PREFACE
JAPANESE STYLE TYPEFACE DESIGN AND APPLICATIONS ––A Reference from Japanese Masters Copyright © Artpower International Publishing Co., Ltd. The most effective form of communication is speech. Once spoken, however, words fade from memory and, above all, speech lacks accuracy. While written words can more accurately convey a message, they are unable to convey emotion in the same way. Design can compensate for this. Through character design, written words can express emotion.
Publisher: Lu Jican Chief Editor: Li Aihong Executive Editor: Li Aihong
Consequently, it is not enough for a typeface to merely exhibit attractive forms. The forms have to be expressive. At the same time, they must satisfy the requirements for both readability and emotional response. In whatever way they are combined, the characters should be well balanced and consistently expressive. Kanji characters, in isolation, already represent ideas, and can immediately convey deep meaning. Even so, a series of complex characters often occur in strings, and such combinations present formidable challenges to designers. The many constraints of typeface design are a great test of a designer’s abilities.
Art Designer: Chen Ting, Xiong Libo
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The situation is different with logotypes, characters specifically designed for product names or other branding. Rather than giving priority to balance and consistency, the focus shifts to communicating an image. When images are used in advertising and other short-term applications, emphasis is given to displaying individuality. This allows freedom to the designer. Able to express individuality, the designer can create work that has powerful impact. But the motivation for the work must always be the original purpose of the design. If the logotype does not achieve its purpose, it will just end up looking odd: individuality has to function as part of the design. So, as well as presenting textual information, a logotype must also effectively communicate a visual image that achieves the purpose of the work. The form must also be beautiful. This beauty is not limited to the shape of the characters: it is also formed by the balance of empty space. I would also add another factor that is important to the success of a design: whether or not it is a fresh attempt at solving the problems presented by the work. Only when a design can pass these tests, can it be called a design worthy of consideration.
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These days, you can see many examples where balance has been deliberately upset, presumably in the attempt to achieve a new look. Usually, lack of balance causes visual discomfort. There are times, however, when imbalance can be comfortably used to express kindness and a human touch. Such designs are most successful when done by someone who thoroughly understands the proper balance of characters. Otherwise, the effect is like an immature shot in the dark. A logotype is not only about reading what is written. The meaning also comes across in how it is expressed.
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ISBN 978-988-19985-9-0
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All images in this book have been reproduced with the knowledge and prior consent of the designers and the clients concerned, and every effort has been made to ensure that credits accurately comply with information applied. No responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise arising from the contents of this publication.
Printed and bound in China.
by Yoshimaru Takahashi
010
JAPANE SE ST YLE TYPEFAC E D ESIGN AN D APPLIC ATIO N S
TY P EFA C E / LO G O
Ruri no kaze
Silk Cut
A logo design for a green laver.
This typography means "Silk Cut" in Japanese.
Design Agency
Designer
Client
Fonts used
aizawa office Inc.
Yukihiko Aizawa
Tokushimakengyoren, Food Relaiton Co.,Ltd
Engravers MT / Original
Design Agency
Art Director & Designer
tegusu
Masaomi Fujita
Toppu
Yamada House Agent
A logo design for a Japanese singer, T.M.Revolution, for the 20th anniversary of his debut.
This typography means yamada house agent in Japanese Kanji.
Design Agency
Designer
Client
Fonts used
Design Agency
Art Director & Designer
aizawa office Inc.
Yukihiko Aizawa
Sony Music Entertainment (Japan) Inc.
Original / Hagoromo
tegusu
Masaomi Fujita
011
016
JAPANE SE ST YLE TYPEFAC E D ESIGN AN D APPLIC ATIO N S
Rainy TOFU This typeface was designed for an artist sesamespace's exhibition “Rainy TOFU." The work consists of various images, for example, water, gentle rain, rain drops, an umbrella, sparkle, brightness, and bean curd (TOFU)…in one day in asian city.
TY P EFA C E / LO G O
Матрёшка Logo of a Russian goods shop.
