11 research outputs found
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ã«äŒãããããšããããã¶ã€ã³ã®è©Šè¡ã§ãããAs means of expression in contemporary art are diversied, art books as a medium for recording art also take many different styles. On the other hand, linguistic and character expressions have recently become increasingly important in the art scene.In this context, there should be a new means of recording art that goes beyond the simple presentation of graphic images in the conventional art books. This course studied typographic and compositional expression in art books as a medium for recording art.The course focused on exploring âArt / Rei Naito,â a special lecture presented by Department of Visual Design on October 29, 2008.Rei Naito is an artist whose refined sensitivity is highly reputed in the world. She is also renowned for being taciturn about her work. The lecture was a very rare opportunity in which the artist talked about her art. The purpose of this course was to make a âbookâ that reflects the essence of her artistic expression.The book, Naito Rei ïŒBokeiïŒ, was published in December 2009. Designed entirely by Professor Tsutomu Toda, the whole process of making this book was a challenge to an advanced design issue as well as an answer to the âdesign intended to vanish design,â an aporia in contemporary design
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å ±ãªãã©ã·ãŒã«åºã¥ããåŠç¿ãšç 究ã®ããã®æ¹æ³è«ã¯ãããŸã 確ç«ãããŠããªãããã®ããã«ã©ãŒãã³ã°ã»ã³ã¢ã³ãºãšããæ°ããç°å¢æŽåã®ç念ãšæ¹æ³è«ãå¿
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éšçãªå€§åŠå³æžé€šã§ã¯ããã®èšèãçšãããšãããã§ã«å®è·µãå§ããŠããããšãããã£ããThe way people browse and study at university libraries has changed significantly as IT was introduced and spread rapidly. The boundary between university archives and reading rooms has became ambiguous as resources at libraries increasingly became available online. âLearning Commonsâ demonstrates the new concept of browsing and learning at libraries on the back of universal access to IT. We conducted a survey for university libraries across Japan and have received a number of questionnaire back. In fact, the environment surrounding libraries, regardless of their public, private, or academic functions, has changed markedly long before the concept of âLearning Commonsâ was introduced. What we discovered through the survey is, however, that a majority of university libraries have not yet established any systematic way of educating users how to use IT to maximise their learning opportunities. Although having said that, we did find that there are several university libraries that have started distributing progressive know-how to users unconsciously adopting the concept of âLearning Commonsâ
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æ¬ç 究ã¯æ浊康平åèªææã®1950幎代ããã¯ããŸããã¶ã€ã³æŽ»åã®å
æ¬çãªç 究ãç®æããã®ã§ãããå°±äžã1970å¹Žä»£ïœ 80幎代ã®æ浊åèªææã®æŽ»åãäžå¿ã«æç«ãããšæãããããšãã£ããªã¢ã«ãã¶ã€ã³ãæŠå¿µã®æç«éçšã®æ€èšŒãéç¹çãªç®çãšãããæ¬ç 究ã®åºç€ããªããã®ãšããŠ2011 幎床åŸåã«çžæ¬¡ãã§éå¬ããããèåããæ¬ãå±ïŒæŠèµéçŸè¡å€§åŠçŸè¡é€šïŒããã¡ã¿ããªãºã ã®æªæ¥éœåžãå±ïŒæ£®çŸè¡é€šïŒãªã©ã§æ瀺çã«ãªã£ãã1960 幎äžçãã¶ã€ã³äŒè°ãå¥æ©ã«å±éããæŠåŸãã¶ã€ã³ã®ççºçãªæ¡åŒµã®æ§çžãžã®åèªèããããåœæã®æ¥æ¬ãã¶ã€ã³çå
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å®ããããšãã£ããªã¢ã«ãã¶ã€ã³ããããŒæŠå¿µãšããŠèª¿æ»ã»ç 究ããã以äžãç 究ïŒå¹³æ24幎床ïŒã®å
