What is Research Design Journal by 戸川由加利

WHAT IS RESEARCH DESIGN JOURNAL

1800752 YUKARI TOGAWA

001

RESEARCH IS

CREATING NEW KNOWLEDGE -NAIL ALDEN ARMSTRONG-

002

CONTENTS >BROADSHEET P.003 >INFOGRAPHIC

P.039

>RESEARCH WAY >DE STIJL

P.071

>TAKU SATO >BRANDING >EXTRA

P.053

P.079 P.085

P.145

>EVALUATION

P.151

>BIBLIOGRAPHY

P.152

003

BROADSHEET

004

005

ANALOGUE LAYOUT

006

VISUAL RESEARCH 007

008

009

010

011

012

013

014

015

016

017

018

019

020

021

022

023

024

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A BACK COVER

>SUBHEADING

ANALYSIS OF MY RESEARCH

>SUBHEADING

EXPLORER -Research is an adventure-

A FRONT COVER

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa

INFLUENCES

>SUBHEADING

I wanted my branding of the broadsheet to be inspired by MUJI because my main research was about the branding of MUJI. For this goal, I chose wine-red as one colour and san-serif typefaces, Galvji, ヒラギノ角ゴ , FOT- セザンヌ , and 小塚ゴシック (I didn't know we had to use the specific the typeface).

RESERCH

×GRAPHIC DESIGN

>SUBHEADING

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>SUBHEADING

DE STIJL

>SUBHEADING

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING

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I FERVENTLY BELIEVE IN RESEARCH AS A NECESSITY FOR GOOD DESIGN -BRENDA LAUREL-

METHODS

-NAIL ALDEN ARMSTRONG-

RESERCH

RESEARCH IS CREATING NEW KNOWLEDGE

025

026 無印良品への愛が詰まった作品です。

ブランディング THE BRANDING OF MUJI 1枚片面 A 2

税込 0円

ABOUT

M U J I >SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

BEGINNING THE MUJI >SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaa

DESIGN

OF MUJI >SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa a aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

ADVER-

TISEMENT >SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

PHILOSOPHY

MUJI 無印良品 >SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

This is side 2 of the broadsheet.

WHAT IS BRANDING

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

NATURAL. ANONYMOUS. SIMPLE. GROBAL.

QUESTIONNAIRE

FOR USERS

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aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa

& ACTIVITIES

>SUBHEADING

EFFORTS

>SUBHEADING

無印良品のブランディングについて調べました。

REASONS

MODELS OF WORKING PRACTICE

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaa

CONCLUTION

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

I got some advice from Britta in a tutorial and she said the consistency of the broadsheet is very important but it doesn’t have enough freedom, so you need to break them. So, I made more spaces and tried turning the writing sections and contents' titles.

METHODS

>SUBHEADING

OF MY RESEARCH

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

INFLUENCES

ANALYSIS

-TAKU SATO-

>SUBHEADING

×GRAPHIC DESIGN

RESERCH

>SUBHEADING

A GOOD DESIGN IS NOT NOTICED

A FRONT COVER

RESERCH

-NAIL ALDEN ARMSTRONG-

A BACK COVER

>SUBHEADING

DE STIJL

RESEARCH "

RESEARCH IS CREATING NEW KNOWLEDGE

027

>SUBHEADING

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

MUJI DESIGN & ADVERTISEMENT

>SUBHEADING

4729471740258

The folding would be reversible; when side 2 is folded into the front of the broadsheet, it would mimic a MUJI's product. I tried to create a front cover which is like MUJI's packaging and a barcode on the back cover. This effort would help the reinforcement of the meaning of my research.

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MODELS OF WORKING PRACTICE

>SUBHEADING aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

FOR USERS

>SUBHEADING

NATURAL. ANONYMOUS. SIMPLE. GLOBAL. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

WHAT IS M U J I

>SUBHEADING

MUJI 無印良品

QUESTIONNAIRE

税込 0円

1枚片面 A 2

>SUBHEADING

THE BRANDING OF MUJI

BRANDING

ブランディング

無印良品への愛が詰まった作品です。

WHAT IS

REASONS &

無印良品のブランディングについて調べました。

& CONCLUTION

028

029

A BACK COVER

A FRONT COVER

I struggled with the design of the title on the front cover. I tried to create several types of the title but I wasn’t happy with the designs.

