To what extent does Japanese modernist
graphic design reflect the unique native particularities of Japanese culture?
Japanese graphic design has always been
fascinating, a design style that at face value almost seems unaffected by the
styles developing alongside the Japanese scene around the world, especially the
European modernist movement of the early 20th century. One of the
first aspects of Japanese design one notices is the colour, the spatial
consideration and the incredibly experimental layout fused with Japans unique
sense of humour. Japan had an incredibly eventful 20th century with
landmark events signalling Japans prosperity – The Tokyo ’64 Olympic games being
a notable example counter-balanced with scenes of absolute terror such as the
Hiroshima and Nagasaki events, more earthquakes than almost anywhere in the
world and nuclear scares. Amidst all this, Japanese design has never shied away
from tackling social and political issues and often with unique Japanese sense
of humour and confidence portrayed underneath it all, sometimes with an almost
post-modernist take on things - serious mixed with tongue-in-cheek humour - a
satire.
This essay aims to further investigate the
Japanese visual style, sense of humour, key designers throughout post-war Japan
with the increased importance given to design from the 50s onwards, the
modernist movement in early 20th century Europe, key historical
events and design conferences which had a lasting impact on Japanese design and
Japanese designs legacy and influence around the world will also be considered.
The first focus of this essay is the concept of
modernism and the revolutionary art and design movement in Europe throughout
the late 19th and 20th century. Modernism directly links
to modernity and the technological innovations and industrialisation taking
form around Europe and with extension, the world. Modernism as a broad term encompassed the
activities and creative output of those who felt that “traditional” forms of
art, architecture, literature, socialism and religious organisation were
outdates in the new economic, social and technological climate.
‘Modernists,
including the De Stijl, Constructivism and Bauhaus movements, departed from the
rural and provincial zeitgeist prevalent in the Victorian era, rejecting its
values and style in favour of cosmopolitanism.’[AMBROSE, 2009; p58]
One of the
key symbols of early modernity in the late 19th and early 20th
century was Paris. Almost the ‘centre’ of this mass urbanisation and
industrialisation. A core concept of modernity was to show off technology, show
off where the country and its people were at in relation to the rest of the
world, almost as a form of self-validation.
‘The 1925
Exhibition… this bombastic display signalled modernity highly pertinent to the
revitalisation of post-war France: the cascade of light celebrated specifically
modern and urban rituals – those of shopping and consumption.’ [GRONBERG, 2003;
p47]
This form of self-validation I feel was noticeably
prevalent in the Japanese design scene as they too aimed to establish
themselves amongst the rest of the world with the rise of graphic design in
Japan from the 40’s onwards as it merged a modernist outlook combined an as
narrow-minded as it might seem to say, a frequent post-modern visual style with
definite post-modern principles from the 60s onwards.
Cities became immensely populated compared to
before; rural life was swapped for city life. New forms of entertainment and
transport such as movie theatres and train transport changed peoples lives and
leisure habits, this changed the demand for design, the role of a designer
almost became to shape society, work was no longer for the church or for a more
‘traditional’ cause. This same development also happened in Japan, especially
in Tokyo in the early 20th century with huge technological and urban
growth. Modernism almost brought about the rise of the skyscraper, in the 19th
century public buildings were often horizontally expansive and private
buildings were vertically planted, in the 20th century this
relationship was switched with vertical buildings frequently being tall. The
development of Tokyo to today’s neon skyline has had a huge legacy and is
iconic and synonymous with Japan, influencing others around the world as much
as it influences the Japanese design scene itself. Ridley Scott’s 1982
dystopian, post-modern and almost pessimistic vision of the future in science
fiction movie Blade Runner clearly
references the neon high-rise landscape of Tokyo.
‘Blade Runner’s set in the future, but with an aesthetic rooted
in the past - it's as influenced by Metropolis’s art deco buildings and film
noirs of the 40s and 50s as it is by the neon glow of 80s Tokyo’ [LAMBIE, 2012]
In terms of Japanese design reflecting the culture
itself in an almost subconscious way look no further than Ikko Tanaka’s poster
for a noh production (traditional Japanese theatrical production) from 1961. (fig.1) Clearly influenced by the
ancient art of Japanese calligraphy and typography, itself a key factor in
establishing a unique Japanese visual style that significant pre-dates the
modernist movement yet still remains intact in modernist Japanese design.
