the essence is allowed to remain" (Fukano, 1992, p.237).
The first poster embodies 'emptiness' due to it being a predominant theme explored in traditional Japanese art and its relation to Religion and the Tea Ceremony. The composition visualises this through the vast white space that flows in and out of the square, whilst the strokes of the Japanese translation mimic the branches seen in Tōhaku's Pine Trees.
'Impermanence', although a trait that was discussed primarily in the first chapter, is a comment on the period in Japan's history where she saw multiple changes in her society. Going from the Early Modern in the Meiji Restoration to the Nationalistic society in the lead up to war and finally a reversal to fully embrace Western Modernity in the Allied Occupation. This reflects the Japanese quality of being open and accustomed to change whilst also signifying how despite Japan going through changes, there are qualities that are permanent.
'Modernity' represents the last poster in the series as it was the predominant factor that helped shape Japan's society during the post-war period. Modernity allowed graphic design to be established as a profession in Japan, it shaped post-war designs aesthetic and its introduction into Japanese society reflected change.
Each poster is designed around representing a significant cultural aspect of Japan and a geometric form. Emptiness, Impermanence and Modernity are fundamental in understanding the Japanese sensibility and on Japan's societal change. They are part of the reason as to why the Japanese are so unique.
Representing these qualities through geometrical forms are a reference to the Modernist design traits the designers took on in developing post-war Japanese design as well as representing simplicity, which is important in Japan as "the feature of Japanese traditional art lies in the simplicity and charm of variety where unimportant details are omitted and only the essence is allowed to remain" (Fukano, 1992, p.237).
The first poster embodies 'emptiness' due to it being a predominant theme explored in traditional Japanese art and its relation to Religion and the Tea Ceremony. The composition visualises this through the vast white space that flows in and out of the square, whilst the strokes of the Japanese translation mimic the branches seen in Tōhaku's Pine Trees.
'Impermanence', although a trait that was discussed primarily in the first chapter, is a comment on the period in Japan's history where she saw multiple changes in her society. Going from the Early Modern in the Meiji Restoration to the Nationalistic society in the lead up to war and finally a reversal to fully embrace Western Modernity in the Allied Occupation. This reflects the Japanese quality of being open and accustomed to change whilst also signifying how despite Japan going through changes, there are qualities that are permanent.
'Modernity' represents the last poster in the series as it was the predominant factor that helped shape Japan's society during the post-war period. Modernity allowed graphic design to be established as a profession in Japan, it shaped post-war designs aesthetic and its introduction into Japanese society reflected change.
Analysis of printed posters
The chosen stock for the posters is a 125gsm 'Inbe' stock made from a mixture of kozo(mulberry) and hemp fibres. The benefit of using specifically Japanese paper is the fine texture, better absorption of ink and the slight off-white hue which softens the look.
The traditional B1 size of Japanese posters could not be achieved due to financial constraints in importing the size, so A2 was chosen.
With the exception of the 'Impermanence' poster, the posters simplicity in their design is geared towards the Japanese sensibility in that they "have a taste for simple beauty rather than for ornamental things. From ikebana (flower arrangement), the tea ceremony to Oriental calligraphy, the feature of Japanese traditional art lies in the simplicity and charm of variety where unimportant details are omitted and only the essence is allowed to remain” (Fukano, 1992, p.237). The posters are direct in its purpose yet ambiguous in it is representation, this allows the audience to interpret them in their own way.
There was however an slight oversight in the design of the 'Modernity' poster where the overlaid grain appears much darker in print than on screen. The sphere does not look as bright as it should yet the oversight does add definite texture and a burnished look.
Overall these posters work well in a series together. Each have their own distinct personality that sets each period apart. The designs are definitely not cliched interpretations of Japan. The lack of visual research conducted on the practical outcome has resulted in designs that demonstrate personal understanding and application of the topics discussed in the essay.