RESEARCH IS CREATING NEW KNOWLEDGE

-NAIL ALDEN ARMSTRONG-

BHEADING

RESEARCH "

RESERCH

×GRAPHIC DESIGN

>SUB

aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa

A FRONT COVER

×GRAPHIC DESIGN

RESERCH aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

>SUBHEADING

METHODS

RESERCH

-NAIL ALDEN ARMSTRONG-

UBHEADING

A BACK COVER

RESEARCH IS CREATING NEW KNOWLEDGE

" 030

>SUBH

OF M

>SUBHEADING

>SUBH

031

032

EXPERIMENTS OF THE TITLE

METHODS

>MATT COOPER

>IDEO TOKYO

Matt Cooper is a design director and he mainly interviews for his research method. He tested out his designs to a batch of people in order to understand the usability of his design. With this he is able to gain new knowledge and ideas which is then discussed with the experts to come up with better solutions and design. Therefore his design relies on data and statistics which helps him see the trends in society and has helped him improve his work. His research process is below:

IDEO is a global design consultant company and their designers regard research as important for giving good consultation for better society. They place importance on interviewing the clients and the users of their project. With their research they find common themes, connections, mutual relations and paradoxes. This research helps them clarify what needs to be developed and this method of finding new insights and ideas are the core to development.There are two other approaches to research methods, not only by interviewing them but also by experiencing the same things as the users. For example, when consulting for a fisherman, as research, a consultant would jump in the sea just as the fisherman would do in order to gain information and inspiration by experiencing the same things. The other method is to approach research in an unexpected way. For example, it may seem obvious to interview a cook for developing a kitchen product but it may also be helpful to ask a child for their opinions so that we can create a product that's usable for more people.

1.User Interview 2.Expert Interview 3.Extreme Interview 4.Group Session 5.Expert Panel 6.Analogous Experience 7.Empathy Experience 8.Desk Research

ANALYSIS

WHAT IS RESEARCH

>MY RESEARCH WAY

OF MY RESEARCH

>THE STYLE De Stijl was founded in 1917 by the painter and architect Theo van Doesburg in Duch. De Stijl means The Style in Duch and the international group of artists which related to the movement of working with simple elements and for a stripped-down formal vocabulary principally consisting of straight lines, rectangular planes, and primary colour. This style influenced a lot of well-known artists such as Dick Bruner who is a graphic designer and parent of Miffy.

Doesburg said, "We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface." This style is a reactionary movement to art nouveau, created before the world war one and from his words, he had been pursuing the ideal of art in perfectly simple truth. This art movement influenced a lot of fields. For instance, painting, graphic design, architecture, products, and interior design. Therefore, we can see several fields of De Stijl artworks and they have given us new inspirations. The idea of De Stijl is utilised not only in art but also in design. For example, Windows and Microsoft have used grids in their systems’ design such as their icon and these are inspired by De Stijl movement.

Taku Sato is one of the most famous Japanese graphic designers and I'm often inspired by him. His main ideas are " Good design is not noticed" and "Design exists to sympathies with users' unconscious rather than the designers' assertiveness.". His design is very simple and not flashy but his ideas are instilled in objects used by us thus, his design would be loved by everyone for a long time and I would like to be a creator such as him.

I realized that pure white is too strong for this design and I chose creamy white which was mixed with 10% of yellow. By this action, my design came closer to MUJI than before. And the front cover on side 1 was a little bit changed, the infographic was made smaller and I chose the simple title with the same typeface as the contents’ titles.

I drew 2 pictures for this broadsheet because my infographic was hand drawing illustration and for consistency I thought the same style of illustrations would help to make a harmony on the broadsheet.

INFLUENCE

-TAKU SATO-

>TAKU SATO

A GOOD DESIGN IS NOT NOTICED

From these quotes, evidence would confirm the meaning of a design and it would help to improve the work. For these ideas about research done by creative people in graphic design, research has a strong connection with good design and would not be created without great research.

Another example, according to Walker, S in the University of Reading, " A challenge for graphic design research is to raise its profile within projects described as service design, information design, experiential design - terms often associated with large - scale research projects to improve well-being, interaction with space or to elucidate the process." He also mentions that, "graphic design research is often key to provide different kinds of evidence of the way that design decisions are made, interpreted and situated."

According to Kemmei Nagaoka, the president of D&DEPARTMENT, graphic design is commonly associated with product design and it could accelerate sales. There are two types of products; ones that sell quickly in short periods like products that are on trends or products that can be re-bought over and over and do not rely on trends. Graphic design is important in these different types of products therefore research is very important.

>RESEARCH IN GRAPHIC DESIGN

×GRAPHIC DESIGN

DE STIJL

RESERCH

9.Data Mining 10.Behaviour tracking 11.Guerrilla Research

In research, I love mind maps so much because not only it tidies up my brain but also expands your ideas. I'm guessing this process is very important in research and I keep in mind to update information and knowledge in my brain continuously through a mind map. Most of the time is spent searching about the works, such as their history, which is a secondary research and I feel research expands my knowledge and makes you grow as a designer. My sources for research are websites and books and I'm trying to use English ones rather than Japanese. My research tools are mainly a sketchbook, a ballpoint pen and highlighters. I spend a lot of time in my room because I can sleep on my comfortable bed when I feel tired or stuck. To be honest, I prefer to research rather than creating designs. Therefore, I spend most of the time on research in a project and sometimes I'm not sure when I should stop research and start to make outcomes. I drew the icons of places where I do my research and made them into an infographic and it has been used as a front cover of this broadsheet.

