This is how I became a styling designer

In high school, I entered the design department of Metropolitan Craft High School, which was considered to be the initial goal of my fifth grade primary school. I learned about the work of "binding" when I was in the following conversation with my good friend Matsumoto Jun during the first grade of high school.

"Yeah, Kameura!"

What is Kamakura? I asked so. It was in front of an old bookstore in Kanda. The craft high school we attended is right next to Suidobashi. After school, it is a must-do for us to come to the bookstore on the old book street in Jimbocho to read art magazines.

Asong (Matsumoto Jun) holding a decent book like "World Famous Nietzsche", opened the cover and looked at the words near the catalog and said.

"Uh? Kameura Yusuke, don't you know? It was the person who designed and produced the posters for the Tokyo Olympics, the most famous designer in Japan."

Therefore, I knew this person, Kamakura, and also knew the thing of framing. During these days, we knew a little bit about Sugiura Kangping, Yokoo Tadashi, Wada Makoto, Uno Yaxiliang, Su Jinjie, Tanaka Yoshiko, and Nagai Yoshihide and the style of their works. Talk about them as a critic. At that time, weren't there too few examples of designers doing things like framing? I always feel that there are more books edited by the painter or the author himself. However, the book framed by the art and printing designer gradually entered my field of vision. The decoration of Su Jinjie's collection of modern poems and poems, the extraordinary creative decoration of Hotan Cheng, and the amazing and imaginative decoration of Yokoo Tadashi every time really make me feel excited.

After graduating from high school, I failed to be admitted to an art university, so I went to a private school "beauty school" that can be admitted without an exam. In 1969 and 1970, I learned under the guidance of Hiroshi Kimura and Akagawa Kawahara. In 1972, I entered Qinglin Hall to work. Immediately after joining the company, he was appointed to the layout and cover design of "Monthly Comic GARO". When the leader of the company, Mr. Yi Jingsheng, handed this task to me, he said, "Do it as you like!"

Anything can be done. I was addicted to the layout and cover design, and made it completely into my personal style. It's really interesting. No one taught me how to do it. When I went to school before, the teacher actually printed and bound the finished book. Would I mess it up, and when the printing is done, I will know immediately after the finished product. The binding of the deluxe version of the book was also handed over to me without any worries. "Zhi Zhiyichun Collection" is one of those tasks. The book cover was printed in six colors including gold, and the cover was made of corrugated paper with a two-color screen-printed label. For such books, the idea of ​​"cost accounting" did not exist from the beginning. "Zi Zhizhong Men's Collection" uses a four-color printed book cover and a fabric cover, which is also done according to my preferences. The thought of being entrusted to the task immediately raised my spirit. Now thinking about it, it was a kind of learning that I had as a luxury decoration designer. However, of course, I didn't view it as a "practice", but I did it with the mentality that I would soon become a professional designer. But objectively speaking, for newcomers, the design and binding of luxury limited edition books is indeed a good practice stage. Anyway, it is not enough to express my gratitude to President Nagai. The cover of "Nan Shengping's Works" is this: the idea comes from the blouse work clothes worn by the craftsmen, with the blue and blue as the background color, and the white Qianshe script (a typeface, commonly used in various Japanese shrines Place), and finally made of fabric. Labels made of Japanese paper are attached to the front and back of the corrugated paper case with edges. The title of "Sakura Pictorial Daquan" by Mr. Akasegawa was pressed on plain gold paper with plain embossing technology. Corrugated paper covers are covered with two-color labels. This is the first time we have designed a frame for Mr. Akasegawa. He later became our biggest customer. During my work in Qinglintang, I was assigned a lot of design tasks, and all of them let me do it to my liking.

Included in "Fitting / Southern Extension" (FROEBEL Hall, 2001)

From "I Become a Binding Designer"

It was serialized in the bi-monthly comic magazine "AXE" from 2005 to June 2007, and the twelfth return to the Tezuka Cultural Insect Culture Award Newcomer Award. The three volumes of Shimada's comics ("The Last Waltz", "Tokyo Miku", and "Fantasia") are also included in the single book. With just one comic scene on the cover, it highlights and comprehensively displays the characteristics of the comics. It is a seemingly simple but striking visual design.

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