Fukano, T. (1992). Japanese are fond of English letters. In: Applied Typography 2, 1st ed. Tokyo: Graphic-sha Publishing Co., Ltd.
Poster Edits
The Japanese translations have been made a lighter font to help balance the composition.
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| Poster ad for Nikke Clothing by Gihachiro Okayama, 1931 |
The outlined type has taken inspiration from the typographic treatment of the posters from the period which results in a more dynamic and engaging visual for the poster.
The high contrast between the black background against the bold red triangles heighten the posters impact. Combined with the outlined Japanese in gold, the overall colour scheme has heavy association to Eastern culture, making the poster feel 'Japanese'.
In this poster, using a black background better represents a literal 'dark' period for Japan. The angular red triangles connote Japan's aggressive conquests through its shape and colour.
Despite not having perfect legibility, "1912-1952, Impermanence Changing" set in orange is meant to replicate transience through it having illegibility and legibility at the same time by being half way on and off the triangles.
Out of the two, people preferred the black version.
With the second poster going through a change in background colour, the third poster has to be altered to keep the series engaging. Instead of depicting an uncertain future for Japan, the neutral grey promotes an optimistic Japan, a clean slate.
The combination of the grey background with the gold sphere produces an unusual yet desirable effect. The contrast between the two makes the sphere look more pronounced as its shape is better highlighted. In some ways the colour scheme is reminiscent of Kazumasa Nagai's work, which demonstrates the Japanese sensitivity with colour that had made their designs inherently unique.
These are therefore the proposed three posters for the practical outcome.
Colour codes for each are as follows
These colours have been chosen based on the book 'Dictionary of Colour Combinations' by Sanzo Wada who was "ahead of his time in developing traditional and Western influenced colour combinations, helping to lay the foundations for contemporary colour research".
Poster Designs
Following on from the feedback on the idea to develop further, each poster within this series will be representative of a shape. The square representing the Pre War period, triangle for the Early Modern to Nationalist period and Circle for Post War. A more symbolic poster is aligned to the aesthetic and themes of Japanese post war design. Each poster's aim is to represent aspects of the period through design through my own understanding of the era. This is to prevent a cliche outcome that would feel repetitive.
In representing the first chapter, the first poster is aimed to convey the aspect of emptiness in pre war society, which was touched on in the analysis of Pine Trees:
An outline of a square represents Japan’s period of isolation during the Edo period that allowed her to develop her societal aspects for herself. The emptiness within this square will therefore allow the audience to fill in the emptiness with their own interpretation, as Hara explains “A creative mind, in short, does not see an empty bowl as valueless, but perceives it as existing in a transitional state, waiting for the content that will eventually fill it; and this creative perspective instills power in the emptiness. The deep relationship between kuhaku, or ‘emptiness,’ and the colour white is established through this communicative process” (Hara, 2009, p.36).
Reading on Hara’s explanations, emptiness has a role in religion. This square form is called a shiro (seen in the top right of the page) “and its basic principle is ‘to embrace emptiness’. In its original form, four pillars were raised on the ground and their tops tied with sacred ropes, leaving an ‘empty space’ in the centre. Precisely because this space is designed to be ‘empty’, there is always the possibility that something may enter it” (Hara, 2009, p.39). Visually the rope around the four poles can be seen as an outline of a square. So instead of a straightforward form, the square can also be representation of an important cultural value.
This initial composition sees the shiro as the primary visual identifier. In the top left is the Japanese translation of the word ‘emptiness’, kūkyo. Having a large Japanese translation on each poster will highlight the main theme of each whilst displaying the characteristics of the Japanese language. Because it is representative of the pre war era, a Mincho variation of Japanese typography is used as that is the equivalent of a serif font in Roman type. “The distinctively pointy ends of the stokes in the Ming font characters, the so-called uroko (literally “fish scale” in Japanese), are meant to represent the beginnings and ends of brush strokes, a form that was supposedly retained in order to maximise the legibility and structural composition of characters on paper” (Hara, 2009, p.32). A small phonetic translation of the word sites underneath to give the audience an idea of how its pronounced. The poster does not give the audience much literal information as with most Japanese poster designs, the visual forms, colour and composition are the main communicators of the design.