A BACK COVER

RESERCH

-NAIL ALDEN ARMSTRONG-

RESEARCH IS CREATING NEW KNOWLEDGE

033

& ADVERTISEMENT

MUJI doesn't use or do TV commercials and advertisements on any media and I've only seen posters which are about the idea of MUJI (the background of this section is as well). MUJI respects and believes connections between human and human, like customers and salesperson, customers and customers, or customers and planners. The connection could be made by people and don't need a lot of money for it. If MUJI products are very good, people will tell about it to someone, thus MUJI doesn't have to advertise by itself and doesn't have to pay the high cost for it and it relates to the idea of MUJI. For making connections, MUJI tries some actions, for instance, to plan events for users who need to innovate their living spaces, to hold marché for farmers who live around shops, and to conduct an app which is called MUJI PASSPORT. Through these practices, instead of advertising, not only MUJI makes connections but also communicates the thoughts of MUJI which are also at the bottom of the products and in their prices.

>ANONYMOUS

4729471740258

Who designs MUJI's products? MUJI's products are designed by a lot of designers all over the world however, MUJI doesn't show the name of the designer in the products' name. Maybe when other brands collaborate with a famous designer, they will use the designer's name as advertising but even though the product was designed by a well-known designer such as Enzo Mari, MUJI doesn't use the name to help sell their product but it rather becomes apart of MUJI's brand. MUJI doesn't want to sell products with artists' names because some people would be interested just in the "designers" and it doesn't suit the idea of MUJI.

I joined Vicky's tutorial and I got some feedback. She said that you need to change the typeface which has been announced and that i also needed to straighten out the size of text boxes and snap to the grid line perfectly and the quotation marks should be upside down. I fixed these points and my outcome has been done.

>AS JAPANESE...

>DON'T NEED AD

Kitchen

Others Cosmetics &Skin care

Household Once every few month

Once a year

VISITING

Over twice a month

YES

DO YOU KNOW

THE IDEA OF MUJI?

Foods

Stationaries

Once a year

PURCHASING

FREQUENCY OF

Philosophy

Price

Convenience

Design

Atmosphere

Every visiting

DO YOU LIKE?

Once every few months

YOU OFTEN BUY

CATEGORIES OF PRODUCTS

WHICH ELEMENTS

DO YOU LIKE MUJI?

Clothes

The most important point is that branding is the process of giving a meaning to a specific organization, company, products or services by creating and shaping a brand in consumers' mind. It's one of the strategies designed by organizations to help people to quickly identify and experience their brand, and give them a reason to choose their products over the competition's by clarifying what this particular brand is and is not. For this effect, visual identities such as the logo design, colour palette and typographies are essential. Branding has a lot of elements for example, a name, term, design, symbol and they help identify their goods and service as different from other sellers. As a good example, "water" is very easy to understand. Water is a free source from nature, however we can buy water at a supermarket. The moment water is in a glass and a plastic bottle, it becomes a product and to sell water, beverage companies consider how water is sold by other rival companies. We can consider a brand as the idea people have in mind when thinking about specific products, services and activities of a company. Graphic design helps increase selling and this is the necessity of branding.

FREQUENCY OF

MUJI DESIGN

Soso

Takashi Sugimoto is a Japanese architect and he mainly designed the inside of shops as an adviser of MUJI. He tries to produce the "mood of MUJI" with stylish design. MUJI doesn't use any shelves which are often used in supermarkets and it makes "mood of MUJI". MUJI’s displays are made so that if it wasn’t for a food market it could be used for a boutique. They are simple and flexible and that is why MUJI is able to have so many products with many categories but there is a sense of unity in MUJI shops.

FOR USERS

Kenya Hara is a Japanese graphic designer and he is a design adviser of MUJI. His thought for "simple" is very interesting and it would help the branding of MUJI. For him the word simple means differently than in english and that the word simple resembles more to the meaning of empty. That may sound strange however, empty means it can accept everything like peoples' different feelings and thoughts of users. Also, empty is a condition which guarantees users' free usages of a product. For example, a tea bowl which is used in a tea ceremony is usually empty and often thought of as an artwork. People can find their own interpretation and meaning from the aesthetic of an empty tea bowl. He tries to express the Japanese and Muji aesthetic as a visual design that provides "empty" to users rather than to incite a thought of "I want to get it" by the consumers.

