special exhibition
TA B L E OF CONTENTS
1.0
Promotion exhibition identity
08
ticket
12
label
14
exhibition catalog
16
brochure A
22
brochure B
30
signage
36
internal poster series
38
external poster series
44
2.0
Main Exhibition floor plan
52
contents
54
3.0
Video brush stroke
60
pictogram
62
Gift Shop
70
4.0
C H A P T E R 40 1 G I FOTM SOHT O PR I OP N
08
ASIAN ART MUSEUM
Identity System
IDENTITY SYSTEM Birth of the letter Our solution for the identity is simplicity. Red round represents Japanese nationality and black dot with brush stroke means ink when we use write someting. And also, through the combination hand written type and computer
typeface for the logo, we tried show you beautiful harmony between these two. For the right useage, please check right four direction on the next page.
09
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
12
ASIAN ART MUSEUM
Ticket
TICKET Sticker form This is a ticket design with a sticker system. As a first interactive part with our customer, you can see the tagline, “ABOUT JAPANESE LETTER SYSTEM” that will let them know our topic directly. And we decided to use alphabet
for the date instead of numbering becasue of it is all about type. After customers got the ticket, they would put the red round sticker on their chest or arm to distinguish special exhibition and normal one.
SIZE
MATERIAL
3” X 6”
Matte Finish
13
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
14
ASIAN ART MUSEUM
Label
LABEL The Black Sumi This is a label design for the gift shop in the museum. Background has a sumi brush stroke represents Japanese calligraphy. And also, different tone of black sumi represents there artistic writing culture. For the foreground, there is only logo on the front and an upc code
on the backside so it looks very simple and clean, even though it has a pretty strong dark background. And also, it sould be printed not coated paper We recommend to use heavy weight texture matte paper so it feels like a rice paper which is for Japanese calligraphy.
SIZE
MATERIAL
0.8� X 3�
Matte Finish
15
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
16
ASIAN ART MUSEUM
Exhibition Catalog
EXHIBITION CATALOG The Black Sumi We are going to offer an exhibition catalog by free. This catalog has various color images representing Japanese letter in their daily life. It will be a good chance to see their life style and how they use their letter system in artistic
way. The exhibition logo positioned on the center of the front cover with brush stroke. and logotype has two tones, black and cream. Customers will find it right next Brochure A and B at the front desk.
SIZE
MATERIAL
8� X 10�
Matte Finish
17
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
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ASIAN ART MUSEUM
Catalog
MEIJI PERIOD The significant reforms of the 19th century Meiji era did not initially impact the Japanese writing system. However, the language itself was changing due to the increase in literacy resulting from education reforms, the massive influx of words, and the ultimate success of movements such as the influential which resulted in Japanese being written in the colloquial form of the language instead of the wide range of historical and classical styles used previously. The difficulty of written Japanese was a topic of debate, with several proposalsin the late 1800s that the number of kanji in use be limited. In addition, exposure to non Japanese texts led to unsuccessful proposals that Japanese be written entirely in kana or rĹ?maji. This period saw Western-style punctuation marks introduced into Japanese writing.
While westerners feel that there are much harder languages to learn, namely Chinese, Japanese is still fascinating language with challenges all it’s own. The origins of the Japanese language are widely debated, however the Western consensus seems to be that it is related to language once spoken northern Asia that split into several other languages including Korean. Since the people of Japan likely emigrated from these areas, it is likely that they would have brought the variation of these dialects with them. The language was influenced by the Pacific of the Island languages surrounding a islands of Japan. This theory is known as the Altaic language theory.
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08
A second theory is that the Altaic languages combined with the Austronesian languages to form unique third language that eventually grew up into Japanese. This theory means that Japanese is an Altaic language with Austronesian influences, or an Austronesian language with Altaic influences. The third distinct theory is that Japanese was related, originally, to Tibetan, and was introduced into the Japan during the migrations of the Southeast Asians up five thousand years ago. And this language was tossed in a blender with Austronesian and Altaic languages to create modern Japanese.
19
DECEMBER
NINTH
TWENTY THIRD
09
Promotion Part
20
ASIAN ART MUSEUM
Catalog
JAPANESE CALLIGRAPHY WORKS
The Chinese roots of Japanese calligraphy go back to the twenty-eighth century B.C., to the time when pictographs were inscribed on bone for religious purposes. When this writing developed into the instrument of administration for the state, the need for a uniform script was felt and Li Si, prime minister in the Chinese dynasty of Qin, standardized a script and its way of being written. He sanctioned a form of script based on squares of uniform size into which all characters could be written from eight strokes. He also devised rules of composition where horizontal
strokes are written first and characters are composed starting from top to bottom, left to right. Because the symbols were inscribed with sharp instruments, the lines were originally angular and in many ways Li Si's achievements were made obsolete by the appearance of brush and ink (see Chinese calligraphy). The ink-wet brush creates a line quite different from a sharp stylus. It affords variation in thickness and curve of line. Calligraphy retained the block form of Li Si and his eight strokes but the writer was free to create characters that emphasized aesthetically pleasing balance and form.