Despite the outline of the square seen in the shiro, it may be too linked of an association to the religious symbol. Instead the square should be as ambiguous so it can to carry a multitude of meanings.
In this second composition, the Japanese translation sits inside the square symbolising what the space is and a visualisation of the audience filling the square with an interpretation. The gaps in the square represent the opening of her isolation as well allowing the space to flow through the square, symbolising the transient nature of emptiness. A sans serif typeface is used for the copy as the contrast compliments the serif Japanese mincho font. Its typeset is also meant to communicate emptiness through its wider tracking and open leading.
However despite these changes, the poster feels weak, lacking the visual impact a poster needs to have to grab a readers attention. The emptiness feels lifeless, not engaging.
In this third composition, the black border is imposing and activates the white space rather than having it bleed off outside of the page. This has taken inspiration from the borders seen on Japanese hanging scrolls.
In representing the first chapter, the first poster is aimed to convey the aspect of emptiness in pre war society, which was touched on in the analysis of Pine Trees:
and explaining Zen Buddhism and the tea ceremony. But more importantly as Hara states, “the core of communication in Japanese culture is ‘emptiness’, which exists together that concept called ‘white’” (Hara, 2009, p.44).
Due to its significance in Japanese culture, holding a multitude of meanings, white will become the dominant colour of the poster. Symbolically, white can “contain temporal and spatial principles like ma (an interval of space and time) and yohaku (empty margin), or abstract concepts such as nonexistence and zero” (Hara, 2009, p.8). Whilst visually, “White can be attained by blending all the colours of the spectrum together, or through subtraction of ink and all other pigments. In short, it is “all colours” and “no colour” at the same time” (Hara, 2009, p.8).
Due to its significance in Japanese culture, holding a multitude of meanings, white will become the dominant colour of the poster. Symbolically, white can “contain temporal and spatial principles like ma (an interval of space and time) and yohaku (empty margin), or abstract concepts such as nonexistence and zero” (Hara, 2009, p.8). Whilst visually, “White can be attained by blending all the colours of the spectrum together, or through subtraction of ink and all other pigments. In short, it is “all colours” and “no colour” at the same time” (Hara, 2009, p.8).
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| Compositional sketches |
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| Compositional sketches |
An outline of a square represents Japan’s period of isolation during the Edo period that allowed her to develop her societal aspects for herself. The emptiness within this square will therefore allow the audience to fill in the emptiness with their own interpretation, as Hara explains “A creative mind, in short, does not see an empty bowl as valueless, but perceives it as existing in a transitional state, waiting for the content that will eventually fill it; and this creative perspective instills power in the emptiness. The deep relationship between kuhaku, or ‘emptiness,’ and the colour white is established through this communicative process” (Hara, 2009, p.36).
Reading on Hara’s explanations, emptiness has a role in religion. This square form is called a shiro (seen in the top right of the page) “and its basic principle is ‘to embrace emptiness’. In its original form, four pillars were raised on the ground and their tops tied with sacred ropes, leaving an ‘empty space’ in the centre. Precisely because this space is designed to be ‘empty’, there is always the possibility that something may enter it” (Hara, 2009, p.39). Visually the rope around the four poles can be seen as an outline of a square. So instead of a straightforward form, the square can also be representation of an important cultural value.
Despite the outline of the square seen in the shiro, it may be too linked of an association to the religious symbol. Instead the square should be as ambiguous so it can to carry a multitude of meanings.
In this second composition, the Japanese translation sits inside the square symbolising what the space is and a visualisation of the audience filling the square with an interpretation. The gaps in the square represent the opening of her isolation as well allowing the space to flow through the square, symbolising the transient nature of emptiness. A sans serif typeface is used for the copy as the contrast compliments the serif Japanese mincho font. Its typeset is also meant to communicate emptiness through its wider tracking and open leading.