>TAKASHI SUGIMOTO

QUESTIONNAIRE

>KENYA HARA

As I wrote about him above, he was a graphic designer and his works are very colourful as he was called "geneius of colour". Even though he liked using colors, he wanted to see a more achromatic world therefore in his project for MUJI, he chose a natural and achromatic color palette. He said "we found a new continent which is a natural and achromatic colour" in the first exhibition of MUJI. General packaging designs stand up better than other products in a store shelf but this does not matter after the product is at home where they don't need to compete with the aesthetic of another product. MUJI's packaging was created without too much design and through a simple process such as unbleached paper, it creates a simple packaging for products. However, we wouldn't feel the coldness from the packaging even though the design is very simple. MUJI uses 4 colours mainly, wine-red, black, white, and unbleached colour. The typeface is Helvetica Insert Roman and it would make the design pop. Besides, the language used on the packaging is inviting and very soft. From these elements, we would feel the warmth from the packaging design and it's one of the branding identities.

packaging. Ikko Tanaka, a legendary Japanese graphic designer, was one of the advisers and his idea for the society was " 最良の生活者を探求しましょう " which roughly means let’s explore a way for us to become a better consumer. With his thinking, they removed the process that's only about making profits in 3 ways which are; for when choosing materials, in inspection process and of the simplification of packaging. Reviewing these points shaped the branding which is simple and it's passed down to nowadays.

MUJI was founded by Seiji Tsutsumi in 1980 as a reaction to the economi bubble in Japan that created a consumer society. At first, the brand had only 40 products which were basics for daily life and it has been expanding gradually and then became a big brand which has over 7000 products and 450 shops all over the world today. Before founding this brand in Japan, many people were fascinated by gorgeous brands such as GUCCI and they’re frivolous products including their packaging . As an extreme example, there was a case where a luxury brand had printed their logo on a toilet rolls’

>REACTIONARY

>IKKO TANAKA

NATURAL. ANONYMOUS. SIMPLE. GLOBAL.

Love so much

WHAT IS M U J I

>BRANDING IS

MUJI 無印良品

I learned Japanese aesthetics from MUJI's branding. MUJI has been famous around the world and it means many people who live overseas accept and like Japanese aesthetics through MUJI's products and their ideas. I'm glad for MUJI to represent Japan and I am proud as a japanese. I researched MUJI extensively for this project, It was difficult to choose which aspect of MUJI research to write about and it is important not to have an information overload on the brochure so i have condensed and picked information that was vital. If you become interested in Japan or MUJI by this broadsheet, I'll be happy and would love to tell you more and it is also one of my missions as a Japanese student studying in the UK.

税込 0円

I chose the branding of MUJI for branding and identity for the field of research because I’m interested in how and why a brand is loved by many people and how their graphic design works. Also, MUJI is very simple but it attracts so many people in the world. That’s why I find it MUJI is the most interesting brand now and I wanted to research this project deeply.

I sent out questionnaires about MUJI to 50 people aged between 17 and 60 years old. There were also 36 women and 14 men in Japan, Europe and Asia. The questions asked were about their frequency of visiting and purchasing, the categories of products you often buy and the reasons, if they like MUJI and which elements do you like, and if they know the idea of MUJI. I would like to focus on the reasons why people want and like MUJI products in this section. The most often answers were because of their good quality and design, simple and useful and because some products are good for your health. Even though few people know the idea of MUJI, people touch it through MUJI's products and have enjoyed it. MUJI has little to say about itself but the answers from the questionnaires are the results of MUJI's idea and branding.

1枚片面 A 2

>WHY BRANDING

>MUJI FOR USERS

THE BRANDING OF MUJI

BRANDING

ブランディング

無印良品への愛が詰まった作品です。

WHAT IS

REASONS &

無印良品のブランディングについて調べました。

MODELS OF WORKING PRACTICE

>LEARN FROM MUJI For this research I respected MUJI’s effort in thinking about their brand identity. From this practice, I learned to keep in mind that thinking about the origin is very important for the core principle of research. As I wrote on side1, I usually use a mind map for research however, sometimes the key point is covered with a lot of information because a mind map expands my thoughts. Members of MUJI rethink what MUJI is every time and that's why MUJI has had a stable core principle in branding since 1980.

& CONCLUTION

034

-NAIL ALDEN ARMSTRONG-

RESEARCH IS CREATING NEW KNOWLEDGE

" WHAT IS RESEARCH

RESERCHâ&#x20AC;&#x192; METHODS

035

>MATT COOPER

>IDEO TOKYO

1.User Interview 2.Expert Interview 3.Extreme Interview 4.Group Session 5.Expert Panel 6.Analogous Experience 7.Empathy Experience 8.Desk Research

9.Data Mining 10.Behaviour tracking 11.Guerrilla Research

ANALYSIS I drew the icons of places where I do my research and made them into an infographic and it has been used as a front cover of this broadsheet.

To be honest, I prefer to research rather than creating designs. Therefore, I spend most of the time on research in a project and sometimes I'm not sure when I should stop research and start to make outcomes.

