Representing Lee Bull as a solo exhibition

Originally, I had a friendship with Lee Bull, so I was entrusted with the catalog design of the solo exhibition. At an individual artist's exhibition (one-man show), the artist's own personal experience, imagination, and various emotions can often be seen, but this one-man show especially reflects the emotions behind her. It seems that it will be a solo exhibition that emphasizes a very personal aspect, such as the expressed performance, a new work based on a dog that has been deceased for a long time and died, a reproduction of a studio where various ideas were born. thought.

Rather than expressing emotions in conversation and words, she is an artist who is very good at expressing everything in the shape and expression of sculptures, and has many works that make her feel organic. That's why I wanted to express her passion and personal aspects as they were.

When I do my job, I feel like I'm a professional, but instead of using the numerically beautiful letters that I gained through experience, I take in my own mood, which is influenced by various things from time to time. I think it is okay. In this catalog, I had a strong desire to direct the organic parts of the works of my friend Lee Bull and the words that came out as words in order to be fascinated by my novels and literature. ..

I wanted to use Tsukushi Old Mincho with a private atmosphere

Since it was a catalog of the exhibition, there were several text pages including materials such as essays and interviews as well as biographies as well as work photographs. As one of the ways to show and create a catalog in such a case, it is possible to show the space separately by using a lot of Gothic type and Mincho type, and sometimes I actually do it.

However, in Lee Bull, when I wanted to use a font that could express her emotions and personal aspects, and a font that expressed her more than the words she said, the old Mincho I would like to use an organic typeface that feels unevenness or intonation in the size of kana or kanji that the body has, and I want to create it only with that typeface, and use multiple fonts such as Gothic type and Mincho type with it I dared to avoid that.

Among going to consider some of the Ming of Old system, there is a relaxed accent in one by one pseudonym, [can feel the sex appeal of a Japanese font to sense the air with the character itself Tsukushi Old Mincho is], I felt that it was perfect for creating a more private atmosphere, so I decided to make all of this catalog with only this typeface.

It was a challenge how much I could do with this typeface alone

Her sculptures are extremely elaborate and decorative, so the design of the catalog seems to do as little as possible so that the layout itself does not inflate, but the letters are visible properly. I kept in mind.

As for fonts, I created the table of contents and Text using only one [Tsukushi Old Mincho] for the reason I mentioned earlier. Of course, I used to use this typeface for a long time, so I knew that there was no weight other than "R" (as of 2011). Therefore, I think that the creation of this catalog was a challenge for me as much as I could do with it. Regarding Heading on a certain page, I aimed at the strength and weakness only by the position and space, but the client proofreads that it is only this difference, and there was also a place to adjust the font size and the character gap Right

Since the size that can be adjusted is limited to the character size, line spacing, character spacing, margins, ruled lines, etc., the priority of the paper quality in the catalog is font, and the whiteness with the texture and feel of drawing paper is relatively low. I decided on paper. This is because I thought that the gentle appearance of [Tsukushi Old Mincho], which had no sharp feel at the tip, would make it look gentler by using this kind of paper even in the notation where multiple Kanji characters continue. In addition, I think that by putting the font in a special color, I was able to create a good atmosphere with a gentler color tone. When you typeset [Tsukushi Old Mincho], it may be because of the organic atmosphere that the lines are not completely aligned.

In addition, with regard to the text on the photo of each chapter door, some clients requested that they be made slightly thicker. I resisted until the end, but I responded by adding a little outline. I think adding the outline was effective, but it really only made a 0.0 mm adjustment. If it is not adjusted that much, the silhouette will change completely, and it will be different from the original typeface. The way you assemble it is also important, but the font has the effect of speaking more than the words it conveys.

Not only in the catalog, but also in the wall texts at the venue, I used this typeface as well so that the atmosphere of things that will be unfolded in the exhibition will be unified as much as possible so that her feelings and personal aspects can be expressed more. .. It seems that it was difficult for the contractor to set up the venue because the cutting sheet etc. was hard to come out because the typeface was also elaborate in the small details, but the classical atmosphere created by the typeface throughout the venue affected the making of a venue perfect for this solo exhibition I think I was able to do it.

The typesetting depends on the character of the book

When dressing, I basically take the stance of starting from the Text, shaping the content and personality of the book within myself, and making the cover. When writing letters, there is always a sense of tension between lines and letters. Even if the same font is used, we are not inheriting the one created before, but we are working from the beginning to decide the format dedicated to that work.

This catalog was created with the intention of exploring the limits of what can be seen as one block that does not seem to be flipped by adjusting the line spacing and letter spacing.

Regarding [Tsukushi Old Mincho], when I receive a request for a book such as a book other than this work, I often use it so much that I try to assemble it first. However, at first glance, I sometimes feel that this is not the case.

For example, I think that it is the best font for vertical writing, but I feel that it is difficult to use it for vertical writing if there are too many or too many katakana. Originally, it may be strange that the katakana itself is used in the vertical writing style peculiar to Japan, but it may be that the space between kana and kana is too accentual and it looks like a flip.

It's an old typeface, so the kana is made small, but it looks a little strange, so if you want to use something with continuous katakana, pay attention to the size and so on. Basically, clean typesetting is a type of composition that is visually unnatural, and I think it plays an important role as a starting point for reading a sentence, so I would like to focus on it.
* An interview article of Mr. Keiji Terai is published in "+ DESIGNING May 2012 issue (Vol.28)" issued by MyNavi.
http://www.plus-designing.jp/pd/pd28/pd28.html

＜ Editor's note ＞
When I asked Terai about the direction of the catalog and the direction of the solo exhibition, I felt a strong desire everywhere to express Lee Bull more honestly. The difficult design of creating a catalog with a large number of pages with one weight also came up as an idea in an instant. While there are many designs that we create based on our daily experience, we will try to help you to express that idea as much as possible.
We received many requests for weight expansion for [Tsukushi Old Mincho] used in catalogs, etc., so we changed the typeface name to [Tsukushi A Old Mincho] and decided to use the 6-weight family in December 2012. We will release it.

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