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 TÅhaku'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.
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