Most of the time is spent searching about the works, such as their history, which is a secondary research and I feel research expands my knowledge and makes you grow as a designer. My sources for research are websites and books and I'm trying to use English ones rather than Japanese. My research tools are mainly a sketchbook, a ballpoint pen and highlighters. I spend a lot of time in my room because I can sleep on my comfortable bed when I feel tired or stuck.

For these ideas about research done by creative people in graphic design, research has a strong connection with good design and would not be created without great research.

His art movement influenced a lot of fields. For instance, painting, graphic design, architecture, products, and interior design. Therefore, we can see several fields of De Stijl artworks and they have given us new inspirations. The idea of De Stijl is utilised not only in art but also in design. For example, Windows and Microsoft have used grids in their systemsâ&#x20AC;&#x2122; design such as their icon and these are inspired by De Stijl movement.

INFLUENCE

-TAKU SATO-

>TAKU SATO

A GOOD DESIGN IS NOT NOTICED

From these quotes, evidence would confirm the meaning of a design and it would help to improve the work.

"graphic design research is often key to provide different kinds of evidence of the way that design decisions are made, interpreted and situated."

He also mentions that,

" A challenge for graphic design research is to raise its profile within projects described as service design, information design, experiential design - terms often associated with large - scale research projects to improve well-being, interaction with space or to elucidate the process."

Another example, according to Walker, S in the University of Reading,

>RESEARCH IN GRAPHIC DESIGN

DE STIJL

RESERCH GRAPHIC DESIGN

>MY RESEARCH WAY

OF MY RESEARCH

036

BRANDING?

>ANONYMOUS

4729471740258

>AS JAPANESE...

>DON'T NEED AD

& ADVERTISEMENT

Household

Kitchen

Others Cosmetics &Skin care

Stationaries

PURCHASING

THE IDEA OF MUJI?

Clothes

Once a year

YOU OFTEN BUY

CATEGORIES OF PRODUCTS

FREQUENCY OF

Philosophy

MODELS OF WORKING PRACTICE

& CONCLUTION

YES Over twice a month

Price

Convenience

Design

Atmosphere

DO YOU LIKE?

Every visiting Once every few months

WHICH ELEMENTS

DO YOU KNOW

Once every few month

MUJI DESIGN

VISITING

However, we wouldn't feel the coldness from the packaging even though the design is very simple. MUJI uses 4 colours mainly, wine-red, black, white, and unbleached colour. The typeface is Helvetica Insert Roman and it would make the design pop. Besides, the language used on the packaging is inviting and very soft. From these elements, we would feel the warmth from the packaging design and it's one of the branding identities.

Soso

FREQUENCY OF

General packaging designs stand up better than other products in a store shelf but this does not matter after the product is at home where they don't need to compete with the aesthetic of another product. MUJI's packaging was created without too much design and through a simple process such as unbleached paper, it creates a simple packaging for products.

DO YOU LIKE MUJI?

>KENYA HARA

>TAKASHI SUGIMOTO

FOR USERS

>IKKO TANAKA

NATURAL. ANONYMOUS. SIMPLE. GLOBAL.

QUESTIONNAIRE

>REACTIONARY

M U J I？ MUJI was founded by Seiji Tsutsumi in 1980 as a reaction to the economi bubble in Japan that created a consumer society. At first, the brand had only 40 products which were basics for daily life and it has been expanding gradually and then became a big brand which has over 7000 products and 450 shops all over the world today. Before founding this brand in Japan, many people were fascinated by gorgeous brands such as GUCCI and they’re frivolous products including their packaging . As an extreme example, there was a case where a luxury brand had printed their logo on a toilet rolls’ packaging. Ikko Tanaka, a legendary Japanese graphic designer, was one of the advisers and his idea for the society was " 最良の生活者を探求しましょう " which roughly means let’s explore a way for us to become a better consumer. With his thinking, they removed the process that's only about making profits in 3 ways which are; for when choosing materials, in inspection process and of the simplification of packaging. Reviewing these points shaped the branding which is simple and it's passed down to nowadays.

Love so much

WHAT IS

MUJI 無印良品

税込 0円

1枚片面 A 2

>BRANDING IS

THE BRANDING OF MUJI

>MUJI FOR USERS

ブランディング

Branding has a lot of elements for example, a name, term, design, symbol and they help identify their goods and service as different from other sellers. As a good example, "water" is very easy to understand. Water is a free source from nature, however we can buy water at a supermarket. The moment water is in a glass and a plastic bottle, it becomes a product and to sell water, beverage companies consider how water is sold by other rival companies. We can consider a brand as the idea people have in mind when thinking about specific products, services and activities of a company. Graphic design helps increase selling and this is the necessity of branding.

