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Just a note that we stopped using this site.

Thanks,
Néojaponisme

W. David MARX
April 12, 2013


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A lecture organized by Organization for Asian Studies & Waseda Center for North Pacific Rim Studies, Waseda University

By Dr. Kenneth J. Ruoff, Author of Imperial Japan at its Zenith

Professor, Portland State University; Director, Center for Japanese Studies, Portland State University (Oregon, USA)

Date: Friday, January 21, 2011 Time: 16:30 – 18:00 (Open from 16:00)

Place: Room B-101 at the 14th Building, Waseda University campus

Admission: Free

Language: Japanese (Questions are available in English)

Dr. Ruoff is widely regarded as the foremost authority on the contemporary Japanese monarchy. Having earned a Ph.D. in Japanese history from Columbia University, he was a member of the Faculty of Law at Hokkaido University from 1994 to 1996, where he taught a seminar on Japan’s modern history. His major publications include The People’s Emperor: Democracy and the Japanese Monarchy, 1945-1995 (Harvard University Press, 2001) and, Imperial Japan at Its Zenith: The Wartime Celebration of the Empire’s 2,600th Anniversary (Cornell University Press, 2010). Dr. Ruoff will be signing copies of his new book, which is available at www.amazon.com It will not be available for purchase on site.

Ian LYNAM
January 14, 2011


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Font "FoundryGridnik Medium" was not found.House Industries Lecture!

House Industries Tokyo Lecture

In a rare and intimate one-night event, apparel/book/font designer, publisher, and manufacturer of design objects, Andy Cruz of House Industries will speak about his work and House’s most recent collaboration with the estate of Charles and Ray Eames.

As a partner in the cutting edge design phenomenon House Industries, Andy has helped steer the course of visual culture over the past fifteen years, creating design work with toes dipped liberally in fine art, Modern design, vernacular commercial art, and brand-oriented graphic design. See the past and the future collide and how the aesthetic of tomorrow will emerge!

Friday, September 17 2010
Doors Open: 19:00
Presentation / Q&A: 19:30 – 20:00
Dinner: 20:00

Oakwood Premier Tokyo Midtown
Address: Akasaka Minato-ku, Tokyo 107-0052
Map: Click here.
Telephone: 03-5412-3131
Fee: ¥3,500 (Advance) ¥4,500 (Door)
Includes presentation, light buffet dinner, drink, limited edition publication and limited edition print.
Language: English with Japanese Interpretation

RSVP NECESSARY
Email info@nonaca.net before Friday, Sept 10. 6pm.
Advance payment can be made here:


More: nonaca.net

Ian LYNAM
August 27, 2010


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Font "FoundryGridnik Medium" was not found.Black-Out Stencil

I’m super-amped to announce the public release of Eli Carrico’s Black-Out Stencil typeface via Wordshape/MyFonts.

Black-Out was used for the cover and interior of the Barbara Bestor book, Bohemian Modern, designed by Eli and Michael Worthington a few years ago over at Counterspace, a stunning book about L.A. architecture and interiors. Since then, it’s seen super-limited use by a select few folks, but Eli decided (with a little prodding) that the time was nigh for public release.

A chunky mix of geometric stencil, system-based slab serif, and a unique feel that falls somewhere between 1967 and the year 3000, Black-Out will sock you in the privates and run off with your money. Or something.

Ian LYNAM
May 26, 2010


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Font "FoundryGridnik Medium" was not found.Do you remember me?

Do You Remember Me?

Do you remember me? Culture-bound syndrome Ⅴ

Yamazaki Ryoichi
Nakaochiai Gallery

Sat, May 15 – Sat, June 5
Gallery hours: Thursday / Friday 12:00 – 6:00 pm – Saturday 12:00 – 5:00 pm

Ryoichi Yamazaki’s sculptures, worked in plaster, glass and paint, explore the theme of a cultural phenomenon specific to Japan – hikikomori or “withdrawal syndrome”, a relatively modern psychological disorder. Affecting mostly adolescent males, it manifests itself as withdrawal from family and society, often to the point of complete isolation. Though Yamazaki’s sculptures, with uniform white hooded tops and remote look, suggest a sense of disengagement, they unnervingly also appear kawaii or cute, like popular Japanese characters.

