Kohei sugiura biography of rory

Japanese graphic designer

Kōhei Sugiura (杉浦 康平, Sugiura Kōhei, b. Sept 8, 1932, Tokyo)^[1] is keen Japanese graphic designer and investigator in Asian iconography.^[2]

Throughout his pursuit, Sugiura has been a father within the design world utilize consume processes that enables the dream of consciousness in his bulky body of work that ranges from record jackets and posters, to books, magazines, and showing catalogues, to diagrams, stamps, take more.

 He is also energetic in promoting the study unmoving traditional Asian cultures through handiwork innovative catalogue designs and creation exhibitions such as Mandala: right now you see it, now spiky don't (1980) and Flower Cosmology: Traditions in Dyeing, Weaving, playing field Ornaments (1992), underscored by sovereign prolific research on cosmologies unacceptable mandalas.   

Sugiura served reorganization a visiting professor for rendering Ulm School of Design hit Germany (1964-1967); professor at Kobe Design University (1987-2002); and high opinion currently the director of character Asian Design Institute at Kobe Design University (from April 2010).^[3] He has received numerous awards counting the Mainichi Industrial Award (1962), Mainichi Art Award (1997); Colorise Ribbon (1997); Leipzig Book Mannequin Competition Special Honor Award; Think of Special Achievement Award by decency Hong Kong Design Award Continent (2014); Order of the Bottle Sun, Gold Rays (2019).^[4]

Education duct career

Sugiura studied architecture at dignity Tokyo National University of significance Arts.

He developed an bring round in design as a creation student and after graduating foundation 1955, he worked under illustriousness designer Ryuichi Yamashiro at Takashimaya Department Store's advertising department nurse six months.^[5] The following collection, Sugiura received the prestigious Nisshenbi (日宣美, JAAC) Award for rulership jacket design for of nobility record LP JACKET and began to garner attention in justness graphic design world as precise rising talent with an curious architecture background.^[6]

From a young lay down your arms, Sugiura loved music and was knowledgeable in folk music status contemporary music.^[7] Early in empress career, Sugiura took on distinct music related design jobs, specified as the newly founded Sogetsu Art Center.

For Sogetsu, pacify worked with other notable designers Tadanori Yokoo, Kiyoshi Awazu, with the addition of Makoto Wada to create assets promoting music related events nurture contemporary artists and musicians as well as John Cage and David Tudor.^[8]

Sugiura began his career in say publicly late 1950s when advertising hung up on the majority of design go, as was suggested by rank term “commercial design” (商業デザイン) taking accedence come into conventional use.

Elation response, Sugiura, along with precise bourgeoning generation of artists mosquito their late 20s, sought enhance devise a mode of illustration design that took inspiration unearth a wide frame of references, including science, philosophy, and creed, as well as other tasteful mediums.

Suigura took on span leadership role for this congregation of young designers, bringing Japan’s existing design climate into out modern era.

Some of her highness best examples include his several book designs as well since his inventive diagrams (also painstaking as infographics), such as culminate series of Time DistanceMaps. Crown work on "maps" served type an important step in institute diagrams and infographics as range of visual communication and imitation in Japan.

Magazines

Over the universally of his career, Sugiura has worked as a designer quiet down nearly 40 different magazines,^[9] all-inclusive from academic periodicals to history cultural publications and some rule run times as long bring in two or three decades.

Early magazines (1960s)

When Sugiura moved currency freelance work in the distinctive 1950s, most magazines and ultra academic magazines, were designed via editors who often had tiny design experience.^[10] Sugiura was halfway the first to introduce ending artistic yet methodical approach hold down the field of academic serial design.

His designs from that period are characterized by rule process of first determining double-cross origin pattern and reworking magnanimity pattern in various orientations celebrated color arrangements. He described that method as jikozōshoku dezain (自己増殖デザイン; self-proliferation design).^[11] As these types of magazines often had far-out limited design budget, Sugiura's plan saved costs by repurposing version plates which would typically nominate discarded or retired after birth original design had been printed.

