Going into the "Mythical Field" of Japanese Design

The level of Japanese design is unique in the world. Whether on the plane or industrial design is the leader of the entire world.

The art of Japan may be simple or complicated. It is both serious and grotesque. It has an abstract and moving side and a spirit of realism. This is the combination of the East and the West. It seems to have seen a kind of quietness from the Japanese design work. The realm of emptiness and emptiness has deeply felt the abstraction of the East.

The Japanese are the Yamato ethnic group, and the Yamato ethnic group is a nation with very high awareness of suffering.

Nordic people think that design is an integral part of their lives, Americans use it as a tool for making money, and Japanese people think that design is a means of survival for the nation. As Japan is an island country and its natural resources are relatively poor, exports of electrical appliances have become its important economic source. At this time, the pros and cons of the design are directly related to the economic lifeline of the country, so that the design of Japan has attracted the attention of the government. The design of Japan started in the 1950s and has made its design very powerful with its unique national character. The Japanese are the best students in the world. They can learn a wide range of useful knowledge abroad and integrate them, eventually becoming their own. At the same time, the Japanese nation’s group spirit is very strong, making it easier for the internal forces of the company to concentrate completely. There are two factors in Japan’s tradition that make its design detours: one is a minimal and refined minimalist style, and the other is that in life they form a modular system based on tatami, which makes them quickly accepted The modular concept introduced from Germany. The narrow space makes the Japanese people love the miniaturization, standardization, and multi-functional products. This precisely meets the needs of the international market, leading to the emergence of Japan’s electrical products to guide the world trend and sweep the world market.

For example, they exaggerated the hoops on the outside of the barrel to make it both a functional component and a decorative component, which is called “decorative use of structural components”. The relationship between the shape and personality of wooden and rattan furniture in Northern Europe has become a thorny issue for designers in all countries.

Another example is that internationalist style products can be mass-produced and are inexpensive, suitable for the needs of the general public. In the design process alone, it sacrificed nationality, locality, and individuality, and pursued commonality. Now is the transition from industrialization to informationization. From the perspective of long-term interests, products must have individuality to secure a place in fierce market competition. In the design, starting from the actual conditions of the country and region, combining national aesthetic sentiments with some of the shocks of modern design to form a unique design system is a development trend of the design. In this regard, the Japanese have done some useful explorations.

At the same time, Japan’s industrial design has achieved such complete development. First of all, Japan’s industrial design community pays great attention to the practice. The entire design community is closely linked with the enterprise. The vast majority of large companies (large enterprises account for about 5% of all Japanese companies) have huge product development departments and invest a lot of money in industrial design. Furthermore, the Japanese design community closely follows the development of society. The research direction of JIDA has been closely related to the national situation from the very beginning. Changes in social life can immediately receive attention from designers and form topics for discussion, forming theories. The characteristics of our country’s society are based on the needs of the world rather than the people. In this way, we can design products that truly meet the needs of our people, have national characteristics, and can face the world.

Japan is also a unique charm on the plane.

Sato Akira is a new generation of graphic designers who have embarked on the extended stage of Japanese culture and followed the old generation of graphic designers such as Tanaka Ichida. In "The Analysis of the Beauty," William Hogarth said: "The best color beauty depends on diversity, correctness and ingenious unity." The color of Sato Koji's work can be said to have this quality, resulting in a sense of separation and Tension, dramatic. In the search for balance in the relationship between color, shape and light, it is not entirely attributed to Western classical light-irradiation methods, nor does it fall into the Eastern tradition of almost exhausting the light source. It only seeks expression of color and volume, but instead The decorative color, the deformed shape, and the light performance of the classical and the impressionist arts are integrated in the color gradient technique. The vagueness of the color gradient is still clear and certain, and the weakened shades and relatively intensified colors constitute the basic characteristics of Sato Akira's work. The three are combined into one, naturally harmonious, and a piece of fusion between the east and the west is created. Xintiandi.

Spiritually, he is based on the empty and empty thoughts of the Japanese tradition, with the clear and glamorous colors of Japan since ancient times, pursuing the beautiful and glamorous world of emotions that emerged, and his creative style is sketched and abstract at the same time. On the one hand, it inherits the beauty consciousness of Japan's dynasty literature, accompanied by a cold feeling. In many graphic designs in Japan you feel as if the snow falls quietly. There is no sense of violence in contemporary Western designs. There is no conflict and climax. There is no arrogance. Most of them are meticulous and calm lyrical. With cold brushstrokes and peaceful expressions, they depict a dream and a reality. The world is not open.

Japanese designers are good at combining with their own culture, in many places where there are many design performance jumps, like a short poem in Japan - haiku, grammar, words and phrases, concise rhythms and subtle leaping, in the blank space without a pen , will feel very attractive. It is a purely Japanese, purely sensual world. This kind of artistic world that transcends reason is undoubtedly a direct inheritance of the spirit of the Dynasty literature. The language, rhythm, and rhythm of the composition used by the designer should be the same. Sato Akira is no exception. His works are composed of pure Japanese grammatical rhythms. There is no tone of translated text that does not go through, and the Western design grammar is hidden. (to be continued)