However despite these changes, the poster feels weak, lacking the visual impact a poster needs to have to grab a readers attention. The emptiness feels lifeless, not engaging.
In this third composition, the black border is imposing and activates the white space rather than having it bleed off outside of the page. This has taken inspiration from the borders seen on Japanese hanging scrolls.
The square’s area is extended to the edge of the page that helps give structure to the white space. Visual balance is achieved in the poster as the horizontal spaces contrast against the vertical axis of the copy. The larger translation dominates the poster whilst vast white space surrounds it, similar to the effect of the most fore front trees in Tōhaku's Pine Trees.
The triangle will be the visual identifier of the second poster in the series, representing the Early Modern to Nationalistic period of 1912-1945. The sharp angular characteristics of a triangle represent the aggressive, imperialist Japan.
The choice for triangles to represent this era takes inspiration from Masuteru Aoba's opinionated poster on Japan's war efforts.
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| War Waste Energy. Masuteru Aoba. 1981 |
The natural shape of the jets resemble that of a triangle whilst their downward angle communicate a destructive period for Japan in retrospect. What makes this poster visually powerful is the belittlement of the highly sophisticated jets by contrasting it to the crude and simplistic trashcan.
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| Compositional sketches |
What Aoba achieves in his composition is movement. The angle and way the jets are depicted feel as though they are flying quickly down the page. Therefore the way the triangles are to be composed should communicate direction, as it was Japan's loss in the war that led to her beneficial occupation. Illustrating Japan's past military conquests is also a common theme illustrated by post war designers such as Aoba and Fukuda below.
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| Victory over Fascism - remembering 50 years since the start of WWII. Shigeo Fukuda. 1989 |
Having triangles in this poster also elude to the inspirations designers in this period were taking from such as the Russian Avant Garde.
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| Beat the Whites with the Red Wedge - El Lissitzky, 1919 |
The offset angles of which the design elements are set are characteristic of the style, combined with the consistent use of red that lends itself to a Japanese association.
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| Hiromu Hara Japanese Film poster 1929 |
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| Choose domestic! Poster, 1930 |
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| Poster for Nikkie sports coat by Gihachiro Okayama, 1931 |
Despite not being explicit in its references, the posters of this era demonstrate the angular setting of the content to help move the eye across the page. Typography now plays a larger role in the designs, forcefully communicating to the reader.
An all red poster is symbolic of Japan's effort for self modernisation and nationalistic pursuits. However the shade of red is dark, communicating blood of the people lost at war and a period that is to be regretted.
With the two triangles going against each other seen in the last example, it symbolises the conflicting ideals Japan strove for during these 40 years. Therefore impermanence will be the main theme of this period, as it represents the multiple changing of Japans attitudes.
The offset type maintains the triangular motif and is a reference to the Russian avant garde compositions. The varying shades of red elude to Japan's changing ideals during the period which also allows the black copy to sit above the background for readability.
In these compositions, the addition of gothic Japanese typography (sans serif) is meant to reflect Japans efforts towards modernity and how it is in a transitional period in the country's history from traditional to modern.
Between the two, having the triangles point in the same direction provides better readability and consistency. The shape of each triangle is more powerful this way as they work together. The curvilinear type set of "The Early Modern to Occupational Japan" gives contrast to the heavily angled poster.
The final poster in the series will be symbolised through the circle. A full circle can be representative of Japan coming together, the soft curves imply the new pacifist Japan and above all it is the international symbol of Japan.
It was during this post war period that the Japanese designers took inspiration from Western modernism. This meant Western attitudes towards type setting and composition in their designs. This is very evident in Yusaku Kamekura's work shown below when compared to western designs of that period.
Modernist typesetting places communication of the message as the paramount aim, hence the ample white space and its distinct separation from the main element which dominates the entirety of the design.
