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.
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