11 research outputs found

    アヌトの蚘録・再珟ずしおの「アヌトブック」における掻字・文字組版衚珟の研究

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    珟代アヌトの衚珟手法は倚様であり、その蚘録のための「アヌトブック」も様々な圢匏がある。たた近幎、アヌトの䞖界では蚀語衚珟文字蚘号衚珟を含むものの重芁性が増しおいる。したがっお埓来の画像類の掲茉・再珟ではすたない蚘録法が求められおいる。本研究では考察されるこずの皀だった文字組版衚珟ずアヌトの蚘録に぀いお怜蚌を行う。事䟋ずしお2008幎10月29日、ビゞュアルデザむン孊科による独自開催特別講矩「Art 内藀瀌」を取り䞊げる。その繊现を極めた衚珟で囜際的に掻躍しおいる矎術科・内藀瀌氏は、たた寡黙な䜜家ずしおも知られおいる。この特別講矩は、自らの䜜品を語るこずにきわめお皀な䜜家自身の蚀葉の貎重な蚘録ずなった。そうした内藀氏の衚珟の内実に察応した「本」を぀くりあげるこずが本研究の課題であった。2009幎12月、それは単行本「内藀瀌〈母型〉」ずしお刊行された。戞田ツトム教授の党面デザむンによるこの単行本化の䜜業は、そうした高床なデザむン課題ぞの挑戊でもあり、たた珟代デザむンの隘路たる「デザむンの消滅を䌁図するデザむン」ぞの回答ずも䜍眮づけられるものずなった。䜜家の蚀葉の背埌に広がる深い䞖界をいかに組版ず図版により読者に䌝えうるかずいう、デザむンの詊行である。As 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 “Art / Rei Naito,” 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 “book” that reflects the essence of her artistic expression.The book, Naito Rei Bokei, 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 “design intended to vanish design,” an aporia in contemporary design

    ラヌニング・コモンズを栞ずする倧孊図曞通の新しい環境敎備に関する研究

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    デゞタル情報技術の導入によっお倧孊図曞通における閲芧や孊習の方法が倧きく倉貌した。情報ネットワヌクに぀ながるこずで、図曞通所蔵の資料ず閲芧空間の仕切りが曖昧になり぀぀あるが、「ラヌニング・コモンズ」は、このような図曞通をめぐる状況における、図曞通の閲芧ず孊習環境敎備の新しい考え方を瀺しおいる。本研究は、「新しい時代の図曞通研究䌚」メンバヌを䞭心ずした研究䌚の掻動で埗た知芋ずネットワヌクを通じお、倧孊図曞通にアンケヌト調査を行い、その分析を行った。ラヌニング・コモンズが提唱される以前から、すでに公共、倧孊を問わず図曞通における閲芧のスタむルず閲芧環境は、すでに倧きな倉貌を遂げおいる。むンタヌネットを通じたさたざたな情報収集やコミュニケヌションは、すでに垂民暩を埗おいるからである。䞀方、倧孊図曞通においお、情報リテラシヌに基づいた孊習ず研究のための方法論は、いただ確立されおいない。そのためにラヌニング・コモンズずいう新しい環境敎備の理念ず方法論が必芁であり、先隓的な倧孊図曞通では、この蚀葉を甚いずずも、すでに実践を始めおいるこずがわかった。The 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. ‘Learning Commons’ 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 “Learning Commons” 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 “Learning Commons”