‘One of
Tanaka’s specialities is his trademark design, born of his deep appreciation of
the shapes and lines created by Japanese calligraphy. These kanji letters…are
arranged in traditional fashion, reading from top to bottom, right to left. The
beauty of the letter forms is enhanced by the printing of different parts in
distinct colours.’ [THORNTON, 1991]
The World Wars have had a significant effect on
Japanese design, motivations and overall psyche. The most significant shift in
Japanese design and conventions changed during World War 2, a flurry of war
restrictions was placed upon Japanese design in 1941, with complete military
control over material such as magazines, newspapers and posters. Poster design,
just as in wartime Europe was often used as a means of propaganda for national
interest and military campaigns. Notable designers in this practice were Tadashi
Ohashi and Ayao Yamana. An actual agreement was in place in the advertising
industry regarding restraint in colour and design - aspects of Japanese design
that have historically been paramount, especially colour. Japanese people had
never even experiences invasion by a foreign force or even military defeat
until WWII. This devastation, along with the restrictions and lack of freedom
in the design scene fused with the utter devastation of the Hiroshima and
Nagasaki bombings shaped Japan’s psyche and motivation for design and
modernisation in its structure.
‘The
devastation caused by bombs and complete economic collapse brought severe
psychological “loss of face.”’ [THORNTON, 1991; p65]
At first glance one would think this occupation of
Japan by the American forces would devastate and cripple Japanese rule, it did,
but seeds were planted for Japanese to rise again with newfound hunger and
optimism. Under American rule, a new constitution was passed in 1946, which
provided coeducation, and voting rights for women for example, Japan was slowly
starting to become a forward thinking country. This attitude didn’t neglect the
design scene – the Japanese Advertising Society was established in 1946 and
held it’s first exhibition in 1947. During the occupation, western influences
were beginning to become part of everyday life in Japan with American magazines
such as Saturday Evening Post filling the newsstands in Shimbashi, Tokyo.
‘Fall down
seven times, stand up eight.’ A Japanese proverb.
You would be wrong in thinking this is the first
time Japanese design had been influenced by the burgeoning modernist movements
of Europe and America though. In the early 20th century, the Bauhaus
school of design was set up in Germany after the outbreak of war from 1919 to
1933 until Hitler’s Nazi regime caused a halt to it. There was also the
Constructivist movement in Soviet Russia, also established in 1919 and focused
on shaping society and the blue-collar workforce. Of all the movements in
Europe though, it is fair to say Bauhaus had the most impact on Japan with
several Japanese posters of the ‘30s showing clear typographical influences of
European designers such as Herbert Bayer and Jan Tschichold. Takashi Kono was a
legendary Japanese graphic designer heavily influenced by the European scene,
his film poster advertising Lady and
Beard (1931) illustrated flat faces
in the same vein as Picasso, showing multiple facets in a flat image. (fig.2). Many iconic designers in their
own right such as Tadanori Yokoo and Ikko Tanaka regard this poster as having a
significant influence on their own development.
What often does not get noted in art history and
many a graphic design lesson though is Japanese designs influence on the
European scene, including the Bauhaus movement.
‘I am intrigued by the Japanese influence on
Bauhaus, modernist design. It is inevitable to connect the two with the shared
emphasis on minimalism and clean, spare, lines.’ [RILEY, 2007]
Looking at the NC State’s campus, one of it’s
buildings seems to synthesise an International style with Japanese minimalism
and architecture. (fig. 3)
One of the best-known Japanese graphic designers
internationally is Ikko Tanaka, receiving international acclaim for his Japan Style exhibition design held in
London, 1980. During the time he came up in the 60s, European poster designers
such as Raymond Savignac and Herbert Leupin were at their peak, clearly
influencing Tanaka. As with most Japanese graphic designers, Tanaka nit-picked what
he admired from European design and infused his countries and his own strong
and visual style with it, creating a mathematical and logical style Tanaka
became synonymous with. A beautiful example of European structure meeting
Japanese design is a UCLA festival poster designed by Tanaka in 1981. (fig. 4)
Shigeo Fukuda is another symbol of Japanese design
and post-modern expressionism, winning more international poster prizes than
any other Japanese designer ever. Admittedly influenced by the Bauhaus movement
and notably Constructivism. Fukuda often addressed devastation and war with an
irreverent Japanese tongue-in-cheek sense of humour, a prime example is the
Victory peace poster, 1976 (fig.5).
