This book celebrates the last 15 years of media arts in Japan. In 1997 the first Japan Media Arts Festival was first held, sponsored by the Council of Cultural Affairs in Japan. Since that time the festival has been held on an annual basis to encourage the further developments of media arts. Over the past 15 years situations surrounding media have changed significantly; this book should be read as a testimony, or a continuing negotiation of those who work in the fields of anime, manga, games, moving images, the Internet, and mixed media arts.
Japanese manga has been a subject of critical inquiry, or a subject of desire, for many male scholars, including Hiroki Azuma. However, there have been hardly any books on girls’ fashion in manga from the female perspective. Characters appearing in manga dress themselves to construct a narrative (reminding me of what Walter. J. Ong argued in relation to “orality”) about themselves. Are manga illustrators just as creative as fashion designers? This book introduces the relationship between characters and fashion to provide a unique perspective on girls’ manga and fashion design.
Ikko Tanaka was a graphic designer and a founding member/art director of MUJI. 21_21 Design Sight, a design museum in Tokyo, organized an exhibition to commemorate the 10-year anniversary of his death. This book serves as an exhibition catalogue with contributors including Tadao Ando reevaluating Tanaka’s achievements in design.
Helmut Schmid is a graphic designer born in Austria in 1942. Currently Schmid lives in Japan and continues to work vigorously. Without question, his book Typography Today, released in 1980, is one of the most significant contributions to the development of typographic design in the last few decades, but Japan Japanese is also a unique book, which revisits Schmid’s early work (1968–73) on the Swiss typography and photography magazine Typografische Monatsblätter. As a look at the precursors to the contents of Typography Today, this book offers a visual historiography of contemporary typography.
ヘルムート・シュミットはオーストリア生まれ(1942)のグラフィックデザイナー・タイポグラファーである。現在、大阪に在住しながら勢力的に活動を展開し、日本では大塚製薬「ポカリスエット」、資生堂 「ELIXIR」、「IPSA」のロゴデザインを手掛けたことでも知られるが、1980年に発表された書籍TYPOGRAPHY TODAYこそが重要な一冊であり、それに至るまでの文脈理解こそが今学ばれるべきだろう。この意味のいて、 japan japaneseはスイスのティポグラフィシェ・モナーツブレッテル(TM)誌に連載（1968年1月～1973年3月）した内容をまとめた大変資料価値の高い一冊である。
A biography of a Japanese textile designer who worked for prominent textile design firms such as Marimekko and Larsen. After working over 40 years as a textile print designer, Wakisaka currently designs for SOUSOU, a fashion brand based in Kyoto. This book is a full of inspirational sources—over 10,000 of them—celebrating Wakisaka’s long and successful career.
In November 2012, MUJI held an exhibition entitled “Patterns of Furniture in Tokyo” and last year Droog mounted the exhibition “Design for Download” in Milan. Why are these design firms sharing and selling digital data? Because digital manufacturing (digital fabrication) is changing the role and meaning of design and designers. Chris Anderson, the former editor-in-chief of Wired magazine and the author of Free and The Long Tail, introduces the Maker Movement, the rise of a new kind of DIY through digital fabrication; how 3D printers, 3D scanners, Computer Numerical Control Cutting Machines, and laser cutters can democratize the way we design, make, share, and sell things. Makers sketches the future of design.
While Japan in the 1950s to the 1970s was under the strong influence of the United States, Japanese architects and designers developed new movements like Metabolism and Anonymous Design to visualize the their future. Osaka, as a host city of World Expo 1970, is still filled with various “modernistic” buildings. This book revisits those old futuristic buildings and reintroduces its design details. Fun to read as inspirational design source, cultural anthropology, or architectural history.
It goes without saying that Wim Crouwel is one of the greatest graphic designers of the 20th century. This book—a Japanese edition of the London Design Museum exhibition catalogue originally published by Unit Editions* and now out of print—celebrates more than 60 years of Crouwel’s designs, including his rigorous grid system, typographic designs such as the New Alphabet, and museum exhibitions.