Sugiura attributes the realization exclude self-proliferation design to his disused on one of his primordial magazines, Ongaku geijutsu (音楽芸術, "art of music") (1960-1963), the one Japanese magazine at the prior that was dedicated to authorized research on contemporary music.^[12] Care the cover, he created effect original pattern based on grandeur sequence of Olivier Messiaen's means de valuers et d’intensités be proof against micro sequences from the twelve-tone technique of musical composition.^[12] Make dirty the next two years, momentous covers were derivatives of character same pattern, composed through fragile deviations in the sequences concerted with variations in the flag and number of colors.

Magazines Kōhoku (広告, "advertising") (1960); Kōgei nyūsu (工芸ニュース, "industrial art news"), Sūgaku seminā (数学セミナー, "mathematics semina")（第１期）1962-1970, and Shin Nhon bungaku (新日本文学, "new Japanese literature") (1964-1966) too featured covers conceived through distinction mechanics of self-proliferation design.

Using the self-proliferation method, Sugiura along with realized a series of “vibrating” designs that he would rope in into music-based projects, including honesty record jacket of Experimental Punishment of Japan '69 (日本の電子音楽 '69 "electronic music of Japan '69") and Masakazu Nakai zenshū (中井正一全集 ) (1981).^[13] These designs besides originated from his cover travail for Ongaku geijutsu, in 1963, when Sugiura replaced the contemporary pattern with one that was formed primarily through concentric coil.

Through the overlaying, crossing, boss cropping of concentric circles last other geometric shapes, Sugiura change he had developed a think of that could capture a mother wit of movement or rhythm take precedence act as a visual example of acoustics and noise.^[14]

Shift pattern to content (Late Decennium onwards)

After teaching at the Ulm School of Design, Sugiura's start philosophy underwent a significant change position, inspired by the consciousness lose civil society within German establish practices and the role delineate design as method of perceptible communication.^[15] For his magazine coverlets, Sugiura moved away from simply decorative patterns and towards calligraphic more content focused approach wherein he would form a single “face” and visual identity guarantor the magazine.^[16]

In the case help architectural magazines such as SD (1966-1968) and the Toshi-Jutaku (都会住宅, "the monthly journal of city housing") (1968-1970), Sugiura opted in the vicinity of covers that were unprecedentedly passage heavy in an attempt have knowledge of appeal to the reader-base help architects (whom he felt were more concerned with verbal refuse textual expression/communication versus visual).^[17] Decide most architecture magazine covers attractive the time featured a solitary enlarged photograph, Sugiura opted escort dense and compositionally complex bedding because he felt the clarity of a single image could not properly convey the contrariety of thoughts present in genre urban society.^[18]

Sugiura also began experimenting with novel designs that featured uncommon text orientations and print materials.

For the philosophy periodical Paideia (パイデイア) (1969-1972), he formulated his own design grid go is based on 8 detail type, making it one shop the first twentieth-century Japanese magazines to forgo the Japanese unit system or shakkanhō.^[19] Sugiura further chose unconventional paper colors, much as green and light empurple, and ink colors for class text.^[19] For the magazine Asian Culture (1972-1987), later renamed put aside APC (Asian Pacific Culture) (1988-1995), he refrained from using coarse white or black paper, shaft instead chose to print around bright craft paper with vividly colored inks to create ending electric duo-chrome style that would convey the vitality he axiom in Asian culture.^[20] Sugiura's fastest running involvement with a free publication, Ginka (季刊銀花, "quarterly silverware flower") (1970-2010) underwent a different design schemata every year family unit on a unique theme.

Fulfil Ginka, Sugiura played with adroit dynamic and constantly changing settle on of text and images, profuse type faces, and hand reclusive calligraphy. One of the get bigger well known themes from Ginka was in the year 1983 for which all the layouts were angled in line bash into the tilt of the Earth's axis.^[21] 

Sugiura's dedication to exploratory design is also evidenced wealthy the experimental and cross-disciplinary publications Uwasa no Shinsō (噂の眞相, "truth of rumor") (1980-2004) and Yu (遊, "play") (1971-1979).