    杉浊康平デザむンの動向ず゚ディトリアルデザむン抂念の成立に぀いおの研究

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    本研究は杉浊康平名誉教授の1950幎代からはじたるデザむン掻動の包括的な研究を目指すものである。就䞭、1970幎代 80幎代の杉浊名誉教授の掻動を䞭心に成立したず思われる「゚ディトリアルデザむン」抂念の成立過皋の怜蚌を重点的な目的ずする。本研究の基盀をなすものずしお2011 幎床埌半に盞次いで開催された「脈動する本」展歊蔵野矎術倧孊矎術通、「メタボリズムの未来郜垂」展森矎術通などで明瀺的になった、1960 幎䞖界デザむン䌚議を契機に展開した戊埌デザむンの爆発的な拡匵の様盞ぞの再認識がある。圓時の日本デザむン界党䜓の沞隰の䞭にあっおも、ずりわけお実隓的であり続けた、杉浊デザむンの珟代たでにいたる50  60 幎の実践掻動の内実を、「゚ディトリアルデザむン」をキヌ抂念ずしお調査・研究する。以䞋が研究平成24幎床の具䜓的な掻動の现目ずなる。1杉浊デザむンによるポスタヌの収集500  600 皮皋床ず敎理・分析→ 1次リスト完成→さらなる敎理継続䞭。2杉浊名誉教授による2002幎床芖芚情報デザむン孊科講矩映像蚘録の敎理線集→ 1次線集完成→蚘録映像アヌカむブ化のための準備䞭。3杉浊名誉教授によるレクチャヌをふくむ研究䌚の開催→ 2床にわたっお実斜→レクチャヌ蚘録敎理䞭。This 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.

    杉浊康平デザむンの動向ず゚ディトリアルデザむン抂念の成立に぀いおの研究継続

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    本研究は平成24 幎床共同研究からの継続ずしお䜍眮づけられる。杉浊康平名誉教授の1950 幎代からはじたるデザむン掻動の包括的な研究を目指すものである。1970 幎代 80幎代の杉浊名誉教授の掻動を䞭心に成立したず思われる「゚ディトリアルデザむン」抂念の成立過皋の怜蚌も目的ずする。本研究は2011 幎床に開催された「脈動する本」展歊蔵野矎術倧孊矎術通、「メタボリズムの未来郜垂」展森矎術通などで明瀺化した、1960 幎䞖界デザむン䌚議を契機ずする戊埌デザむンの爆発的な拡匵の枊䞭から出発し、぀ねに実隓的であり続けた、杉浊デザむンのこれたでの展開を「゚ディトリアルデザむン」をキヌ抂念ずしお調査・研究する。以䞋が研究平成25 幎床の具䜓的な掻動の现目ずなる。1杉浊デザむンによるポスタヌの収集500  600 皮皋床の継続ず敎理・分析→リストの曎新ず敎理。2杉浊名誉教授によるレクチャヌをふくむ研究䌚の開催→ 25 幎床はブックデザむンを䞻芁テヌマずした。たた、杉浊デザむンにおけるむンフォグラフィックスの偎面を進行䞭の出版䌁画ずの関連でむンタビュヌ蚘録した。3ビゞュアルデザむン孊科における゚ディトリアルデザむン研究の実践ず教育の成果の発衚の堎ずしお、孊科有志教員による「PLATEAU」展の開催。This 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

    ブックデザむンず文字組版デザむンを䞭心ずした戊埌デザむン動向の研究

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    出版メディアにおけるデザむン動向は、広告など他の分野ず比范しお、実隓的先端的な傟向が匷い。組版蚭蚈をふくむ広矩の「ブックデザむン」のそうした傟向には日本語固有の組版システムの耇雑さがもたらす、実隓的組版の広汎性も芁因のひず぀ず考えられる。事䟋ずしお2009 幎床のビゞュアルデザむン孊科における3 回の特別講矩を取り䞊げる。それぞれの講垫は、絵本䜜家・むラストレヌタヌの朚内達郎氏、アヌトディレクタヌ・ブックデザむナヌのミルキィ・む゜ベ氏、グラフィックデザむナヌの束田行正氏の3 氏である。ブックデザむン・組版デザむンに長幎携わっおこられた、これらの方々の講矩には、さたざたな䜜品玹介を通じお、倚様な「ブックデザむン」の実隓的詊みが含たれおいる。 ブックデザむンの戊埌的動向の先端や特異点を構成する3 氏の特別講矩はわれわれの研究に倧きな瀺唆をもたらすものである。それら、事䟋玹介も倚く盛り蟌たれた特別講矩を単行本「デザむン・プレれンテヌションの哲孊」ずしお線纂・刊行した。そしお、この単行本の制䜜自䜓がブックデザむンや゚ディトリアルデザむン組版デザむンを含むの実隓的実践なのである。Design in publication media are inclined to be experimental and edgy compared to that in other fields such as advertising. This characteristic of “book design” 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 “book design” 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)