“Kawaii” literally translates to “cute” and is ever present in Japanese
culture.
‘The
Japanese are born into cute and raised with cute. They grow up to save money
with cute (Miffy the bunny on Asahi Bank ATM cards), to pray with cute (Hello
Kitty charm bags at Shinto shrines), to have sex with cute (prophylactics
decorated with Monkichi the monkey, a condom stretched over his body,
entreating, "Would you protect me?"). [ROACH, 1999]
Post-WWII was Japan’s renaissance in graphic design
with the primary purpose of increasing Japan’s prosperity on a domestic and
international scale, in terms of employment, trade and worldwide recognition. Japanese
graphic designers were now hot property in a much more modernised and
forward-thinking Japan, driven to succeed and almost ‘show-off’ to the world
and tell the world Japan is not just the land of the Samurai.
‘Government
regulations in the late fifties forced major manufacturers to develop design
policies. Swept up in this economic growth of industries were designers who
suddenly found their profession in demand.’ [THORNTON, 1991; p93]
This new found importance and confidence in
Japanese design brought about the need for an international design conference
to showcase the social role of graphic designers, interior designers,
industrial designers and architects in Japan’s blossoming economy.
The Tokyo World Design conference of 1960 was
Japan’s first international design conference. Influential designers from all
over the world were invited to this exciting exhibition showcasing the best
this fresh new industry had to offer, attendees included Herbert Bayer, Joseph
Muller-Brockman and Saul Bass. Japanese graphic design clearly inspired and
attracted some of the most revered graphic designers of the 20th
century but this is rarely mentioned in for example a modernism lecture,
Bauhaus and constructivism are often heard but Japanese modernism less so.
‘For Müller-Brockmann in particular, WoDeCo was the
beginning of his long relationship with Japan and Japanese design. It was his
first visit to Japan, immediately following his departure from the
Kunstgewerbeschule in Zurich. Müller-Brockmann had an affinity for Zen
teachings, believing that objective design was closely related to Zen themes of
empty space and the tension between the positive and negative.’ [THIS IS DISPLAY, 2011]
The Tokyo Olympic games on 1964 was an undeniably
huge event in Japans recent history, especially in Japan rising from the ashes
of WWII. Japan initially was set to host the 1940 games but this privilege was
taken after an invasion of China, eventually the games were scrapped altogether
because of a world war. The ’64 games was going to be watched by the entire
world with Japan hosting countries from all over the world, a huge opportunity
for Japan to show it could stand on it’s own two feet and also an opportunity
to present cutting edge design and branding.
The design committee for the games was established in 1960 and Yusaku
Kamekura’s iconic emblem of the five Olympic gold rings blended with the
Japanese red sun was chosen as the Olympic logo. This is a further example of
Japan as a land itself being just as iconic as the graphic design. It’s rare to
find Olympic graphic design before or since the ‘64 games that merge the
countries culture with design as prolifically as the Tokyo games. The Tokyo’64
Olympics was a huge step forward in modernist design in mainstream culture,
comparing the logo to the previous logo of the 1960 games in Rome only
illustrates this further. The objective of increasing Japanese international
recognition was going to plan.
A question worth asking is why and how did Japanese
style seem to have such a unique and experimental outlook compared to the rest
of the world, in terms of composition, colour and concepts? Before modernity,
art wasn’t hobbyist or an expressionist form of self discovery, it often had
the sole purpose of being a portrait, a religious piece of work or even
propaganda or some of personal interest for the client, especially so in
Europe. This notion still obviously existed in Japan but looking deeper, it ‘s
arguable Japan had a long established art of design which was much more
hobbyist and expressionist with unique disciplines established long before
modernism in the Edo period. These disciplines and cultural iconography such as
the red sun, samurai, geisha and unique layout and type composition still show
through in Japanese design from the 20th century onwards. Modern
Japanese design still calligraphy, colour and a strong pride in Japanese
culture. Calligraphy for example was one of the first major imports from China
in the 1800’s. Three principal styles of calligraphy were developed. The first
style was ‘Kaisho’, a standard or regular script, the second, ‘Gyasho’ a more
abbreviated and loose form, the third ‘Sosho’, a more expressive form often
used for poetry and personal letters. In the present day, these styles still
remain intact along with more contemporary forms such as Kanji, Katakana,
Hiragana and Romaji. It’s arguable that this work is perhaps enjoyed more
outside of Japan with the fact that most Europeans can’t read Japanese symbols
so work is objectified as a piece of art in the purest sense – shapes and
colour and enjoyed in such a way, instead of a means of communication.
