2020 年度
博士論文

Archiving Katzumie Masaru—Theory-Based Digital Archive Design for
the Katzumie Masaru Collection

多摩美術大学大学院美術研究科
WANG Xiaofeng ( オウ ショウフウ )2020 年度
博士論文

主査

久保田晃弘

教授

副査

中村寛		

准教授

副査

伊原久裕		

教授 （九州大学芸術工学研究院）

指導教員

佐賀一郎		

准教授

Archiving Katzumie Masaru—Theory-Based Digital Archive Design for
the Katzumie Masaru Collection

多摩美術大学大学院美術研究科
WANG Xiaofeng ( オウ ショウフウ )Archiving Katzumie Masaru
Theory-Based Digital Archive Design for
the Katzumie Masaru Collection

Wang Xiaofeng ( オウ ショウフウ )Graduate School Doctoral Course
Tama Art University

Contents
Abstractiv

Acknowledgmentsvii

1

Research Background8

1.1

Katzumie Masaru in the 21st Century

10

1.1.1 A Forgotten Master11

1.1.2 Design Theory in the 21st Century

16

1.2

20

Katzumie Masaru Collection and Digital Archive

1.2.1 A Forgotten Archive20

1.2.2 Methodology of Theory-Based Archive Design242Katzumie Masaru’s Characteristics 1909–1944

30

2.1

Formative Years32

2.1.1 Freedom and Democratic Awareness32

2.1.2 An Alpinist’s Philosophy

36

2.2

40

Self-Actualized

2.2.1 Personal Magazine Dream40

2.2.2 Design Critic as the Peak of Life

46

2.3

Conclusion of Chapter 2

50

3

Katzumie Masaru’s Activities 1944–1983

54

3.1

Social Situation of Design Development

56

3.1.1 Pre-War Period of Japanese Design56

3.1.2 Post-War Emotional Period of Japanese Design

58

3.1.3 Conceptual Strategy for Promoting Design

62

3.2

66

Design Critic

3.2.1 Design Critic is the Reaction to the Democracy

66

3.2.2 An Alpinist’s Design Critique

70

3.3

Design Educator72

3.3.1 Design Education

72

3.3.2 Design Research

76

3.3.3 Young Generation

80

3.4

86

Art Director

3.4.1 Olympic Pictogram System

86

3.4.2 Design Policy

92

3.5

Editor in Chief96

3.5.1 Man’s Dream Became True

96

3.5.2 The Goal Beyond the Dream

100

3.6

Conclusion of Chapter 3

106

4

Katzumie Masaru’s Design Philosophy

108

4.1

“Designer is the Artist Who Constructs the View of Life” 110

4.2“Form Follows the Human-Centered Function”

4.3“Design is to Achieve the Form of the Will of Beauty” 124

4.4“Design is the Quality of Civic Life”

130

4.5

“To Love Japanese Life is Designer’s Beginning”

136

4.6

Conclusion of Chapter 4

144

5Archive Design for the Katzumie Masaru Collection

148

5.1

Theory-Based Archive Design

150

118

5.1.1 Introduction

150

5.1.2 Research-Based Resource Support

152

5.1.3 Design Policy for the User Interface

156

5.2

162

Storytelling Part of the Archive Design

5.2.1 Introduction

162

5.2.2 Diagram-Based Visual Navigation

164

5.2.3 Database Access Method

170

5.3

172

Tag-Based System Part of the Archive Design

5.3.1 Introduction

172

5.3.2 Analysis of Tag-Based Archive Design

174

5.3.3 Tag-Creating Principle

178

5.3.4 Tag-Categorizing Method

182

5.3.5 Tag-Based Searching Method

196

5.4

Technical Support

200

Conclusion

202

List of Figures

212

Bibliography

218

Attachments

228

Abstract

This research is to find the theoretical and practical method for
creating digital archives of Katzumie Masaru Collection by investigating Katzumie Masaru’s design motivation, activities, andphilosophy.
Katzumie Masaru* (1909–1983), the first Japanese design
critic, enormously spread his design knowledge in vast fields
in Japan’s modern design history. As a design critic, Katzumie
Masaru did not limit his abilities only on writings but also
spread his minds in several actual design activities for enlightening the modern design in Japan. For example, he successfully
directed the design policy for the Tokyo 1964 Olympic Games(Figure a.1). After World War II, Japanese people learned thepower of design that keeps changing human society for morethan seventy years. However, Katzumie Masaru, part of themain force for enlightening modern Japanese design, has notbeen thoroughly researched until today.
Archives, the media in carrying history, are not only leading
backward. They can prove the evidence of design activities andsecure the present for the future. The Katzumie Masaru Collection is such an archive collection. To sustainably develop thegraphic design field, the heritage that Katzumie Masaru left at
Tama Art University has the value to be thoroughly researched.
The Katzumie Masaru Collection contains a huge amount ofarchival materials, but the research foundation is not built at all.
For this reason, this research focuses on constructing the database of Katzumie Masaru Collection.
The unique feature of this research is that the theoreticalresearch part strongly consists of the practical research part.
The theoretical research part results in this dissertation. To
make a critical archive design for the Katzumie Masaru Collection is the outcome of the practical part. In this research,iv