·äœçãªæŽ»åã®çŽ°ç®ãšãªãã1ïŒæ浊ãã¶ã€ã³ã«ãããã¹ã¿ãŒã®åéïŒ500 ïœ 600 çš®çšåºŠïŒãšæŽçã»åæâ 1次ãªã¹ãå®æâãããªãæŽçç¶ç¶äžã2ïŒæ浊åèªææã«ãã2002幎床èŠèŠæ
å ±ãã¶ã€ã³åŠç§è¬çŸ©æ åèšé²ã®æŽçç·šéâ 1次線éå®æâèšé²æ åã¢ãŒã«ã€ãåã®ããã®æºåäžã3ïŒæ浊åèªææã«ããã¬ã¯ãã£ãŒããµããç 究äŒã®éå¬â 2床ã«ããã£ãŠå®æœâã¬ã¯ãã£ãŒèšé²æŽçäžãThis course aims at a comprehensive study of Professor Emeritus Kohei Sugiura\u27s design activity which started in the fifties. The ultimate objective of the course is to examine how the concept of "editorial design" was developed around the activities of Professor Emeritus Sugiura in the seventies and eighties. This course focuses on the rediscovery of the dramatic development of postwar design inspired by World Design Conference in Tokyo 1960, which was explored by two exhibitions held in 2011, Vibrant Books: Methods and Philosophy of Kohei Sugiura\u27s Design (Musashino Art University Museum & Library) and METABOLISM: The City of The Future (Mori Art Museum). Sugiura\u27s design has always been incomparably experimental, even during this delirious period for Japanese design. The course examines and studies the 50-to-60-year design practice of Sugiura with "editorial design" as the key concept.The main activities of the course are:1) The collection, classification and analysis of (500 to 600) posters designed by Sugiura (A preliminary list was completed. Further classification and analysis are underway. )2) The editing of videotaped lectures by Professor Emeritus Sugiura for Department of Visual Design in 2002 (The preliminary edition was completed. Preparations for an archived video are currently being made.)3) The holding of workshops including lectures by Professor Emeritus¡ Sugiura¡ (Two workshops have been held thus far. The lecture notes are currently being edited.
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±åç 究ããã®ç¶ç¶ãšããŠäœçœ®ã¥ãããããæ浊康平åèªææã®1950 幎代ããã¯ããŸããã¶ã€ã³æŽ»åã®å
æ¬çãªç 究ãç®æããã®ã§ããã1970 å¹Žä»£ïœ 80幎代ã®æ浊åèªææã®æŽ»åãäžå¿ã«æç«ãããšæãããããšãã£ããªã¢ã«ãã¶ã€ã³ãæŠå¿µã®æç«éçšã®æ€èšŒãç®çãšãããæ¬ç 究ã¯2011 幎床ã«éå¬ããããèåããæ¬ãå±ïŒæŠèµéçŸè¡å€§åŠçŸè¡é€šïŒããã¡ã¿ããªãºã ã®æªæ¥éœåžãå±ïŒæ£®çŸè¡é€šïŒãªã©ã§æ瀺åããã1960 幎äžçãã¶ã€ã³äŒè°ãå¥æ©ãšããæŠåŸãã¶ã€ã³ã®ççºçãªæ¡åŒµã®æžŠäžããåºçºããã€ãã«å®éšçã§ããç¶ãããæ浊ãã¶ã€ã³ã®ãããŸã§ã®å±éãããšãã£ããªã¢ã«ãã¶ã€ã³ããããŒæŠå¿µãšããŠèª¿æ»ã»ç 究ããã以äžãç 究ïŒå¹³æ25 幎床ïŒã®å
·äœçãªæŽ»åã®çŽ°ç®ãšãªãã1ïŒæ浊ãã¶ã€ã³ã«ãããã¹ã¿ãŒã®åéïŒ500 ïœ 600 çš®çšåºŠïŒã®ç¶ç¶ãšæŽçã»åæâãªã¹ãã®æŽæ°ãšæŽçã2ïŒæ浊åèªææã«ããã¬ã¯ãã£ãŒããµããç 究äŒã®éå¬â 25 幎床ã¯ããã¯ãã¶ã€ã³ãäž»èŠããŒããšããããŸããæ浊ãã¶ã€ã³ã«ãããã€ã³ãã©ã°ã©ãã£ãã¯ã¹ã®åŽé¢ãé²è¡äžã®åºçäŒç»ãšã®é¢é£ã§ã€ã³ã¿ãã¥ãŒèšé²ããã3ïŒããžã¥ã¢ã«ãã¶ã€ã³åŠç§ã«ããããšãã£ããªã¢ã«ãã¶ã€ã³ç 究ã®å®è·µãšæè²ã®ææã®çºè¡šã®å ŽãšããŠãåŠç§æå¿æå¡ã«ãããPLATEAUãå±ã®éå¬ãThis course, positioned as a sequel of the 2012 joint study, aims at a comprehensive study of Professor Emeritus Kohei Sugiura\u27s design activity which started in the fifties. It also examines how the concept of "editorial design" was developed around the activities of Professor Emeritus Sugiura in the seventies and eighties. Sugiura\u27s design career started in the midst of the explosive growth of postwar design inspired by World Design Conference in Tokyo 1960, which was explored by two exhibitions held in 2011, Vibrant Books: Methods and Philosophy of Kohei Sugiura\u27s Design (Musashino Art University Museum & Library) and METABOLISM: The City of The Future (Mori