10
12
13
21
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
JAPANESE CALLIGRAPHY WORKS
The Chinese roots of Japanese calligraphy go back to the twenty-eighth century B.C., to the time when pictographs were inscribed on bone for religious purposes. When this writing developed into the instrument of administration for the state, the need for a uniform script was felt and Li Si, prime minister in the Chinese dynasty of Qin, standardized a script and its way of being written. He sanctioned a form of script based on squares of uniform size into which all characters could be written from eight strokes. He also devised rules of composition where horizontal
strokes are written first and characters are composed starting from top to bottom, left to right. Because the symbols were inscribed with sharp instruments, the lines were originally angular and in many ways Li Si's achievements were made obsolete by the appearance of brush and ink (see Chinese calligraphy). The ink-wet brush creates a line quite different from a sharp stylus. It affords variation in thickness and curve of line. Calligraphy retained the block form of Li Si and his eight strokes but the writer was free to create characters that emphasized aesthetically pleasing balance and form.
10
12
DURING THE 6TH CENTURY, ELEMENTS OF CHINESE CULTURE FLOODED INTO JAPAN, A RESULT OF DIPLOMATIC AND RELIGIOUS INTERCOURSE BETWEEN THE CHINESE HAN DYNASTY, KOREA, AND THE JAPANESE YAMATO RULERS.
12
13
22
ASIAN ART MUSEUM
Brochure
BROCHURE A The Brush Stroke This is a brochure has various information about background of japanese letter system so it will be very useful to understion it when they passing our special exhibition. Front cover has two different type of brush strokes which represents how they makes artworks with the
letter in various ways. For the inside, it has a dictionery look becasue our topic is a pretty unique topic in this market. And also, it has a medium size map on the backside. we will offer a large map on the other piece.
SIZE
MATERIAL
3.5� X 7.5�
Matte Finish
23
DECEMBER
NINTH
TWENTY THIRD
groups of ten or more receceive these discoundted admission rates
Private docent and storyteller led tours of our collection galleries are 75 dollor for up to 15 people. Private docent tours of special exhibitions are 100 dollars for up to 20 people. Associated listening are avaliable.
Please make reservations for group visits at least two weeks in advance: our tours are subject to avaliability. Payment is due in full prior to visit date.
ASIAN ART MUSEUM 200 Larkin Street San Francisco, CA 94102 415.581.3500
Promotion Part
24
ASIAN ART MUSEUM
External Poster Series
25
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
26
ASIAN ART MUSEUM
Brochure
27
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
30
ASIAN ART MUSEUM
Folded Brochure
BROCHURE B Performance Events This is a brochure which has an information about performance of Japanese calligrapher and special events. And also, it has a large map on the backside so customers can use this brochure during the tripping. It has a very light
weight paper which is newsprint so it would be very comfortable to hold it all day long. we decided to use only one typeface with capital letter for this piece.
SIZE
MATERIAL
14� X 32�
Newsprint
31
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
32
ASIAN ART MUSEUM
Folded Brochure
33
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
34
ASIAN ART MUSEUM
Folded Brochure
35
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
36
ASIAN ART MUSEUM
Signage
AREA
05
37
DECEMBER
NINTH
TWENTY THIRD
Promotion Part
38
ASIAN ART MUSEUM
Internal Poster Series
INTERNAL POSTER The Beautiful Letter This is an internal poster series which has larger size than external poster. It has three different words such as Artistic, Beautiful and historical instead of “visual”. They are our secondary messege so we put them into the
internal poster series. And also, we tried to escape to use too much background image and try to find large white space so it became very simple and stronginternal poster.
SIZE
MATERIAL
32” X 54”
Matte Finish
39
DECEMBER
NINTH
TWENTY THIRD
FROM DEC.
09
ARTISTIC
Promotion Part
40
ASIAN ART MUSEUM
Internal Poster Series
FROM DEC.
09
BEAUTIFUL
41
DECEMBER
NINTH
TWENTY THIRD
FROM DEC.