This solo exhibition of new works of sculpture and drawing from Yamazaki, is an installation site specific to the Nakaochiai Gallery and a continuation of the hikikomori series. For the first time since it opened in 2004, the gallery — situated in a wooden house on what was once a traditional Tokyo shotengai or “shopping street” — is being used in it’s entirety, with works being shown throughout the building.

Ian LYNAM
May 19, 2010


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Font "FoundryGridnik Medium" was not found.New keitai theme!

I’m excited to announce my new signature keitai kisekae/cellphone theme for WKTokyoLab’s mobile device shop. Kisekae are sets of images that users can download to create a holistic theme for their phone.

The theme I created for the TokyoLab music label is called “Utopia” and is based on a music video that I did in collaboration with the Lab folks for NHK a few years ago. It is an animated modular pictorial utopian vision of Tokyo in the future.

The theme is completely animated, with custom-designed icons for battery power and signal strength, a smart display that analyzes the time of day and generates one of four different appropriate images (morning, afternoon, evening, night), mail sending screen, mail receiving screen, incoming and outgoing call screens, typographically considered menus, and a ton more stuff.

Ian Lynam WKTokyoLab Kisekai Keitai Cellphone theme

In Japan, you can use your phone to browse to this address and download the theme.

Many thanks to Bruce, Yoko, and the WKTokyoLab team for making such a cool project happen!

Ian LYNAM
April 24, 2010


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Font "FoundryGridnik Medium" was not found.Idea + Mini Graphics

Two new publications out now.

Idea Magazine Forms of Practice Ian Lynam

First, a new feature for the latest issue of Idea Magazine (issue #340) called Forms of Practice, interviewing young designers, is on newsstands now.

Idea Magazine Forms of Practice Ian Lynam

Second, the foreword for a new book from Sandu Media called Mini Graphics, an exploration of small-scale graphic design projects.

Mini Graphics Ian Lynam

Ian LYNAM
April 14, 2010


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Font "FoundryGridnik Medium" was not found.Art Space Tokyo 2.0

The designer/editor and editor of Art Space Tokyo have bought back the rights to the book and are seeking to re-print via Kickstarter.

A worthwhile cause, and some rad options should you choose to back the project.

Ian LYNAM
April 6, 2010


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Font "FoundryGridnik Medium" was not found.Boul Mich + Cooper Text family

Boul Mich

The digital debut of Oz Cooper’s “Moderne” Broadway-esque titling typeface, Boul Mich, available now from MyFonts!

1927 was a discouraging year for Oswald Bruce Cooper, having to devote his time to developing faddish display typefaces based on others’ designs in lieu of truly original work.

Though he sidestepped blame in his essay On Cooper Type Faces, Barnhart Bros. & Spindler’s General Manager Richard N. McArthur was the one responsible for assigning Cooper busywork. McArthur put together a sampling of Broadway-esque hand lettering from assorted advertisements, suggesting a very specific incising treatment.

Cooper drew the basic forms of the letters, leaving the bulk of the work to the pattern makers at BB&S, but provided the framework from which the typeface was drawn. The typeface was named Boul Mich, after Michigan Boulevard, Chicago’s mix of carriage trade shops, elegant residences, artists’ studios, and Bohemian side streets. While not a design of Cooper’s choosing, this modern typeface is a paean to the flexibility of Cooper’s skill.

Cooper Initials are offered in their original capital alphabet form in this digital version, with no supplementary characters.

The release of these two typefaces coincides with the publication of the definitive Oswald Bruce Cooper biography by Ian Lynam, published in Japan’s Idea Magazine issue #339. Cooper’s biography is delivered in English and Japanese with numerous full-color illustrations of never-before-published work.

Boul Mich has been lovingly redrawn from Oswald Bruce Cooper’s original drawings and mechanical proofs. It is comprised of a capital letter alphabet, full European character set, figures, and full range of diacritics.

