Archive for May 2014

OUGD505: Studio Brief 2 - Research Into Japanese Stock / Formats

Paper Sizes

After looking into paper sizes, I came across the below table. I thought it would be really interesting to work with these sizes when it came to the branding, reflect Japanese culture further. 




"The Japanese Industrial Standard (JIS) defines two series of paper sizes: the JIS A-series and the JIS B-series. The JIS A-series is identical to the ISO216 standard A-series, only with slightly different tolerances. However, the JIS B-series is completely different to the ISO216 standard B-series. The area of Japanese B-series paper is 1.5 times that of the corresponding A-series paper, so the length ratio is approximately 1.22 times the length of the corresponding A-series paper. The aspect ratio remains the same for JIS B-series paper as it is for A-series paper. Both JIS A and B-series paper is widely used throughout Japan and Taiwan."


                                                                                                                                                                       

Business Cards


A Japanese business card is called a meishi (名刺). It typically features the company name at the top in the largest print, followed by the job title and then the name of the individual. This information is written in Japanese characters on one side and often Latin characters on the reverse. Other important contact information is usually provided, such as business address, phone number and fax number. Meishi may also contain a QR code to provide contact details in a machine-readable form,[2] but this has not yet become a widespread practice. According to a 2007 survey, fewer than 3% of Japanese people own a meishi with a QR code printed on it.[3]

The presentation of one's meishi to another person is more formal and ritualistic than in the Western world. The card should be held at the top two corners, face up and turned so that it can be read by the person receiving the meishi, who takes it by the bottom two corners using both hands. Placing one's fingers over the name or other information is considered rude. Upon receiving the meishi, one is expected to read the card over, noting the person's name and rank. One should then thank the other person, saying "choudai itashimasu" or"choudai shimasu", and then bow.[4] When meishi are being exchanged between parties with different status, such as between the president of a company and someone in middle management, it is proper that the person of lower status extend his or her business card in such a way that it is underneath or below the meishi being extended by the person in a higher position.

Meishi should be kept in a smart leather case where they will not become warm or worn, both of which are considered a sign of disrespect or thoughtlessness. A received meishi should not be written on or placed in a pocket; it is considered proper to file the meishi at the rear of the leather case. If the meishi is being presented at a table, the recipient keeps the meishi on top of the leather case until they leave the table. If several people are involved in the meeting and one receives several meishi, the one with the highest rank is kept on the leather case, and the others beside it, on the table.

The manner in which the recipient treats the presenter's meishi is indicative of how the recipient will treat the presenter. Actions such as folding the card in half, or placing the presenter's meishi in one's back pocket, are regarded as insults.

Summary: So there is a specific way a 'meishi' is given and received, and held by the corners. I will take this into huge consideration, and ensure a large border around the business card details. 
                                                                                                                                                                       
Stock

I would love to use a paper stock that is made in Japan, so I researched into stock that is composed of fibre and pulp, made form Japanese trees. 




I really like the idea of using this undyed stock, and think it would be appropriate 




Thursday, 15 May 2014
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OUGD505: Studio Brief 2 - Japanese Poster Design (3)

Further visual research into Japanese posters:





Japanese Event Flyer: D-Shirt Exhibition. Daisuke Maeda. 2013







Japanese Exhibition Flyer: Wellness Design. Shin Matsunaga. 2007








Japanese Concert Poster: ToNoFon Festival. Gorow Ohno. 2011








Illustration: Battle of Nagashino. Bella Matribus Detestas. 2013



I like this combination of a sans serif typeface with sans serif Japanese type, something I could see working with.


Japanese Poster: Aoba Shokudo. Mitsuhiro Ikeda / Shun Sasaki. 2013
(Source: sasakishun)








Japanese Illustration: Setsubun. Ootsu Moeno. 2014
(Source: ootsumoeno)








Japanese Advertising: Suntory Red Whiskey. 1967





I like the use of playful typography here, in both Japanese and English. The poster is ugly, but I like the idea of using typography dotted around the poster.


Japanese Poster: PLAY / Tokyo Health Club. Tadashi Ueda. 2013
(Source: tadashiueda)









Japanese Poster: New Nature World Exhibition. Megumi Shibazaki. 2013









Japanese Movie Poster: Heat-Haze Theatre. 1981






Japanese Poster: Kappo Maekawa: Japanese Gourmet Event. Keisuke Maekawa. 2013














Over the past few decades, the work of Japanese designers has begun to make its way into the larger narrative representing the history of graphic design. Among these designers is Yusaku Kamekura. His influence can be seen not only in his works of design but also in his commitment to the promotion of design in Japan.