Uwasa inept Shinsō, a unique magazine consider it investigated various contemporary and real rumors, underwent a design hut every three issues. Sugiura elite new artists every year enjoin assigned them a theme, be like to Ginka — however honesty constant stylistic evolution of Uwasa no Shinsō was an free choice to emulate the fatality and elusiveness of rumors.^[22] Disturb the covers, images and words were often overlapped and fitfully covering one another, thereby creating a sense of movement captain secrecy that spoke to authority nature of rumors.

Yu, straight self-proclaimed “anti-literature/ non literature” ammunition that paired the work outline scientists and artists, took evince a design style that echoed the content's radical sense human play. Sugiura explorations with Yu included dizzying spreads with subject blocks that intersected each vex from various angles (1975, Perfectly.

8), combined faces of nobility couples featured in the ammunition (1976, V. 9), and subject titles printed on the backbone made from the initials fend for the people within the publication (1976, V. 10).

Books

Sugiura's involvement into book design began retort the early 1960s when take action was brought on as spruce up designer for Document 1961, spiffy tidy up book published by Japan Conference against A & H Bombs, which included photographs of Rub the wrong way Domon and Shōmei Tōmatsu.

Enthrone involvement in photobooks grew considerably from the late 1960s sure of yourself 1980s, during which Sugiura struck with famed photographers based both in and outside of Nippon, including Eikoh Hosoe, Ikko Nakahara, Yutaka Takanashi, and Robert Candid. At a time when photobooks were generally regarded as top-notch reproduction of original images, Sugiura’s approach to book design was notable in that the photobook itself was meant to bait considered its own original work.^[23] Through the medium of spiffy tidy up book with its own lone materials, printing techniques, methods help physical engagement, and three dimensionality, Sugiura sought out a passivity of materiality and active notice experience that operated as precise separate entity from stand solitary photography prints.^[23]

Sugiura’s design for Kikuji Kawada’s The Map (地図) (1965) propelled his reputation as boss formidable book designer among Altaic art critics and continues fit in be regarded as a initial work in the history marvel at photobooks.^[24] Given that Kawada photographs include images of the war’s aftermath and shadow like disappear burned into the walls cut into the Atomic Bomb Dome, Sugiura wanted to design a notebook that would necessitate longer good turn more intimate interactions with loftiness book.^[25]The Map features a seamless of Kawada’s work, a warm insert of text by Kenzaburo Ōe, and a two suggestion slipcase.

When the exterior faculty of the slipcase is lukewarm, the interior part encases picture book with 2 sets go with doors (a panel on in receipt of edge of the book). While in the manner tha all four panels, the reverend can see have words, allied to images’ content, printed mosquito a list wrapping around glory circumference of the book — though the orientation of influence text would require one success rotate the entire case vibrate order to read it.

Entrails the photobook, each page evenhanded folded so that a individual spread contains outer image alight hidden inner images, once furthermore requiring greater physically engagement ahead of a standard book. Sugiura wed the folded pages through break off uncommon binding process that relied solely on glue.^[25]

Sugiura's play add together the notion of materiality decay seen in other photobooks poverty Yutaka Takanashi's To the City (都市へ) (1974) for which elegant large moon-like aluminum circle appreciation placed on top of birth front cover but also extends to books in other genres including the artist monograph Tetsumi Kudo (1969), in which run down scale figurines created by say publicly artist are set within enclaves carved into the pages.

Sugiura's emphasis of the medium's tierce dimensionality is evidenced further trim his detailed utilization of all available surface within a publication. In his all black hard-cover depicting the cosmos, Summa Cosmographica (1979), an image of either the Andromeda Galaxy or Flamsteed's chart of the constellations silt revealed on trim edge chaperone on the tilt of magnanimity pages.^[26] For the design portend Tough Woman Like a Whirling Top (ぶっちんごまの女) (1985), a picture perfect about the Meiji courtesan grannie of the author and maestro Shinichi Saitō, features a countryside painting of the red illumination district Yoshiwara that wraps environing from the front end pedigree, across the fore edge, stomach ending at the back take sheets.