Boul Mich is available now via MyFonts.

Cooper Text Ian Lynam

New typeface set out now via MyFonts: Cooper Text.

Cooper Text is a comprised of two fonts- Cooper OldStyle and Cooper Initials. Cooper OldStyle is a round-serifed text typeface, while Cooper Initials are ornamental capitals designed for use as complementary drop caps.

Cooper OldStyle has been lovingly redrawn from Oswald Bruce Cooper’s original drawings and mechanical proofs while Cooper Initials have been drawn from a sample in the seminal monograph of Cooper’s work, The Book of Oz.
Cooper OldStyle was originally released as a non-kerning typeface, which offered limited use for text setting. Oz Cooper was never quite happy with the copious amount of “air” around the typeface’s characters, so this definitive version has been painstakingly spaced and kerned for even text-setting.

Cooper Initials is a set of three typefaces:
- Cooper Initials, the base form derived from Cooper’s original design
- Cooper Ground, blocks of solid color that match the proportions of the Initials and which can be used to add a background color to the typefaces through layering
- Cooper Capitals, the lone letterforms within the initials, which can be layered to add highlight color to the letterform component of the set

These typefaces can be paired with Cooper Italic Complete for setting long lengths of text.

Cooper OldStyle Ian Lynam

The history of these typefaces:

Cooper OldStyle is the result of Barnhart Brothers & Spindler type foundry representatives Richard N. McArthur and Charles R. Murray having met with Oswald Cooper and his business partner Fred Bertsch in 1917. Due to other commercial design firms adopting Cooper’s style of lettering throughout the Midwest, both companies came to an agreement to create a family of types based on Cooper’s advertising lettering. McArthur and Murray saw the biggest potential in the super-bold advertising lettering that would become Cooper Black, but agreed that a roman weight old style should be executed first, the logical progenitor to a family or related types.

The foundry requested that the roman have rounded serifs so as to more specifically correlate to the planned bold. This was the first of many tactical strategies in type design between type designer and foundry, most specifically McArthur and Cooper, whose back-and-forth relationship in designing, critiquing, and modifying letterforms was integral in shaping the oeuvre of type designs credited to Cooper. While it was Cooper’s sheer talent in shaping appealing and useful alphabets that made his work so popular, McArthur’s role as critic and editor has gone largely un-noted in the slim amount of writing of length about Cooper’s work.

Cooper and McArthur went back and forth over the design of the roman face for nearly two years with Cooper, constantly redrawing and revising the typeface to get it to a castable state. The capitals were successively redrawn by Cooper, with particular care paid to the “B” and “R” to make them relate formally. The lowercase was redrawn numerous times, as were experiments in shaping the punctuation. McArthur requested a pair of dingbats to accompany the typeface, along with a decorative four leaf clover ornament “for luck”.

Cooper included a slightly iconoclastic, cartoonish paragraph mark, as well as decorative end elements, a centered period, and brackets with a hand-drawn feel.

The final typeface is a lively, bouncy conglomeration whose rounded forms dazzle and move the eye. Originally called merely “Cooper” in early showings, the name was later revised to “Cooper Oldstyle”. The typeface met with a warm reception upon release in 1919, the public favoring its advertising-friendly, tightly-spaced appearance. Sales were moderate, and the face was considered a success.

Cooper originally drew the figures the same width as the “M” of the font, but revised them to the width of the “N” at the request of McArthur. Early versions of drawings of the slimmer figures are noted as “cruel stuff” in accompanying notes by Cooper, though they were versioned out into far more elegant numerals than the earlier stout figures. Both versions of the numerals are included in the digital release, as are the ornamental elements.

In 1925, McArthur and Murray requested a set of ornamental initials. Cooper designed the initials open-faced on a square ground surrounded by organic ornament. The initials were “intended to be nearly even in ‘color value’ with that of normal text type”. The letterforms themselves are a medium-bold variation on the Cooper OldStyle theme, lacking the balance of Cooper’s text faces, but charming nonetheless.

Cooper Initials are offered in their original capital alphabet form in this digital version, with no supplementary characters.