Foods

>WHY BRANDING

Once a year

無印良品への愛が詰まった作品です。

WHAT IS

REASONS

無印良品のブランディングについて調べました。

THE FOLDING

037

038

>TYPEFACES TITLES: INTERSTATE BLACK, 110Q SUBTITLES: INTERSTATE EXTRA LIGHT, 24Q QUOTES: INTERSTATE BLACK, 83Q QUOTES' NAME: INTERSTATE LIGHT, 25Q BODYCOPIES: Interstate Light, 10Q

>COLOURS #000000 #F1EEE3 #70130b #AA8C8A

THE ELEMENTS

039

INFOGRAPHIC 040

041

At first, I did visual research for creating an infographic and had comments about what I felt and thought on each picture.

042

043

智に働けば角が立つ。智に働けば角が立つ。情に棹させば流される。意地を通せば窮屈だ。意地を通せば窮屈だ。とかくに人の世は住みにくい

044

In my initial idea, I wanted to use a mind map because it is my best partner for research and thinking.

045

And then figured out the elements that I wanted to be added on the infographic with the mind map.

046

Through these processes, my first plan of this work was hand drawing based, filling up the paper with illustrations which was like a picture book and the form is based on a mind map.

047

After deciding my plan, I researched illustrators and commented on each reference picture the same as the previous pages.

048

And then I practiced drawing illustrations with pencil on my lovely sketchbook.

049

This is my draft of the infographic. The main character is a ghost and it's me. I drew big eyes because they are very important for research. To highlight the eyes, the body should be simple and that's why I chose the ghost. Also, it shows a flow of time whilst doing research. However, it's too messy and difficult to understand.

050

Also, the draft didn't fit on the front cover of the broadsheet. As you know, the design of the broadsheet is simple and the pictures looked out of place and also broke the harmony. For this issue, I made important parts of research and drew it as an icon and it became simpler and helped tidy up the layout and it also fitted on the front cover.

051

052

RESEARCH WAY 053

054

055

RESEARCH SPACES > THE STUDIO

> MY ROOM

> THE LIBRARY

056

At first, for understanding what I do for research, I drew a mind map and then categorised each group such as sources or places.

057

I compared times and I rated which is more important in several fields.

058

059

060

I researched some research methods and I learned some research skills from them. For example, most designers survey by questionnaires, so I did it as well and not only did I get good information but also help my reflection in the outcome.

061

062

063

064

I need to apologise to you as I used some Japanese websites and I wrote the information down in my language because it took a lot of time to translate in English to Japanese.

065

066

067

068

Also, I researched the relationship between research and graphic design. I felt that research is very important in creating a design from this part.

069

070

DE STIJL 071

072

073

I have been interested in De Stijl since last year because I was fascinated with works in this period when I went to Amsterdam and researched it. I was surprised that the idea of De Stijl is still used nowadays in design.

074

075

076

077

I collected some famous works from this period and checked the titles, artists, and years.

078

079

TAKU SATO

080

081

My inspirational designer is Taku Sato, the Japanese graphic designer and I researched his works, design theories, and quotes.

082

083

I collected some pictures of his works and commented on each work the same as previous pages.

084

085

086

BRANDING

087

At first, I decided to go into the field of design for research and I chose editorial design because I was not good at thinking about the grid system and I wanted to conquer it through this project.

088

However, Paul said to me that aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaa maybe researching what you aaaaaaaaaaaaaaaaaaaaaaaaaaaaa are interested in or relates to aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa your dream is better, that's why I aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa changed into branding. For me, the aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa most interesting branding is MUJI aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa because this brand is very simple aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa and not too expensive but attracts aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa many people all over the world. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

089

090

However, Paul said to me that maybe researching what you are interested in or relates to your dream is better, that's why I changed into branding. For me, the most interesting branding is MUJI because this brand is very simple and not too expensive but attracts many people all over the world.

091

To understand the structure of MUJI, I wrote words related to MUJI as a mind map.

092

Before researching MUJI, I didn't understand clearly what branding is, thus, I researched it and I understood the structure of branding and how it works for selling products.

093

094

095

096

097

098

I started to research about MUJI on MUJI's official website. There are so many pages about it, so I would like to comment on what is about on each page shortly.

099

This page is about the amont of shops all over the world.

100

This page is about the manegement principle of MUJI.

101

This page is about the discription of management.

102

This page is about the main services of MUJI.

103

This page is about several types of MUJI shops.

104

This page is about other projects.

105

This is about the product development.

106

This page is about the main practices which is for making connection between shops and customers.

107

Thsese two pages are about the other examples.

108

109

Every few pages, I interpreted the information for tidying up my brain.

110

This page is about the thinking of way for a price tag (because Japanese consumption tax rate is unstable).

111

This page is about recycle and MUJI respects the global environment protection.

112

This page is about some volunteer practices and not only recycle but also MUJI respects to do volunteer for kids and women who lives in all over the world.

113

MUJI also makes efforts for saving energy and it follows the idea of MUJI.