Looking at more examples of Kamekura's work, it is evident that he repeatedly places the symbolic element of the design high on the poster, with information just below.
Thematically, the black background represents an unknown and mysterious period for Japan evidenced by the new found modernity under the Americans and the designers pursuit in what it means to be Japanese.
Gold is representative of Japan economic success after the war. A booming economy allows for new technologies to be developed which in turn affects the development of their graphic design.
A sphere instead of a flat circle and the addition of texture to the graphic demonstrates new technologies in designing. The addition of the grain also aligns with the Japanese sensibility, supported by Tanizaki and Calza, “We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, ..., bespeaks a sheen of antiquity” (Tanizaki, 2006, p.17), “For Japanese writers and artists life contains an area where the indistinct reality of the penumbra is the norm. Where colours appear subdued and their brilliance comes from some inner quality, not a dazzling surface” (Calza, 2007, p.108).
The choice for gold is further justified through the already symbolic significance of its colour in the pre war period. Therefore the sphere demonstrates the combination of pre war symbolism through the gold and post war modernity through its depiction of a sphere.
By extending the sphere over the edge of the poster its scale isn't constrained by the dimensions, this obviously makes the sphere look larger but only when compared to the previous composition does the effect has its significance.
Ideas Feedback
Feedback on ideas
There was a general agreement that the posters should be more representative of shape and colour, rather than to communicate the ideas through typography. Geometrical forms and interesting use of colour were frequently used in post war design and not typographic manipulation. Therefore Idea 2 and 4 were shortlisted to develop further.
Out of 2 and 4, Idea 2 provided a less cliche approach to representing Japan. A circle is obvious and probably been done before. Having a square, triangle and circle is more
There was a suggestion to create a singular poster made up of visual layers representing each period. The poster would then have a 'background', 'middleground' and 'foreground', that symbolises how the history and culture of Japan come together to influence Japanese designers. However the problem with this idea is that there will be a lot to communicate in one poster, which goes against one of the principles of Japanese design in that the message should be communicated in its essence.
There was a suggestion to look at Genis Carrera's 'Philographics' poster collection as inspiration. Carrera takes a specific term within philosophy and explaining them through simple shapes and colour with a brief description. It bares similarity to the aim of practical solutions. Following on Carrea's idea, these can be reinterpreted to represent a key word or theme within Japanese design, like a visual glossary.
A comment was also made to possibly develop a typeface that is inspired and informed by Japanese design sensibilities. To have the East influence the West rather than the accustomed West to East. Ikko Tanaka's Bodoni inspired typeface can be used as a starting point.
There was a general agreement that the posters should be more representative of shape and colour, rather than to communicate the ideas through typography. Geometrical forms and interesting use of colour were frequently used in post war design and not typographic manipulation. Therefore Idea 2 and 4 were shortlisted to develop further.
Out of 2 and 4, Idea 2 provided a less cliche approach to representing Japan. A circle is obvious and probably been done before. Having a square, triangle and circle is more
There was a suggestion to create a singular poster made up of visual layers representing each period. The poster would then have a 'background', 'middleground' and 'foreground', that symbolises how the history and culture of Japan come together to influence Japanese designers. However the problem with this idea is that there will be a lot to communicate in one poster, which goes against one of the principles of Japanese design in that the message should be communicated in its essence.
There was a suggestion to look at Genis Carrera's 'Philographics' poster collection as inspiration. Carrera takes a specific term within philosophy and explaining them through simple shapes and colour with a brief description. It bares similarity to the aim of practical solutions. Following on Carrea's idea, these can be reinterpreted to represent a key word or theme within Japanese design, like a visual glossary.
A comment was also made to possibly develop a typeface that is inspired and informed by Japanese design sensibilities. To have the East influence the West rather than the accustomed West to East. Ikko Tanaka's Bodoni inspired typeface can be used as a starting point.
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