TS E B A 4 94 LPH E 0 9 1 A ISSU I, C H I S R A T R E A M G I O N U B XO O A N F E K O TA AN M E TH
TAKENOBU IGARASHI THE MAN OF AXONOMETRIC ALPHABETS Takenobu Igarashi (1944, Hokkaido) is a Japanese graphic designer, typographer and artist. He attained international acclaim as a graphic designer in the mid-1970s through his axonometric alphabets - the multi-dimensional artistic works without perspective. His axonometric works appeared on many projects for magazine covers (including Graphis and IDEA), posters and gallery exhibitions. One of his masterpieces was the three-dimensional numerals calendar for the Museum of Modern Art (MoMA), designed for eight consecutive years (Igarashi, n.d.). Igarashi designed visual identity programs for several domestic and international clients such as Meiji Milk Products Co. Ltd., Suntory Holdings Ltd., Mitsui Bank Ltd., Tama Art University, Oji Paper Co. Ltd., and UHAG. As he started experimenting with his love of typography and making alphabet sculptures, Igarashi advanced into the field of product design in the 1980s. In 1987, he published a book ‘Igarashi Alphabets: From Graphics to Sculptures’ where he showcased numerous typographic projects and experiments in both 2D and 3D mediums (Typeroom, 2014). Igarashi’s works vary from heavy to delicate, and grounded to airy in design featuring illustrations of letterforms projected into three-dimensions. He has experimented with a range of design techniques and prefers using grids, exploring letterforms and texture on purpose to present great design ideas of pure yet modern clarity. Igarashi has previously noted: “I’ve been greatly influenced by Swiss artists who explored grid systems and mathematical order for form creation and space. I’ve also been influenced by Japanese architecture, which relies a great deal on grid and unit systems” (Typeroom, 2014). In 1994, after 25 years of design, Igarashi moved to Los Angeles to work and become a sculptor. During that time, he discovered a variety of materials to work with though his sculptures were mostly inspired by his axonometric alphabet style. In 2004, Igarashi returned to Japan and resumed his career as a designer and artist producing sculptures and reliefs for public spaces all over the country (Igarashi, n.d.).
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Left: Letter T Right: Letter I (Visothea Chhim, 2017)
“ Takenobu Igarashi” The Man of Axonometric Alphabets
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My approach to design and sculpture has always wavered between my wish to do something useful for society, and my desire to create something beautiful with my own hands. In my opinion there are three essential things in work: PASS ION, CHALLENGE and DISCOVERY. Without that, work gets boring; with is that, work enjoyable. And artwork that is enjoyable also results in success ”
Igarashi’s philosophy. (Wax, 2014).
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