114

From this page, it ihas been written about discussion 2 professors and the head quoter of MUJI about for the future with MUJI and I learned a lot of important knowledge for understanding of MUJI's branding and identity from the talk script.

115

116

117

118

119

120

These few pages are about the reasons for simpilicity of MUJI. This part is reflected Japanese aethetics so much.

121

122

123

124

For Understanding MUJI's simplicity, it shows about Japanese tea ceremony as an example.

125

MUJI wants to be like Water because water is necessity, pure, mildly and it guarantees peoples' general healthy life.

126

127

128

These are quotes of Ikko Tanaka.

129

These 2 page are about the comfortableness of MUJI.

130

131

This page is a conclution for previous pages.

132

These 2 pages are about MUJI's logo, colour paletter, and packaging.

133

134

These 2 pages are about Ikko Tanaka.

135

136

Th about Kenya Hara and Takashi Sugimoto.

137

138

This Page is about Naoto Fukazawa who is also one of the adviser of MUJI.

139

This page is about Kazuko Koike who is also the adviser of MUJI.

140

These 2 pages are about why MUJI doesn't use advertising on media.

141

Through the research, I was moved that MUJI has a strong idea and identity in each part.

142

I was thinking about the contents of questionnaires.

143

I sent out questionnaires by Monkey Survey and 50 people answered. h tt ps : / /j p. s u r vey m o n key.co m / results/SM-T2RPW92N7/

MUJI DESIGNS

144

SCREEN PRINTING 145

EXTRA

146

147

Fortunately, I was able to experience silk screen printing during this project and I wrote the process.

148

Also, I researched silk screen printing such as, why screen printing is used and its history.

149

This is my outcome and the design is my original icon.

150

151

EVALUATION Through this project, I learned many important things as a creative student and I would like to describe them. For developing the project, I have found 3 important points in my research. The first one is researching in several fields such as not only art and design but also histories and theories. It gives me a better understanding of the field and it would help contextualise the work. The second is about not forgetting the core of research. I often expand the ways with a mind map and it is very important but doing this method without the essence of research has no meaning because it would be the same as if you don't know what you are researching for. Therefore to keep in mind the core of the research is a necessity. The third one is to consider which information is correct or false, in other words, to be selective of your sources. For example, there is a lot of fake information on websites and therefore you cannot believe all of them or the project would become unreliable. For this problem, I chose a reliable source such as books, museums' articles and companies' websites. In my opinion research, evaluation and analysis of other artworks would brush up my knowledge in aesthetics and skills which would then help my design improve through these processes. I realise that designers would not create their design with just their ideas but that they do research and this is what i learned from my research. Even well-known designersâ&#x20AC;&#x2122; research about users' needs or trends and they then reflect on a new product for providing a better life for society. Therefore nobody can create good designs and improve our lifestyle without research and it is difficult to separate the relationship between research and creativity. In this project, I encountered some problems. The biggest issue was thinking about the layout of my broadsheet. I made some samples in an analogue method however, I still couldn't imagine my outcome from them. I think there are some reasons for this issue. For example, the research was not enough and I didn't calculate how many topics and pictures I will put on the sheet. Also, Iâ&#x20AC;&#x2122;m still not used to using InDesign therefore I could not imagine the full potential of using the layer. To solve the problem, I decided not to think about the layout with the analogue method and started to create samples on the screen. From actually using the functions in InDesign, I came up with more ideas for the outcome and thinking about layout became easier. The other issue was that I wasn't able to borrow books from libraries because of Coronavirus. In my opinion, a book is the most reliable source in research and I wanted to use books mainly however, I couldn't do anything for this situation. I tried to choose websites and contents carefully, sometimes I confirmed the information which was not sure on other websites. During this project, I constantly changed my ideas which are contents and design through research. For the contents, at first I planned to research editorial design because I'm not good at using the grid system and I wanted to overcome it. However, my tutor said that, maybe to research about what you like or something related to my dream is much better for me so I changed the contents of the grid system to the branding of MUJI. I'm satisfied with my research, especially the field of research. In design, as I wrote above, my idea became a completely different thing from the initial idea. While I researched, my skill was improved and they expanded what I can do and my outcome became a thing which I couldn't imagine at first. Therefore, I felt that changing ways would make me happy and improve me rather than that it was a bad thing. For time planning, I had a big issue. Unfortunately, I came back to Japan from the UK in March because of this situation and my planning was crushed. I was depressed because of self- isolation during the 2 weeks hotel quarantine and even though I came back to my home, I couldn't raise my motivation for doing my work for a few days. I couldnâ&#x20AC;&#x2122;t predict such a situation before coming back to my country and I had to cram the schedule into the second half. It was like hell and I would like to plan a more flexible schedule in the next term.