Released in 2013, John Clifford features Yusaku Kamekura in his book Graphic Icons: Visionaries Who Shaped Modern Graphic Design. Included here is an excerpt from the book introducing the Japanese designer’s life and work.

Some of Kamekura’s most well know design includes his colorful advertisements for Nikon and iconic posters for the 1964 Tokyo Olympics.


Japanese Poster: Nippon Kogaku. Yusaku Kamekura. 1954












I like the colours used below in this duotone image. The gold against the black is very traditionally Japanese, something I could consider when it comes to my posters and brand. 





I love the use of colours in the poster below, as well as a sans serif Japanese typeface.

Japanese Poster: Matohu Language of Clothing. Atsushi Hirano. 2012





Gurafiku Review: Most Popular on Gurafiku in August, 2013.
Japanese Book Cover: Real Anonymous Design. Kazuki Umezawa. 2013

(via gurafiku)





The use of black and white also seems to work well with complex Japanese type. 


Japanese Poster: Alumni Meeting Talk Session. Hirofumi Abe. 2013





Japanese Poster: International Biennial Exhibition of Prints. Tadanori Yokoo. 1968





Japanese Event Flyer: Super Bowl. Yuka Asai. 2013



This poster is quite fun and experimental. I like the use of a monotone grainy background, reminiscent of Japanese patterns and textures.




Japanese Poster: Thursday. Yutaka Satoh. 2013

(Source: 571-0)







Gurafiku Review: Most popular on Gurafiku in June, 2013.
Japanese Advertisement: SKIYARN. Womens knit fashion. 1955

(via gurafiku)


The colours below work really well together. This gold colour seems to be ubiquitous with Japanese design, something I definitely intend on using.

Japanese Poster: Towada Oirase Art Festival - SURVIVE. Kensaku Kato. 2013



I feel the use of type below is abit too intense for a western audience to taken in, so something I shall stay clear of. 


Gurafiku Review: Standout Japanese graphic design created in 2013.
Japanese Book Cover: Japanese Character Freestyle Complete. Ohara Daijiro. 2013
(Source: kogumarecord, via gurafiku)





Japanese Poster: Letters and Sunlight. Mitsuo Katsui. 2009



The poster below is fun and playful, but the style would not be appropriate for my audience. 


Gurafiku Review: Popular on the Gurafiku Research Feed in 2013. Heaven Artist


I would love to work with images of the products that have been designed, and really like the tone of voice the poster below portrays. 


Japanese Poster: App Arts Studio: Reproduction Techniques. 2013






Gurafiku Review: Most Popular on Gurafiku in May, 2013
Japanese Theater Poster: Sayonara Psychic Orchestra. Kohei Sekita. 2011
(via gurafiku)



I really like the use of intense colour below, but I feel would not be suitable for my brand. 


Japanese Exhibition Poster: Koji Kakinuma: Exploring Calligraphy. Tokyo Pistol. 2013






Gurafiku Review: Standout Japanese graphic design created in 2013.
Japanese Theater Poster: Don’t Know How to Fall. Nami Masuda. 2013

(Source: kazukij, via gurafiku)





The poster below is interesting, and something I could see working as a gallery poster. 

Gurafiku Review: Most Popular on Gurafiku in April, 2013.
Japanese Poster: Magaru My Girl / Maboroshi My Boy. Keisuke Maekawa. 2012
(via gurafiku)



Below you can see how custom Japanese letters can be formed. This is something I would like to experiment with. 


Gurafiku Review: Popular on the Gurafiku Research Feed in 2013. Rainy Season.


Shapes have been utilised well in the poster below, to create something architectural and visually appealing. 


2013 Gurafiku Review: Standout Japanese design created in 2013.
Japanese Exhibition Poster: Dismantlement and Blue-Sky Daydreams. Hirofumi Abe. 2013
(via gurafiku)


A very conceptual monochromatic poster below. It's also interesting to see Japanese type hand rendered. 


Japanese Theater Poster: Live x Sleep. Takara Mahaya. 2012
(Source: panorama-live)










 

The sans serif typeface (as well as heirachy) has been used well below. It's clear that the poster should be initially read in English, then Japanese. 


Japanese Event Poster: Dentsu Design Talk. Arata Kubota. 2013



Sunday, 11 May 2014
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