和的(2013)


『和力』に続く日本人の美意識を探る第2弾で、西洋と日本の事情を対比しつつ、「アルファベット順と五十音」「椅子と掘りごたつ」「ハート・マークの発祥と日本での受容」「かわいいの歴史と今」「赤十字マークと郵便マーク」というテーマで、記号の成り立ち、概念のはじまりについて語っています。
 本文は1ページ単位で「。」で終わっていますが、今回は、松田の独断と偏見にたいして数多くの指摘が校閲からきて、それらを解決していったので、ページの調整がかなり大変でした。そのかわり達成感もひとしおでした。

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Across times and borders, gourds show up here, there and everywhere. Symbols of fertility, miniatures of the universe, their smoothly curved exteriors repel water while quietly protecting a world inside. Amazingly, this fruit native to Africa was already grown in Japan during the Jomon period, over 8000 years ago. Gourds have been used for all sorts of purposes. With just a tiny bit of handiwork, a gourd can be transformed into a liquor flask, a bowl, a ladle, a musical instrument, or the resonator for one. No wonder they also make frequent appearances in mythology, music, paintings, poetry and pottery. Even though they are not very popular as food, gourds are still cultivated or grow wild in most countries around the world. In this book, Chihiro Minato elegantly tells the tale of this innocent-looking, charmingly shaped fruit from the point of view of folklore, archeology and anthropology. The idea behind the book design was based on an ancient Chinese story of an alternate cosmos inside a gourd-shaped wine jar. When you open the book, the text (cosmos) appears to float on the water (liquor) inside. Specifically, I decided to use the same printing method (wax plus) for the body of the text as for the window part of window envelopes. As a result, everything except the text and illustrations is dramatically transparent, and is sure to surprise everyone who takes a look inside. The cover and jacket were also made transparent through waxing. In order to achieve an efficient transparency, the choice of paper was fairly limited, so for this book I only used a single type of machine-glazed kraft paper.

日本のかたちを読む

WATEKI (2013)
: Reflections on Japanese Kawaii Design

松田行正著
B6判変型上製304ページ
NTT出版 購入するkago_icon_02

by Yukimasa Matsuda 
Hardcover: 304pages
Language: Japanese
Product dimensions: 18.1×12.8×2.7cm


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和的(2013)

日本のかたちを読む

WATEKI (2013)
: Reflections on Japanese Kawaii Design

松田行正著
B6判変型上製304ページ
NTT出版 購入するkago_icon_02

by Yukimasa Matsuda 
Hardcover: 304pages
Language: Japanese
Product dimensions: 18.1×12.8×2.7cm


『和力』に続く日本人の美意識を探る第2弾で、西洋と日本の事情を対比しつつ、「アルファベット順と五十音」「椅子と掘りごたつ」「ハート・マークの発祥と日本での受容」「かわいいの歴史と今」「赤十字マークと郵便マーク」というテーマで、記号の成り立ち、概念のはじまりについて語っています。
 本文は1ページ単位で「。」で終わっていますが、今回は、松田の独断と偏見にたいして数多くの指摘が校閲からきて、それらを解決していったので、ページの調整がかなり大変でした。そのかわり達成感もひとしおでした。



Across times and borders, gourds show up here, there and everywhere. Symbols of fertility, miniatures of the universe, their smoothly curved exteriors repel water while quietly protecting a world inside. Amazingly, this fruit native to Africa was already grown in Japan during the Jomon period, over 8000 years ago. Gourds have been used for all sorts of purposes. With just a tiny bit of handiwork, a gourd can be transformed into a liquor flask, a bowl, a ladle, a musical instrument, or the resonator for one. No wonder they also make frequent appearances in mythology, music, paintings, poetry and pottery. Even though they are not very popular as food, gourds are still cultivated or grow wild in most countries around the world. In this book, Chihiro Minato elegantly tells the tale of this innocent-looking, charmingly shaped fruit from the point of view of folklore, archeology and anthropology. The idea behind the book design was based on an ancient Chinese story of an alternate cosmos inside a gourd-shaped wine jar. When you open the book, the text (cosmos) appears to float on the water (liquor) inside. Specifically, I decided to use the same printing method (wax plus) for the body of the text as for the window part of window envelopes. As a result, everything except the text and illustrations is dramatically transparent, and is sure to surprise everyone who takes a look inside. The cover and jacket were also made transparent through waxing. In order to achieve an efficient transparency, the choice of paper was fairly limited, so for this book I only used a single type of machine-glazed kraft paper.




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