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.
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