152

For this project, I sent out questionnaires for the first time and that was very useful for my understanding and gained updated information. I used it for research about branding of MUJI and I can now understand MUJI's identity is spread through their products and activities. The feedback from the survey reflects what the MUJI had wanted to do with their brand identity. Besides that I tried to create pie charts by Illustrator. I didn't know I could make several charts on the software and because i was used to using Excel, that was an amazing discovery for me. From this research, I've gained new knowledge which helped me create good design therefore I am very satisfied with this project. However, I didn't have much time to reconsider my outcomes because my time scheduling was too bad. Therefore, I would like to manage my time planning sufficiently and continue doing thorough research to show improvement in myself in the next term.

40 歳で会社員からフリーランスになった私がデザインの仕事や日常をイラストで紹介しています (n.d.). フリーランスのデザイナーが綴る在宅仕事の現場 – 40 歳で会社員からフリーランスになった私がデザインの仕事や日常をイラストで紹介しています . [online] Available at: https://free-de-webdesign.com/ [Accessed 1 Mar. 2020]. 99designs. (n.d.). Design history & movements. [online] Available at: https://99designs.jp/blog/design-historymovements-ja/ [Accessed 10 May 2020].

Cooper-Wright, M. (2015). 12 Design Research methods to get inspired by users. [online] Medium. Available at: https://medium.com/design-research-methods/12-design-research-methods-to-get-inspired-by-users-cae4789a094b [Accessed 10 Apr. 2020]. designcommittee.jp. (n.d.). 佐藤卓 - 日本デザインコミッティー . [online] Available at: http://designcommittee.jp/ member/satoh_taku.html [Accessed 5 Mar. 2020]. Juhl, A. (2018). 人間中心のイノベーションを生み出す「デザインリサーチ」とは . [online] Forbes JAPAN（フォーブスジャパン）. Available at: https://forbesjapan.com/articles/detail/21651/1/1/1 [Accessed 17 May 2020]. Kimura, M. (2018). 代表的なデザインリサーチ手法を紹介する｜ Mikio Kiura / ANKR DESIGN ｜ note. [online] note（ノート）. Available at: https://note.com/mikiok/n/n4c9d6419f45e [Accessed 10 Apr. 2020]. Marion (2018). What Is Branding? | The Branding Journal. [online] The Branding Journal. Available at: https://www. thebrandingjournal.com/2015/10/what-is-branding-definition/ [Accessed 11 Apr. 2020]. Moma.org. (2019). de Stijl. [online] Available at: https://www.moma.org/collection/terms/29 [Accessed 10 May 2020]. MUJI 無印良品 : 無印良品とクリエイター | 原研哉「Visualize the philosophy of MUJI」. (2016). YouTube. Available at: https://www.youtube.com/watch?time_continue=3&v=6R-LpU5iW78&feature=emb_title [Accessed 17 Apr. 2020]. Nishimura, Y. (2015). りんごかもしれない。でもりんごじゃないかもしれないよ。. [online] ROOMIE（ルーミー）. Available at: https://www.roomie.jp/2015/03/246042/. ryohin-keikaku.jp. (n.d.). 企業情報 | 株式会社良品計画 . [online] Available at: https://ryohin-keikaku.jp/corporate/ [Accessed 17 May 2020]. sekihi.net. (n.d.). 佐藤卓の名言 . [online] Available at: https://sekihi.net/writers/6978 [Accessed 1 Mar. 2020]. SurveyMonkey (n.d.). アンケート結果 . [online] jp.surveymonkey.com. Available at: https://jp.surveymonkey.com/ results/SM-T2RPW92N7/ [Accessed 10 May 2020]. The Art Story. (2011). De Stijl Movement Overview. [online] Available at: https://www.theartstory.org/movement/de-stijl/ [Accessed 10 May 2020]. The Art Story. (2017). Neo-Plasticism Movement Overview. [online] Available at: https://www.theartstory.org/ movement/neo-plasticism/ [Accessed 10 May 2020]. www.tsdo.jp. (n.d.). TSDO Inc. [online] Available at: https://www.tsdo.jp/portfolio.html [Accessed 20 Apr. 2020]. 哲也鈴木 (2018). 日経ビジネス電子版 . [online] 日経ビジネス電子版 . Available at: https://business.nikkei.com/atcl/repo rt/16/111500181/041200004/?P=4 [Accessed 17 May 2020]. 川名常海 (2017). 広告より「つながり」に投資する！無印良品の、ブランドコミュニケーションの考え方 . [online] SELECK [ セレック ] | 現場の事例から学べるビジネスメディア . Available at: https://seleck.cc/1103 [Accessed 17 Apr. 2020].

BIBLIOGRAPHY

Anon, (n.d.). 無印良品のパッケージがシンプルであっさりしてる割に冷たくは感じない理由を考えてみた . [online] Available at: http://packs-design.com/2017/12/27/post-2033/ [Accessed 17 Apr. 2020].

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