In Japan, speaking Calligrapher, it might remind you of Japanese style Calligraphers. However, even in Japan, there are many Western style Calligraphers.

The exhibition titled The works of Calligraphers Guild was held at Gallery Kubota in Chuo Ward, near the Tokyo station. More than 200 works got together and were displayed in four rooms. There were several styles of expressions such as classic, modern, relief and a mixture work Japanese and Western styles.

One of Calligraphers I would like to see, Izumi Shiratani showed a beautiful work. Her work was really great and had gorgeous drawing lines. I’ve been acquainted with her since I met her at some party a few years ago, so I asked her to meet there in order to ask some questions about her recent work and activity.

I also asked her opinion about designing letters. I told her that I would need a Calligraphic style Logotype for package design, so I’ve been looking for a Calligrapher to draw letters for a logotype. I would like to know her opinion about whether Calligrapher would like to have opportunity to design logotype or not, or she can get the offer if I asked her. We exchanged opinions what the difference among art work and design work is, what problems are to design logo work, what art director should do for Calligrapher when they work together. She made me clear there’s nothing to worry about. I’m glad to hear that and I would like to work with Calligraphers to make Logotypes in the future.

The direct mail and Thank you card for this exhibition.

This exhibition goes around to Sendai, Okayama, Osaka.

I went to attend TypeCon Seattle 2007 last year. This was the first time for me to go a type conference was held on overseas. I got a chance to take type critique named “Ten minutes type critique” known as a regular event on TypeCon. Now you can find the audio and specimens on the critique that was held on TypeCon Seattle 2007 on YouTube.

TypeCon Seattle 2007: Typecrit 1 of 4

I recorded everything so that I could listen them after I’d back to home, because I didn’t think I could listen everything due to lack of my English skills,

Eben Sorkin, was one of designers joined 10 minutes critique, asked me to get the audio and he proposed we should provide this audio to every one who was curious about this event. And then, he compiled several photos, specimens, and movies to edit this audio and uploaded to YouTube.

The 10 minutes type critique is a regular event of TypeCon. Three critics provide their opinions to the attendees watching submitted type designs. Matthew Carter, John Dawner, and Akira Kobayashi were the critics at that time. Every attendee have 10 minutes only. They explained their concept and asked critics several questions within 10 minutes. The audience also asked their question about attendees works.

photo：The member list of 10 minutes type critique on the wall of front desk.
I wrote my name third place after someone quit to attend. Great!

This critique was very useful and helpful learning designing typeface. Not only I got several opinions from three critics but also it was useful to hear the opinions to the other designers.
I could understand easily where he important point was or how I should compare with the difference in the element. I’m pretty sure it is worth listening.

I couldn’t believe some famous type designers attended this type crit. Gabriel Meave, who is a really gifted type designer, attended this crit to show his font “Darka”, as you know, got the TDC prize. I though he didn’t need to join this crit because he could do everything! The other two Mexican type designers were also talented. AtypI conference will be held in Mexico City in next year. I guess type design in Mexico must be better to improve drastically.

At the farewell party of TypeCon Seattle, Mr. Dawner told me I should bring my revised type design to Buffalo. Thanks, Mr. Dawner!

P.S.
Related thread on Typophile.
TypeCon 2007 Typecrit video

For big fan of ancient Buddhist art, especially for those who hunt National treasures, it was very exciting season and busy to go to museums where hold the exhibition during Golden week holiday. I went to Tokyo National Museum in Ueno park to see the Exhibition of National Treasures from Yakushi-ji Temple. Last week, I went to Shin-Yakushi-ji Temple to see the Twelve generals, and this time, I could see the bronze sculptures of Nikko(日光), means the sun, and Gakko（月光）, means the moon, made in Hakuo period (A.D.672-686) as National Treasures.

That’s a good chance that you’ll be able to see the back shot of the sculptures. In most cases, a statue set on the proper place in the hall of temple, you would not be able to see it from behind of it. However, in this exhibition, every statues were standing alone and displayed without their nimbus, besides, there was a deck in front of the Nikko and Gakko so that visitors could see on the same level with both of statues. So I could tell the difference of these looking between the one when I saw on the deck and the other when I could see from lower point.

The appearance of Buddha statue changes depending on where you look at it from. I walked around every bodhisattva statue to find out the best view, but it was hard to decide it. As bodhisattva statue twisted the body, so the outlines of the body gradually changed at every step I took. I enjoyed the variety of the lines.

At the Kichijouten (吉祥天), is also designated National Treasure, booth, it was hard to see it because a lot of people gathered in front of the Kichijouten picture like a wall. The museum staffs made the visitors move along not to stack in front of it, but the visitors tried to stay there as much as possible. Indeed, it was worth watching.

The number of works in this exhibition was small, but almost of them were designated as National Treasure or Important Cultural Properties. It must be rare chance to see them at once, I do recommend you go there. This exhibition is showing untill June 8, 2008.

After watching the Exhibition of Yakushi-ji temple, I went to another exhibition whoch was held at the same time in Tokyo National Museum on “The Lantingji Xuin(蘭亭序)”, which is one of the most well-known East Asian style Calligraphy works, but as I was exhausted to see the Yakushi-ji’s works, I couldn’t concentrate on the works of the exhibition “The Lantingji Xuin”. It was a pity that this exhibition will finish on May 6th, but I was relieved to know that another exhibition will be held at Edo-Tokyo Museum in this July named “The Palace Museum. A well-known treasure on Calligraphy” and will display “The Lantingji Xuin” works. I hope to see them again.

I didn’t think that I could meet him in Japan. Christian Schwartz, based in New York, held a talk show at 5tanda Sonic event space in Gotanda, Shinagawa Ward, Tokyo . There was huge audience to see his show in spite of hard rain.

Wearing a lovely “I love N.Y.” T-shirt, he started to show some customized fonts for some major companies like Esquire, Deutsche Bahn (the German national railway company) and the Guardian, and explained the background stories of these customized fonts using a lot of specimens.

One of them, a typeface called Haçienda was developed for the Guardian, which is a famous news paper in UK. Haçienda, eventually renamed it Guardian, had a dynamic family more than 100 styles covered wide range weights and several kinds of styles like Serif, Sans and Slab styles, which would be released by the end of this year. Christian told us a full story of the design process from beginning to end.

After the show, I met him to ask some questions about his works, and I showed him my portfolio to get some opinions. He seemed to be interested in my heavy weight style fonts and told me some opinions. Thanks for the opportunity to meet with you, Christian!

(Left) Christian explained the difference among three styles of Hacienda. (Right) A brochure for the audience of this presentation and a Christian’s autograph on it.

And I must say thank you to Chris Palmieri of AQ design studio. He was a coordinator to hold Christian’s presentation in Tokyo. He was very familiar with Latin typefaces and had some interviews with type designers that he was interested in such as Jeremy Tankard, which was on AQ’s web site. He helped me out a lot to have communicate with Christian. He was a very nice guy and really kind to me.

Christian’s presentation was held again at Robundo inc., a well-known publisher on typography in Japan, in Shinjuku Ward, Tokyo, before his leaving from Japan due to a request by a member of Society of Typography in Japan.