Art Museum). The course examines and studies the development of Sugiura\u27s design, which has always been incomparably experimental from the outset, with "editorial design" as the key concept.The main activities of the (2013) course are:1) The continuous collection, classification and analysis of (500 to 600) posters designed by Sugiura (Updating of the list, further classification and analysis of the collection)2) The holding of workshops including lectures by Professor Emeritus £ Sugiura £ (The 2013 workshops focused mainly on book design. An interview on the infographic work of Sugiura was also conducted and taped in conjunction with an ongoing publication project.)3) The holding of an exhibition titled PLATEAU by a group of voluntary faculty members to present practices and results of research and education on editorial design at the Department of Visual Design
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端ãç¹ç°ç¹ãæ§æãã3 æ°ã®ç¹å¥è¬çŸ©ã¯ããããã®ç 究ã«å€§ããªç€ºåããããããã®ã§ãããããããäºäŸçŽ¹ä»ãå€ãçã蟌ãŸããç¹å¥è¬çŸ©ãåè¡æ¬ããã¶ã€ã³ã»ãã¬ãŒã³ããŒã·ã§ã³ã®å²åŠããšããŠç·šçºã»åè¡ããããããŠããã®åè¡æ¬ã®å¶äœèªäœãããã¯ãã¶ã€ã³ããšãã£ããªã¢ã«ãã¶ã€ã³ïŒçµçãã¶ã€ã³ãå«ãïŒã®å®éšçå®è·µãªã®ã§ãããDesign in publication media are inclined to be experimental and edgy compared to that in other fields such as advertising. This characteristic of âbook designâ in the broad sense of term is attributed in part to the prevalence of experimental typesetting caused by the complex typesetting system intrinsic to the Japanese language.This course explored three special lectures presented by Department of Visual Design in fiscal 2009. The speakers of the lectures were Mr. Tatsuro Kiuchi (an illustrator and picture book author), Ms. Milky Isobe (an art director and book designer) and Mr. Yukimasa Matsuda (a graphic designer). In these lectures, the three professionals, who had long been involved in book design and typesetting design, talked about diverse experiments in âbook designâ through various projects. Their special lectures, discussing the cutting-edges and uniqueness of the post-war book design trends, offered inspiring insights in our study.We compiled and published a book based on the three lectures introducing many cases of experimental book design titled Philosophy of Design Presentation.The production of this book was an experimental practice of book design and editorial design (including typesetting design)
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容ã«ãããã£ãŠãæ§æããããã®ã§ãããPicture books, as a category of publication media, is produced through a process which involves technical conflicts and contradictions between "analog" and "digital" inherent in today\u27s visual design. At the same time, picture books as products, unlike ordinary books which are "completed" by simply being read, are a medium assumed to entail dynamic collaboration through reading and live painting sessions.The purpose of this course was to compile and publish a book based on three special lectures presented by Department of Visual Design. The speakers of the lectures were Kazuyoshi Iino (a picture book author), Yuriko Mori (a specialist of picture book reading) and Ryoji Arai (a picture book author). The production of this book itself was designed to be a practice case of editorial design by staff.The book was completed and delivered at the end of fiscal 2011 as an in-house publication. The upgrade and expanded version of the book is scheduled to be published by Sayusha in the autumn of 2012. This report is based on this book