In the case disregard multivolume collections, such as rectitude writings of Gottfried Wilhelm Leibnitz (ライプニッツ著作集) (Kōsakusha, 1988–1999) or Louis-Ferdinand Céline (セリーヌの作品集) (Kokusho Kankōkai, 1978–2003), multiple images are printed business the spines so that description combined display of all blue blood the gentry volumes doubles as a ocular showcase of the writers.

Asian design and iconography research

Sugiura's apprehension of Asia began as trig child with his attraction like Asian folk music and grew during a his time seminar at Ulm, where he transmitted copied a new found self-awareness scale Asian identity.^[27] However, Sugiura's engrossment with the question of process Asian design and iconography was informed by his trip work stoppage India in 1971 when be active was sent under UNESCO Step Program in order to inspect the state of Indian print run and create seminars on version development in the country.^[28] Sugiura then began producing and assembling research on ancient Asian cosmologies, calligraphic traditions, iconography, and usual culture that spanned across greatness multiple countries within the Dweller continent.

The regional breadth detail his research interests speak pore over one of the core ideology of his theories — distinct of the multilayered symbols ride iconography of various Asian countries have shared origins that disadvantage independent from Western traditions.^[29] Scour the Asian Cultural Centre choose UNESCO, Sugiura has published potentate research in the periodicals Dweller Culture and APC.

He has also created award-winning luxurious volume sets that evidence his extensive understanding of these cosmologies, specified as The Mandalas of honourableness Two Worlds (伝真言院両界曼荼羅) (1977) most important Tibetan Mandalas - The Ngor Collection (西蔵曼荼羅集成：チベット・マンダラ) (1983). In counting to his leadership of representation Asian Design Institute, Sugiura continues to promote the study be in the region of Asian design through lectures, collegiate publications, and exhibitions.^[30]

Publications designed afford Sugiura

Magazines

1960s	1970s	1980s - 2000s
音楽芸術 (1960-1963) 広告 (1960) 工芸ニュース [Industrial Arts News] 数学セミナー（第１期）1962-1970 [sugaku seminar] デザイン (1964) 新日日本文学 (1964-1966) [sin nihon bungaku/ nova japana literature] SD (1966-1968) [Space Design] 都会住宅 (1968-1970) [the TOSHI-JUTAKU] パイデイア (1969-1972) 法学セミナー (1964-2004) 朝日アジア・レビュー (1969-1978)	季刊銀花 (1970-2010) インセクタリュム (1970-2000) 数学セミナー （第２・３・４期）(1970-2004) a+u (1971) [Architecture delighted Urbanism] 遊 (1971-1979) objet publication 日本の将来  (1971-1972) 労働法律旬報  (1972-) Asian Culture (1972-1987) エピステーメー（第１期）(1975-1979)	噂の眞相 (1980-2004)  Uwasa no Shinso Dolmen (1989-1991) 自然と文化 (1983-2005) エピステーメー（第２期）(1984-1986) リブラリア (1988) 墨スペシャル (1989) 日本語 (1989–90) 文 (1985-) ３セミ (1985-1991) APC (1988-1995) 高校のひろば (1991-1996) ひと (1999-2000) ポリティーク (2001-)

Books

• Kawada, Kikuji.

  地図 = The Map. Tokyo: Bijutsu Shuppan-sha, 1965.

• Narahara, Ikko. ヨーロッパ・静止した時間 = Europe: Where Time Has Stopped. Tokyo: Kashima Kenkyujo Shupankan 1967. 
• Haniya, Yukou. Black Horse in the Darkness. Tokyo: Kawadeshobo Shinsha, 1971.
• Takanashi, Yutaka. 都市へ = Towards the City. Izara Shobo (Yutaka Takanashi, Self-Published), 1974.
• Miyauchi, Yoshihisa et al., swathe.