The release of these two typefaces coincides with the publication of the definitive Oswald Bruce Cooper biography, published in Japan’s Idea Magazine issue #339. Cooper’s biography is delivered in English and Japanese with numerous full-color illustrations of never-before-published work.

Available now via MyFonts.

Ian LYNAM
March 17, 2010


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Font "FoundryGridnik Medium" was not found.Cooper Hilite Complete

Brand new Cooper revival out as of 5 minutes ago!

http://new.myfonts.com/fonts/wordshape/cooper-highlight/

Cooper Hilite Complete is a complementary set of two fonts- Cooper Black and Cooper Hilite. Either typeface can be used alone, or as a stackable, multi-colored set.

 The history of these typefaces:

Cooper Black, the most famous and successful of Oswald Cooper’s type designs was released in 1920, following a year of development fleshing out the weight of the typeface and filling out the full character set. Cooper redrew the lowercase characters multiple times, toying with the rounded forms of the “m” and “n” and engaged in a lively debate with McArthur over the final form as McArthur requested that the typeface be drawn bolder and bolder. Cooper famously said the face was “for far-sighted printers with near-sighted customers”, and the public agreed. Sales of Cooper Black were voluminous, and Barnhart Brothers and Spindler had a difficult time keeping up with the demand for the typeface. Conservative typographers were critical of Cooper Black, though it was overwhelmingly popular, helping to shape the American advertising landscape through the 1920s and 1930s.

 

1925 saw the release of Cooper Hilite, the highlighted companion to Cooper Black. The design was executed by merely painting white incised negative spaces on a proof of Cooper Black.

 

These two typefaces are the result of researching Cooper’s original drawings and series of engraved proofs for both typefaces. The typefaces include the full range of punctuation and diacritics that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text setting.

Available now via MyFonts.


Ian LYNAM
February 16, 2010


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IMG_0383

Jonathan Ive, Apple’s senior designer (iPod, iPad, iTouch, et al) likes the YACHT logo so much that he and the Apple design team dropped some free custom laser-engraved iPods on the YACHT team last week.

Ian LYNAM
February 15, 2010


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Font "FoundryGridnik Medium" was not found.New feature article in IDEA

idea22

I wrote a 10,000 word essay called “Heft, Gravy, and Swing: The Life and Times of Oswald Cooper” for the latest issue of Idea. The essay serves as the definitive biography of the Chicago type and lettering designer, famed for his Cooper Black typeface.

idea22

The essay is the result of a long-dreamed of trip to Chicago to sift through Cooper’s original drawings, scarce writings, and working papers. Copiously illustrated with proofs of Cooper’s work, unpublished typefaces, and photographs of rare design work, his legacy is brought into contemporary focus. New biographical information about Cooper, his work, and his associates is discussed within.

idea22

An excerpt:

Bertsch & Cooper was a visionary commercial art service. They were one of the first shops in Chicago that offered to create layouts, compose artwork, and typeset text all under one roof. They continually added staff, resulting in a scattershot assortment of illustrators, draftsmen, and compositors peppered throughout the same building in a variety of rooms. At their first location, Bertsch was famous for his “inter-office communication system” which consisted of yelling upstairs and down from the inner balcony of the building to professional associates. Cooper was ensconced in the “bull pen”- a room with a half dozen or so other commercial artists scratching away at the jobs of the day. Cooper was renowned for his “filing system”- a towering, dusty, haphazardly curved pile of layouts, proofs, notes, and other assorted papers that loomed over his desk, each day’s ephemera separated by a newspaper from that date.

idea22

This pile grew in relation with Bertsch & Cooper’s increasing roster of clients, which included a number of local Chicago businesses including doctors’ offices, legal firms, coffee shops, and banks, New York’s Marchbanks Press, the department store Marshall Fields, Strathmore Papers, Red Book Magazine, American Printer Magazine, and the American Institute of Graphic Arts. Cooper’s distinctive lettering can be found on a series of public service announcements for the United States government’s Food Administration, exhorting the public to eat less and conserve rations during World War One.

idea22

The article was jointly designed by myself and the Shirai Design Office, the esteemed designers of Idea. It contains the first public showing of Cooper Italic Complete.

idea22

Oh, and it’s in both English and Japanese.

