An analysis of Applied Typography 2

(Applied Typography 2, 1992)

Applied Typography 2. (1992). 1st ed. Tokyo: Graphic-sha Publishing Co., Ltd.

The analysis is given at face value, without context, as the book does not give explanation of any design. 

The transformation of Japanese script to English Roman letterforms can be interpreted as Japanese traditions transitioning to Western modernity. Modernity in the sense of adopting a language used predominantly by the West and a language used internationally. 

An example of Japanese script being represented more geometrically which was common in postwar Japanese design. 

The rough outline of the type make it look like it was made from traditional Japanese paper which is often more textured and uses a handmade process unlike the West. 

This gives an idea to do a poster series that spells out "J A P A N", in which each letter is representative of the different stages Japan went through, from the Edo period until the end of the postwar period outlined in the essay. 

Looked at logos to get a better understanding of the Japanese mindset on form and colour. 

The logos demonstrate the unique colour theory of the Japanese which produces colour combinations unseen in the West. The slight differentiations in the shades of blue highlight how colour is an important and conscious decision for the Japanese both in their design and traditional art. The colour choices are vibrant and give these logos a lighter tone of voice. Blue and green seem to be a common colour used to represent brands. Possibly relating to natural themes that the Japanese are so fond of. 

In terms of form, the Japanese often base their designs on simple yet timeless geometric forms such as the triangle, circle and the square. 

Ikko Tanaka's branding for the Japan Pavilion at the Seville Expo '92. The flowing graphic is another that resembles natural forms and could be a representation of a waterfall or clouds. Its direction symbolises progression or towards a point of where Japan is now or to symbolise Japan announcing itself to the world as the graphic looks like outward radio waves. 

Branding done by American company Landor Associates. A foreigners interpretation of what Japan should be represented as internationally. A very corporate, American modernist style that leaves JAL looking almost dull and does not communicate what makes Japan unique. Very unlike the design treatment of the Japanese. 

Interesting variation of the A letterform that could be used in the "J A P A N" series poster idea to symbolise modernity.

A combination of extreme representations of type in a poster design and Japanese colour theory.