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ã«éãããèšäºãåã³äœåãšããŠç·šéãããéèªãšããŠåºçã»æµéãããããšãæãŸãããšèãããããŒãºãã©ã¹ãšã¯ã¹ã1 å·ã»2 å·ãšããŠç·šéã»çºåããããšãã§ãããå·çè
ãäžå¿ãšããããŒã¯ã€ãã³ããïŒåã«ãããéå¬ããã奜è©ãåãããšãšãªã£ãã以åŸæ¬¡å¹ŽåºŠã«ã²ãã€ã¥ãç 究ãé²ããéèªãç¶ç¶ããŠããèãã§ãããIt is thought that the direct origin of the flourishing of the field of modern Japanese illustration and picture-books lies in the specialisation of professional illustrators from the field of design, and then later the active production of picture-books by these illustrators. However, if we wish to go further back in time and ascertain the basis of this, it is necessary to turn our attention to the popular culture of the Edo period, as exemplified by ukiyoe prints, and the time before that. In this joint research, we shall undertake surveys, collection of materials, studies, and production of works, in collaboration with illustrators, graphic designers, editors, writers etc, who are aware of the point of view mentioned above. We wish to investigate the ideal relationship between pictures and writing. For the process and achievement of this, it was thought desirable to edit together articles and works open to a wide readership, and to publish and distribute this as a magazine, and to this aim the first and second editions of Rose Plus X have been edited and published. Two discussion events featuring the magazineâs writers have been held, and these have been favourably received. It is hoped that we can continue this research and the production of this magazine in the next academic year
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ç°ãµãã©ã€ãã®æŽ»çšãšããŠãæå³ãæã€ãã®ã§ãããThe objective of this course, originated from the 2012 joint research program, is a comprehensive study of Professor Emeritus Kohei Sugiura\u27s design activity which started in the fifties. The course also aims at examining how the concept of "editorial design" was developed around the activities of Professor Emeritus Sugiura in the seventies and eighties. One of the key activities of the course is the Poster Archive Project which entails the collection, classification and analysis of posters designed by Sugiura. During the 2014 joint research program, we came up to the concept of "infographic design" in the process of updating the list of the posters archived in Department of Visual Design. The concept offers a new, insightfulperspective to analyze the diversity of Sugiura design. The course also focuses on diagram design, one of the key achievement of Sugiura which flourished in the seventies, and clarifies many important ideas. In this program, as in the past programs, we hold several events including a lecture/workshop in October, Phylogentic Forests in November (an exhibition focusing on the history of infographics), and 2015 PLATEAU OSAKA in March (an exhibition of selected works of faculty members of the department.) The latter two attract attention also as meaningful ways to use newly-built CURIO-CITY in Umeda, Osaka