Ian LYNAM
February 10, 2010


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I’ll be exhibiting a number of illustrations drawn for the recent Blunt Mechanic CD on Barsuk Records on February 13th at the Sakura Gallery in Nakameguro.

The exhibition is an all-day art party and exhibition, running from noon until 10pm.

Sakura Gallery
Meguro-ku
Nakameguro 2-5-28 1F
Tel. 03-6277-2100

Supported by Niigata Beer, Chazymo, Aroma Tea Ale, and Mooring Deck.
map here.

Ian LYNAM
February 8, 2010


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lynam_poster

My latest print project, a double poster set called “Poster Initiative 004A” will debut at Grasshut in Portland, Oregon in the show “Staying Put”. The show opens tomorrow, February 6.

The show is a collection of prints from folks such as Yellena James, Tim Biskup, Scrappers, Chris Johanson, APAK, Mauro Gatti, Shawn Wolfe, The Little Friends of Printmaking, Studio Folk, and others.

Work from the show is available online here.

Location:
Grasshut
811 East Burnside
Portland, OR 97214
503.445.9924

Ian LYNAM
February 6, 2010


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Font "FoundryGridnik Medium" was not found.New typeface release

Cooper Fullface Italic

Just released via MyFonts, my latest typeface release is the definitive version of Oswald Bruce Cooper’s great lost typeface Cooper Fullface Italic.

At the end of 1927, Oswald Bruce Cooper yearned to create a heavy “modern” face- akin to Broadway and other display types in height and proportion, but more nuanced while being a dense, black type. The Barnhart Brothers & Spindler foundry, for whom Cooper had designed a number of typefaces, saw the potential of the typeface as a big seller. Richard McArther, General Manager of the foundry, referred to it as “the hotsy stuff”, though he was highly critical of a number of characters in the original design. He requested a successive number of modifications, including the addition of Dwiggins-inspired serifs to the face to make it stand apart from similarly-weighted typefaces then on the market. He wanted to imbue the face with a considerable amount of “old-timey” flavor in order to impart a sense of originality to the face and have it sell across both Modern and Bodoni/Didot market segments.

The resulting typeface was called Cooper Fullface, a jaunty and swollen caricature of a Didone with great potential for display advertising work. The final form of the face was a regulated and consistent balance of cartoonishness and earnest visual braggadocio, the bouncy, circus fairway-like swing of the original drawings of the letters taken down considerably and figures redrawn and redrawn for maximum readability.

A specimen sheet was mailed out in 1929, and generated moderate sales, but too late- Barnhart Brothers & Spindler closed its foundry division shortly thereafter as part of ATF’s corporate roll-up of manufacturing. The American Type Founders continued to produce the face and sell it at a decent pace, renaming it Cooper Modern.

Cooper designed a matching italic for Cooper Fullface, but it was never released. The BB&S foundry closure resulted in the foundry equipment being shipped to New Jersey a few weeks shy of the typeface’s completion. It is unfortunate, as the accompanying italic is perhaps Cooper’s masterpiece, a lively Bodoni-esque italic with more than a bit of influence from 19th Century display types, particularly in the treatment of the ball serifs on the uppercase “A”, “J”, “M”, and “N”. Cooper Fullface Italic stands as the until-now missing bookend to Cooper’s career as a type designer.

This digital release is the revival of that lost Cooper typeface, Cooper Fullface Italic. Within are two typefaces- Cooper Fullface Italic and Cooper Fullface Italic Fancy. The two faces span the range of Cooper’s original drawings- the Fancy typeface utilizing a number of alternate characters.

These two typefaces are the result of researching Cooper’s original drawings and series of engraved proofs for both typefaces. The typefaces include the original ligatures, original Oz Cooper ornaments, fancy swash characters, and a range of punctuation and diacritics, et al, that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text setting.

Available via MyFonts.

Ian LYNAM
January 21, 2010