일본의 대표적 현대 그래픽디자이너의 표현 특성과 미의식의 재조명

Abstract

This study re-examined the expression characteristics and aesthetic consciousness of Yusaku Kamekura, Ikko Tanaka, Shikeo Fukuda, Tadanori Yokoo, and Hara Kenya, representative Japanese graphic designers who have attracted the attention of the world's design industry from the 1960s to the present. In particular, the first-generation designer after World War II, Yusaku Kamekura has received worldwide attention by expressing the sun of the Japanese flag in a simple circle for the 1964 Tokyo Olympics poster, and Ikko Tanaka expressed the traditional theme simply and clearly at Nihonbuyo. While the posters of Kamekura and Tanaka expressed traditional materials in a simple and clear way from a modern perspective, Shigeo Fukuda's posters showed a modern expression trend that maximized the effect of optical illusions. Tadanori Yokoo used traditional Japanese materials in poster design and simultaneously expressed pop art and psychedelic expressions that deviated from Western modernism. Finally, Hara Kenya is actively realizing the design of blank space with the aesthetics of emptiness. The source of such modern graphic design in Japan can be ideologically pointed out as the Buddhist ideology of emptiness and Zen, Wabi & Sabi, Shutaku, Reductionism, and in terms of style, Ukiyoe, Linpa, Western modernism. Modern Japanese graphic design, which forms the mainstream with simple forms, abstract shapes, and simple colors, sought to harmonize and balance its unique cultural identity and global universality, and designers reflected their own formative language in their work. It can be said that it is a tendency of Japanese designers to express the harmony of Japanese traditional culture and Western modernism amid the trend of modernism. This aspect can be seen as a reflection of the perception of the design world to visualize Japan's modern image as an economic and a cultural power at the same time. In particular, the poster of 5 people reflected cultural traditions and aesthetic consciousness, while re-examining the glocal Hwahonyangjae of Japanese modern graphic design that aims for universal design at the same time. In particular, in the area of graphic design, where alphabetic culture design is the mainstream, Japanese design uses Chinese characters, hirakana, and katakana, forming a unique Japanese style graphic design foundation that is highly recognized worldwide. It is expected to contribute to the spread of K-Design's external awareness along with an opportunity to examine the universality and differences inherent in Korean, Chinese, and Japanese philosophies and aesthetics through a study on the expression characteristics and aesthetic consciousness of Japanese modern graphic design.