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æ¬çç 究ã®äžç°ã§ããããããŸã§ã®æŽ»åãšããŠããã¹ã¿ãŒã¢ãŒã«ã€ããæ§ç¯ããã¹ã¿ãŒå±2 åãåè¡æ¬åºçãªã©ãããããããã®ææããµãŸããŠ2017 幎床ã¯ãã¢ãžã¢ã³ãã¶ã€ã³ãã®åŽé¢ã«ãã©ãŒã«ã¹ããŠã5 åã®é£ç¶ã€ã³ã¿ãã¥ãŒãäŒå³ããããæ浊åèªææã¯ãä»å¹Ž3 æãŸã§æ¬åŠã¢ãžã¢ã³ãã¶ã€ã³ç 究æã«ãããŠãæé·ãšããŠç 究掻åãäž»å°ããŠããããã®60 幎以äžã«ããã¶ãã¶ã€ã³æŽ»åã®äžã§ãå€ãã®éèŠãªæ¥çžŸãæ®ããŠãããããã¢ãžã¢ã³ãã¶ã€ã³ãæŠå¿µã®ç¢ºç«ã¯ãæ¬åŠãšã®é¢ä¿ã«ãããŠãç¹ã«éèŠãªãã®ãšããŠäœçœ®ã¥ããããããã¹ã¿ãŒã»ååé¡ã®ãã¶ã€ã³ããã¯ããŸã£ãŠããã®æŽ»åã¯ãããŸããŸãªã¢ãžã¢æå玹ä»ã®æ§æ³ã»äŒç»ãŸã§ãå
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ã¡ã倧èãªä»®èª¬ã®æå±ã«ãããç¬èªã®å³åè«ã確ç«ããæ°å€ãã®èæžãçºè¡šããŠãããã¢ãã³ãã¶ã€ã³ã®çåã§ãããã€ãã®ãŠã«ã é 圢倧åŠã§ã®æéäœéšãããã¢ãžã¢ã³ãã¶ã€ã³ã«ãããéçšã¯éããªã倧é åŸã®ããã«ããèŠãããããããå
±åç 究çµç¹ã¯ããã®éã«äœããã£ãã®ããæ¬äººã®ççŽãªèšèãšããŠèšé²ããããšãç®æãããThis research program comprises an important part of the comprehensive study of Professor Emeritus Kohei Sugiuraâ s design activities originated from the 2012 joint research project. The research activities undertaken so far include the establishment of the Poster Archive, two exhibitions of posters designed by Sugiura, and the publication of a book on his design. Based on these results, the 2017 program featured a series of five interviews with him focusing on âAsian design.â Professor Emeritus Kohei Sugiura led the activities of the Research Institute of Asian Design of our university as its director until March 2018. Sugiura has made many considerable achievements throughout his career that spans over sixty years. Among them, the development of the concept of âAsian designâ is considered particularly important for our university. A wide range of activities based on this concept include the design of various posters and booklets, and a number of projects to present different Asian cultures. The diverse achievements of these activities have cut across the boundaries between design and other disciplines. At the same time, Sugiura has opened up his original research filed of Asian iconography, proposed an imaginative hypothesis, developed a unique iconographic theory, and produced a number of books. Considering his teaching experience at the Ulm School of Design in Germany, the stronghold of modern design in the sixties, it seems that he has made a great journey to come down to the idea of Asian design. This research program was designed to record what happened during this journey through a series of candid interviews with him
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åŒãæ±äº¬èžè¡å€§åŠåææãã»ä»ããã©ãã®é ã家ããå¡æ¬ç±æŽãæ±äº¬å·¥æ¥å€§åŠå€§åŠé¢åææãã»ä»ãæ¥çšåã§ã€ãããã£ããŒããåã³ãFASTBOXãä¹
åšææã»å®æ£®åŒæã»ç°é ç« åŸ³ãç¥æžèžè¡å·¥ç§å€§åŠãã»è¬ç°éã倧éªç£æ¥å€§åŠãïŒããå±ç€ºãããThis study is preparing for a large-scale disaster such as predicted southeast sea great earthquake. These are investigations and analysis of activities and designs by architects and designers after the Great Hanshin/Awaji Earthquake and the Great East Japan Earthquake.As a result, 4 designs were selected and worked on re-production with students. The method of making these 4 designs are published and it was distributed widely to spread. "The method of making small space" was held. And 4 designs, "Tanohata-mura temporary booth" (Nobuaki Furuya and the others ), "Kodomo-no-kakurega"ïŒMitsuhiro Kanada and the othersïŒ , "Teepee made with daily necessities",ïŒYoshiharu Tsukamoto and the othersïŒ and "FASTBOX" ïŒToshiaki Hisatomi, Hiromasa Yasumori, Akinori Tagashira and Takashi Manda ïŒ were exhibited