09
HISTORICAL
Promotion Part
44
ASIAN ART MUSEUM
External Poster Series
DE C 09 23
ASIAN ART MUSEUM
DE C 09 23
ASIAN ART MUSEUM
200 LARKIN ST SAN FRANCISCO CA 94102
ASIAN ART MUSEUM 200 LARKIN ST SAN FRANCISCO CA 94102
EXTERNAL POSTER The Strokes This is an external poster series. Red round shape is not only representing Japanese nationality but also rising sun becasue every culture started with using langue. Through the use of many bold strokes show you different
weight of Japanese letter shapes and weight. And also, each poster represents different type of Japanese such as Kanji, Katakana, Kana. You can use this poster series inside of museum too. But you should keep the right size.
SIZE
MATERIAL
26” X 38”
Matte Finish
45
DECEMBER
NINTH
TWENTY THIRD
DE C 09 23
ASIAN ART MUSEUM 200 LARKIN ST SAN FRANCISCO CA 94102
Promotion Part
48
ASIAN ART MUSEUM
Training CD
TRAINING CD The Black Stroke We designed training and information cd for customers as a free stuff. It has plentiful contents of Japanese letter system such as you can learn how to practice Japanese calligraphy and start to learn Japanese letter system. And
also, it contains information about Asian Art Museum. For the front cd, our exhibition logo covered all over the cd and you can see the museum logo and exhibition logo type on each side of cd.
SIZE
MATERIAL
4.5� X 4.5�
CD & Matte
49
DECEMBER
NINTH
SPE
CIA
L
EX
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BI
T
TWENTY THIRD
IO
N
AT
A
N SIA
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MUSEUM
Promotion Part
C H A P T E R 42 G M IAF ITN SEHXOHPI B I T I O N
50
ASIAN ART MUSEUM
Exhibition
SHOWROOM A LEVEL 01 AREA 01
AREA 02
AREA 05
AREA 06
AREA 03
AREA 04
AREA 07
AREA 10
AREA 08
AREA 09
AREA 11
AREA 12
AREA 13
AREA 14
AREA 15
AREA 17
AREA 16
AREA 18
51
DECEMBER
NINTH
TWENTY THIRD
AREA 11
AREA 14
AREA 12
AREA 13
AREA 01 - AREA 04
AREA 08 - AREA 10
Chinese Roots
Origin of Kanji
AREA 05 - AREA 07
AREA 11 - AREA 14
Japanese Calligraphy
The Invention of Kana
AREA 15 - AREA 18
Modern Japanese type
AREA 15
AREA 17
AREA 16
AREA 18
Exhibition Part
54
ASIAN ART MUSEUM
Exhibition
AREA
11
55
DECEMBER
NINTH
TWENTY THIRD
Exhibition Part
56
ASIAN ART MUSEUM
Exhibition
AREA
14
55
DECEMBER
NINTH
TWENTY THIRD
Exhibition Part
C H A P T E R 43 G F TE OS H O P VID
60
ASIAN ART MUSEUM
Stroke Movements
AREA
06
PICTOGRAPHIC VIDEO Birth of the letter Japanese letter system has a deep relationship with pictographix. From now on, you will experience how was Japanese letter developed through watching video. And also, we will show you the movement of brush stroke in an artistic way. It will catch viewers’ attention and
interest very quickly. It has 3 hours long so it will have four replay times in a day. For the calligraphy part, it has cream tone background to have a comfortable feeling of black sumi brush stroke.
SIZE
MATERIAL
20” X 23”
Video
61
DECEMBER
NINTH
TWENTY THIRD
Video Part
62
ASIAN ART MUSEUM
Pictographic Video
AREA
07
63
DECEMBER
NINTH
TWENTY THIRD
Video Part
64
ASIAN ART MUSEUM
Pictographic Video
65
DECEMBER
NINTH
TWENTY THIRD
Video Part
CHAPTER 4 GIFT SHOP
70
ASIAN ART MUSEUM
Brush
71
DECEMBER
NINTH
TWENTY THIRD
Gift Shop
72
ASIAN ART MUSEUM
Rice Paper
72
DECEMBER
NINTH
TWENTY THIRD
Gift Shop
74
ASIAN ART MUSEUM
Brush Holder
75
DECEMBER
NINTH
TWENTY THIRD
Gift Shop
76
ASIAN ART MUSEUM
Brush Holder
77
DECEMBER
NINTH
TWENTY THIRD
Gift Shop
C M Y K 0.0.0.10 0
C M Y K 2.8.13.0
C M Y K 3.10 0.98.13
R G B 35.31.32
R G B 247.231.216
R G B 201.25.33
H S B 344.11.13
H S B 281.12.96
H S B 357.87.78
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U N I V E R S A B C D E F G H I J K L M N O P Q R S T U V W Y Z abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9 U TO P I A A B C D E F G H I J K L M N O P Q R S T U V W Y Z abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9