Design Agency
Designer
Client
Design Agency
Designer
Toshiki Fabre GK
Kaori SAWADA
sesamespace
PROFITS inc.
Yohei Yamashita
Матрёшка
Compass
Stephanie
Logo of disabled facility.
Logo of a restaurant.
Client
Design Agency
Designer
Client
Design Agency
Designer
Client
PROFITS inc.
Yohei Yamashita
compass
PROFITS inc.
Yohei Yamashita
Stephanie
017
022
JAPANE SE ST YLE TYPEFAC E D ESIGN AN D APPLIC ATIO N S
TY P EFA C E / LO G O
Movie Husenhuhuhu Sorararara
INTERSUPPORT
Husenhuhuhu Sorararara is the title of the movie.
Inter Support is a company that supports overseas study abroad.
Design Firm
Designer
Illust
Design Firm
Designer
Illust
LUCK SHOW
Ryo Miura
Miho Yuki
LUCK SHOW
Ryo Miura
Miho Yuki
Tohoku University IEED
Inter Support
Tohoku University IEED is a Division of international Education & Exchange, School of Engineering, Tohoku University.
Inter Support is a company that supports overseas study abroad.
Design Firm
Designer
Illust
Design Firm
Designer
LUCK SHOW
Ryo Miura, Miho Yuki
Miho Yuki
LUCK SHOW
Ryo Miura / Miho Yuki
023
068
JAPANE SE ST YLE TYPEFAC E D ESIGN AN D APPLIC ATIO N S
Mon Plaisir CI This is a design of corporate identity for an insurance agency. The logotype is round in shape to show familiarity and kindness. And the connected letters express the principle of the company, that is, they take good care of the human bonds. The symbol at the center, which is composed of "m" and "p" by freehand, is liken to a plant and expresses the partnership with their customers which buds and blooms to be a new relationship. The green color shows bright future and freshness, and the brown color shows conscience and reliance.
B R A N D IN G
Rose Soap Package The package design for soap as a small gift of a wedding ceremony. The symbol and logotype are designed with a motif of thorns of roses. The red and gold string on the package imitates “Mizuhiki�, Japanese traditional decoration string for gifts that shows they are new and clean.
Designer
Client
Designer
Naoki Ikegami
mon plaisir Co.,Ltd.
Naoki Ikegami
069
122
JAPANE SE ST YLE TYPEFAC E D ESIGN AN D APPLIC ATIO N S
Ability General Private Tutoring School “Ability” in Fukushima The letter “A” in Ability is for “grades” and for “Ace”. Our concept is that in the three stages of school (Elementary School, Junior High School and High School) we polish rough diamonds, polishing them to discover their true brilliance. We worked on the school’s branding in elements such as the logo, which was inspired by old schools in Scandinavian countries and regions with good reputations for their education. Our intention is to convey the school’s atmosphere that makes children want to study here, even after they have finished school for the day. Design Agency
Graphic Designer
LUCK SHOW
Ryo Miura, Miho Yuki cool beans
B R A N D IN G
123
160
JAPANE SE ST YLE TYPEFAC E D ESIGN AN D APPLIC ATIO N S
SOUVENISTA! “SOUVENISTA!” is a summer campaign in PARCO. It is featuring summer souvenirs. Art Director
Designer
Client
PARCO SPACE SYSTEMS
Hiroko Sakai (coton design)
PARCO
PA C K A G E
161
228
JAPANE SE ST YLE TYPEFAC E D ESIGN AN D APPLIC ATIO N S
ED ITO R IA L D ES IG N
3DK
TAFE
This is the photograph album.
This is the report of the Global Career.
Design Agency
Designer
Photo
Design Agency
Designer
Client
QUA DESIGN style
Yuichiro Tanaka
Sonoko Tanaka
QUA DESIGN style
Yuichiro Tanaka
Fukutake Education and Culture Foundation
229
Acknowledgements We would like to thank all the designers and companies who made significant contributions to the compilation of this book. Without them, this project would not have been possible. We would also like to thank many others whose names did not appear on the credits, but made specific input and support for the project from beginning to end.
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