    むラストレヌションアナログずグラフィックデザむンデゞタルの出䌚う堎ずしおの絵本制䜜の研究

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    出版メディアにおける「絵本」ずいうカテゎリヌは、珟代のビゞュアルデザむンの䞖界に内圚する「アナログ」ず「デゞタル」の補䜜技法䞊の乖離・矛盟に぀いお怜蚌するのに、䞡者のバランスが非垞によくずれた䜜業課皋を包含しおいる。たた同時にデザむン成果物ずしおの「絵本」は、単に「読たれる」こずで完結しおしたうのではなく、呚蟺に「読み聞かせ」や「ラむブペむンティング」などのパフォヌマンス的な実践をずもなっおダむナミックな共同性協働性の環境を発展させる可胜性をふくむ媒䜓である。本研究においおはビゞュアルデザむン孊科でこれたで開催された特別講矩のうち、飯野和奜絵本䜜家・森ゆり子読み聞かせ掻動・荒井良二絵本䜜家の3 氏による3 回分を講矩蚘録・パフォヌマンス実践事䟋ずしお曞籍化・公刊する。たたその際に、出版にいたる䜜業課皋そのものが、孊内スタッフを䞭心ずした「゚ディトリアルデザむン」の制䜜実珟の事䟋ずなるよう目的化しお䜜業をすすめおいく。11 幎床幎床末には孊内版ずしお䞀旊完成しお玍本したものを、さらに现郚にわたっおバヌゞョンアップしたものが巊右瀟を版元ずしお、12 幎秋を予定しお刊行の予定であり、本報告はその内容にしたがっお、構成されたものである。Picture 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

    珟代日本のむラストレヌション・絵本の諞傟向の歎史的怜蚌ず、先端的実践/雑誌「ロヌズプラス゚クス」発刊

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    珟代日本におけるむラストレヌション及び絵本の分野の隆盛の盎接的な端緒は、戊埌埩興期においお「デザむン」の分野から職業的なむラストレヌタヌが専門化し、たたその埌むラストレヌタヌが積極的に絵本制䜜に関るようになったこずにあるず思われるが、さらにその基盀を遡っお怜蚌するには浮䞖絵をはじめずする江戞期の倧衆文化やそれ以前ぞず芖線を向けお行く必芁があろう。本共同研究ではそうした芖点に意識的である孊内・孊倖のむラストレヌタヌ、グラフィックデザむナヌ、線集者、䜜家その他の連携により、調査・資料収集・考察・䜜品制䜜を進め、我々にずっおもいただなお、描くこずず曞くこずが互いに内包しあう行為であり぀づける、絵ず文字の理想的な盞互関係を探り出し、今珟圚むラストレヌションずデザむンがどのように結び合うこずができるか、実践をもっお研究したいず考えた。その過皋・成果に぀いおは、広く読者に開かれた蚘事、及び䜜品ずしお線集され、雑誌ずしお出版・流通されるこずが望たしいず考え、「ロヌズプラス゚クス」1 号・2 号ずしお線集・発刊するこずができた。執筆者を䞭心ずしたトヌクむベントも回にわたり開催され、奜評を博すこずずなった。以埌次幎床にひき぀づき研究を進め、雑誌を継続しおいく考えである。It 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 magazine’s 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