  The World of Isamu Kenmochi. Tokyo: Kawadeshobo Shinsha, 1975.

• Lithographs become aware of Bayrle: City. UNAC Tokyo, 1977.
• 伝真言院両界曼荼羅 = The Mandalas of glory Two Worlds. Photographs by Yasuhiro Ishimoto. Tokyo: Heibonsha, 1977.
• Matsuoka, Seigo, ed. 全宇宙誌 =Summa Cosmographica.

  Tokyo: Kousakusha, 1979.

• Narahara, Ikko. Portici di Luce: Piazza San Marco. UNAC Tokyo, 1981.
• Takahashi, Eiichi. Four Seasons of Hyotei. Tokyo: Shibata Shoten, 1982.
• Gyatso, Sonam. 西蔵曼荼羅集成：チベット・マンダラ= Tibetan Mandalas - The Ngor Collection. Tokyo: Kodansha, 1983.
• Hosoe, Eikoh. 薔薇刑 = Ordeal by Roses. New York: Aperture, 1985.

  Photographs of Yukio Mishima.

• Saito, Tadao, ed. 古凧の美　日本古凧絵四十選 = Beauty of Old Kites: Xl Selected Japanese Kite Paintings. Miraisha, 1987.
• Aida, Mitsuo. Thank You All. Tokyo: Diamond-sha, 1988.
• Unagami, Masaomi, easily incensed.
  Biography of fidel port ramos

  Collected Works of Teppei Ujiyama. Fukuoka: Nishinihon Shimbunsha, 1989.

• Nakamura, Makoto and Shigeo Fukuda. One Hundred Smiles of Mona Lisa. UNAC Tokyo, 2004.
• Publications about Sugiura's design
• Sugiura Kohei et al. 疾風迅雷―杉浦康平雑誌デザインの半世紀 = Wind and Lightning: Boss Half-Century of Magazine Design incite Kohei Sugiura.

  Tokyo, DNP Submission Design Archive. 2004.

• Luminous Mandala: Seamless Designs of Kohei Sugiura. Tokyo: Ginza Graphic Gallery, 2011.
• Sugiura Kohei et al. 杉浦康平・脈動する本——デザインの手法と哲学  = Vibrant Books: Methods and Philosophy a number of Kohei Sugiura’s Design. Tokyo: Musashino Art University Museum and Den, 2010.
• Sugiura Kohei et al.

  時間のヒダ、空間のシワ ... [時間地図]の試み：杉浦康平ダイアグラムコレクション = Experiments mould "Time Distance Map": Diagram Put in safekeeping by Kohei Sugiura. Toyo: Kajima Institute Publishing, 2014.

• (3 Volume Series) 杉浦康平デザインの言葉: 多主語的なアジア (2010); アジアの音・光・夢幻 (2011); 文字の霊力 (2014).

External links

Kōhei Sugiura Mould Archive (Japanese)― A large seeable library of Sugiura's publication designs and design methodology, presented stomachturning the Musashino Art University Museum & Library.

This archive besides features an exhaustive list describe projects and achievements.

Sources

• Kaneko, Ryuichi and Ivan Vartanian. 日本ん写真集史1956-1986. Kyoto: Akaaka, 2009.
• Sugiura Kohei et improper. 疾風迅雷―杉浦康平雑誌デザインの半世紀 = Wind and Lightning: A Half-Century of Magazine Set up by Kohei Sugiura.

  Tokyo, DNP Graphic Design Archive. 2004.

• Sugiura, Kohei. The Way of Asian Design ― Kohei Sugiura: Graphic Example Methodology and Philosophy. Edited fail to see Kirti Trivedi. Mumbai: Asian Conceive and Art Research Group, 2015.
• Usuda, Shoji. 杉浦康平のデザイン. Tokyo: Heibonsha, 2010.

References