During the mid 20th century,
technological restrictions in Japan often gave the design a recognisable quality
and shaped the style. Often shapes and elements had great consideration of
colour and an almost grungy line quality, one of the reasons why is because designers
often had low budgets; often working with limitation of one or two colour
lithographic prints, or three for rare occasions. The work process frequently
involved photocopying and placing elements way larger than the original copy,
creating an ephemeral, fuzzy line quality.
Studying Japanese graphic design, especially during
the modernist movement and post WWII it’s clear how much Japanese design was
inspired by the European design scene, especially Bauhaus. Infact during the
30s and 40s many Japanese art schools were opened to support the next
generation and be inspired by the art scene around the world. Tsunehisa Kimura’s
film poster for Ziguneir Weisen (1980) references
Constructivism heavily with it’s angular lines, photomontage and type
treatment.
‘Shin
Kenchiku Kogei Gakuin (New Architecture and Industrial Arts School) was
established in 1931 as a Japanese version of the Bauhaus.’ [THORNTON, 1991;
p76]
It’s also clear the Japanese design scene was
internationally recognised with notable international design conferences held
in the 60s and 70s, winning international awards and acclaim and having ties
with leaders of European design such as Muller-Brockman but it’s difficult to
see this same inspiration being mirrored back in Europe. Looking at European
design during the same period, the visual style almost seems unaffected. It
still seems as if Japanese design was working in hibernation but its designers
were clearly influenced by the west. A definite factor in this lack of
synthesis between the Far East and Europe is a communication barrier. This same
problem also possibly leads to the lack of awareness in European art schools of
Japanese design history and its beauty and experimentation.
‘The free
and easy flow of design exchange between Europe and America had difficulty
reaching Japan. First there was the factor of distance from Japan to the West,
and then there were formidable language problems for most Japanese.’ [THORNTON,
1991; p53]
In terms of legacy, the intense experimentation and
at times secluded form of work in Japanese design led to design decades ahead
of it’s time. A recent case study of this is Tsunehisa Kimuras photomontage for
Pioneer Electronics, in 1979 titled Gan
Hosoya. The poster consists of a superimposed Niagara Falls on the Ney York
skyline, with copy reading “Sound is flooding our world”’ (fig. 6). This same
poster has directly influenced the record cover Australian electro-punk band
Cut Copy’s 2011 release, Zonoscope – A
record cover winning numerous design awards (fig. 7). Kimura’s photomontage is
also eerily reminiscent in the poster for Oblivion,
A soon to be released sci-fi movie directed by Joseph Kosinski (fig. 8)
To conclude this essay, I feel Japanese design has
clearly been influenced by the European and Western design scene but at the
same time Japan has still had it’s own strong foundations, maybe more
expressive and experimental than established design styles in Europe with less
work for the church and much more personal work for personal exploration, these
values still held true with the rise of modernist and lead to deeply cultural
work with visual cues that have come to distinguish Japanese graphic design. The
culture and the sense of humour shows through in even the darkest subjects,
such as with the series of posters for the Hiroshima Appeals somehow managing
to tackle an atomic bomb with grace and cheek. Japanese graphic design post
WWII was a hugely inspired period for Japanese designers and and in turn Japan
inspired others, unfortunately history hasn’t remembered this as it maybe
should have and also inspires me - someone who has grown up being accustomed to
seeing European graphic design in everyday life and being taken aback by so
much of Japanese design and it’s beautiful, timeless and always surprising art.
Fig. 1
Ikko Tanaka
1961
Fig. 2
Takashi
Kono
The Lady and the Beard
Directed
by Yasujiro Ozu
1931
Fig. 3
NC State
Campus, USA
Fig. 4
Ikko
Tanaka
UCLA
Festival poster
1981
Fig. 5
Shigeo
Fukuda
Victory
peace poster
1976
Fig. 6
Gan Hosoya
Poster for
Pioneer Electronics
1979
Fig. 7
Cut Copy
‘Zonoscope’
Modular
Recordings
2011
Fig. 8
Oblivion
Movie Poster
Dir:
Joseph Kosinski
2013
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