    近代デザむン党般の䞭での゚ディトリアルデザむンの成立に関する研究/杉浊康平デザむン研究の継承ず展開

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    本研究は平成24 幎床共同研究からの継続ずしお䜍眮づけられる。杉浊康平名誉教授の1950 幎代からはじたるデザむン掻動の包括的な研究を目指すものである。1970 幎代 80 幎代の杉浊名誉教授の掻動を䞭心に成立したず思われる「゚ディトリアルデザむン」抂念の成立過皋の怜蚌も目的ずする。たた、本研究のひず぀の䞭栞をなすものずしお杉浊名誉教授デザむンによるポスタヌ䜜品の収集・敎理・分析の掻動である「ポスタヌアヌカむブ・プロゞェクト」がある。26 幎床共同研究の過皋で浮かびあがっおきたのが「むンフォグラフィックス・デザむン情報デザむン」の抂念である。ビゞュアルデザむン孊科棟資料宀に蔵された倚量のポスタヌのリスト内容の曎新の過皋で、分析の軞をなす抂念ずしおこの新しい芖座を埗た。杉浊デザむンの倚様性に察しお、ひず぀の匷力な分析の切り口を埗たものず考える。70 幎代に倚くの成果を生んだダむアグラム・デザむンずの関連も重芁であり、集倧成的な出版によっお、さらに倚くのこずが明瀺化されおきた。たた、本共同研究では䟋幎同様、いく぀かの関連䌁画を開催した。10 月のレクチャヌ・研究䌚、11 月のむンフォグラフィックスの歎史を通芳する「系統暹の森展」、3 月の卒展遞抜展ずしおの「PLATEAU展」などである。特に2 ぀の展瀺䌁画に぀いおは新蚭された梅田サテラむトの掻甚ずしおも意味を持぀ものである。The 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

    杉浊康平のアゞアンデザむン研究ポスタヌず冊子を䞭心に

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     本研究は2012 幎床共同研究から継続しおいる、杉浊康平名誉教授のデザむン掻動の包括的研究の䞀環である。これたでの掻動ずしお「ポスタヌアヌカむブ」構築、ポスタヌ展2 回、単行本出版などがある。それらの成果をふたえお2017 幎床は「アゞアンデザむン」の偎面にフォヌカスしお、5 回の連続むンタビュヌを䌁図した。 杉浊名誉教授は、今幎3 月たで本孊アゞアンデザむン研究所においお、所長ずしお研究掻動を䞻導しおきた。その60 幎以䞊におよぶデザむン掻動の䞭で、倚くの重芁な業瞟を残しおきたが、「アゞアンデザむン」抂念の確立は、本孊ずの関係においおも特に重芁なものずしお䜍眮づけられる。ポスタヌ・冊子類のデザむンからはじたっお、その掻動は、さたざたなアゞア文化玹介の構想・䌁画たでを包含するものに拡匵し、デザむンの領域を超える幅広い業瞟を残した。䞀方、そうしたデザむン掻動を通じお、独自のアゞア図像研究の領域を切り拓き、図像的想像力に充ちた倧胆な仮説の提唱により、独自の図像論を確立し、数倚くの著曞を発衚しおいる。モダンデザむンの牙城であるドむツのりルム造圢倧孊での教鞭䜓隓から、アゞアンデザむンにいたる道皋は限りない倧遠埁のようにすら芋える。われわれ共同研究組織は、その間に䜕があったのか、本人の率盎な蚀葉ずしお蚘録するこずを目指した。This research program comprises an important part of the comprehensive study of Professor Emeritus Kohei Sugiura’ 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 “Asian design.” 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 “Asian design” 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

    灜害時に圹立぀小さな空間の䜜り方に関する研究

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    今埌、発生が予枬される東南海倧地震などの倧芏暡灜害に備えるための研究である。 阪神淡路倧震灜ず東日本倧震灜以降の建築家ずデザむナヌによる掻動ずデザむンの調査・分析を実斜した。その結果、4件のデザむンを遞択し、孊生ずずもに再制䜜に取組んだ。たた、これら4件のデザむンを普及するために、䜜り方の資料を制䜜し広く配垃を行った。 「小さな空間の぀くり方」展で、4件のデザむン叀谷誠章〈早皲田倧孊教授〉・他「田野畑村テンポラリヌブヌス」、金田充匘〈東京芞術倧孊准教授〉・他「こどもの隠れ家」、塚本由晎〈東京工業倧孊倧孊院准教授〉・他「日甚品で぀くるティピヌ」、及び「FASTBOX」久冚敏明・安森匘昌・田頭章埳〈神戞芞術工科倧孊〉・萬田隆〈倧阪産業倧孊〉、を展瀺した。This 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"Mitsuhiro Kanada and the others , "Teepee made with daily necessities",Yoshiharu Tsukamoto and the others and "FASTBOX" Toshiaki Hisatomi, Hiromasa Yasumori, Akinori Tagashira and Takashi Manda  were exhibited
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