Figure a.1. Wang Xiaofeng, Katzumie Masaru, poster,
2018, Tama Art University, Tokyo.

Figure a.2. Wang Xiaofeng, History of 20th Century Graphic
Design, timetable, 2017, Tama Art University, Tokyo.

Figure a.3. Takeo Poster Collection, Best Selection 12,
curatorial exhibition, 2018, Tama Art University, Tokyo.

vthe theoretical research part determines the research qualityof Katzumie Masaru Collection. At the same time, the practical research part also improves the researching ability for thetheoretical research part. In the aim to build up a functional
database for inheriting Katzumie Masaru’s minds, the investigation of Katzumie Masaru’s motivation to enlighten the modern
Japanese design becomes essential. For the same reason, thisresearch gives a hypothesis that the method of decoding thearchives of Katzumie Masaru Collection must depend on the fullscale of Katzumie Masaru. While the Katzumie Masaru’s philosophy consists of his characteristics and design activities, thetheoretical research part can continuously support the knowledge for analyzing the archives of Katzumie Masaru Collection.
Furthermore, the comparative research between the modern
Japanese design and the western modern design is also important (Figure a.2). With the support of Associate Professor Saga
Ichiro, the author participated in curate three exhibitions of the
Takeo Poster Collection Best Selection based on the database of
the Takeo Poster Collection (Figure a.3). This experience helps
the author to build up the theoretical foundation for designing
the digital archive of Katzumie Masaru Collection.
This research has a significant meaning not only because it willbe the first research outcome of Katzumie Masaru based on his
archives, but also because it provides a creative methodology
for constructing the archive collection for a specific person. This
research aims to provide the archive design a new chance tosupport educational value for people from different academic
backgrounds, such as students, educators, and researchers.
This research encourages designers to think more, debate
more, and practice more on the database design in educationaland research usages.
*“Katzumie Masaru,” the foreign name in German spelling, was given by
Katzumie Masaru’s teacher in 1923 and widely used by Katzumie Masaru.

viAcknowledgments

Homage in Memory of Motoe Kunio and Mori Kei.
I would like to express my gratitude to all those who helped meduring three years of study.
This research would not have been possible without the strategic
research plan and lecture inspiration from Associate Professor Saga Ichiro. Also, with Professor Kubota Akihiro’s help, I
learned a lot about media art and design. A special acknowledgment should be shown to Associate Professor Nakamura Yutaka
and Professor Ihara Hisayasu, from whose lectures I improved
my research skills significantly. Many others have given help
and advice, in particular, I must thank: Mr. Onzo Noboru andMiss Hara Iyoka, from whose help I could stay at the storage
room of Art Archives Center where I surveyed the documentsof Katzumie Masaru Collection. I am particularly indebted to Mr.
Ota Yukio for his friendly contact and generous dedication of hisstory about the background of the Katzumie Masaru Collection,
to Ms. Wang Dandan for her helpful instructions all through mywriting. I wish to extend my thanks to the research associates
at the Graduate School, Tsutsumi Ryoko, Chen Pengyu, Kanai
Manabu, Emura Tadahiko, and Matsumura Hiyoyuki, who created the wonderful research circumstance for the doctorial program. Thanks to Mrs. Saga Masayo, Gao Lei, Song Yeonjoo, andall friends for their supports for my study life in Japan. Finally,
thanks to my parents and my wife, whose love and continuous
encouragement made my research possible.
Wang Xiaofeng
February 2020
in Tokyo, Japan

vii

8

1

Research Background9

Figure 1.1. Katzumie Masaru
Chosakusyu, Kodansha, 1985.

Figure 1.2. Tanaka Ikko, The 7th “Katzumie Masaru
Award”, 1994, Letterpress for the Certification, Katzumie
Masaru Collection at Art Archives Center, TAU.

10

1 Research Background

1.1

Katzumie Masaru in the 21st Century

1.1.1

A Forgotten Master

Katzumie Masaru, known as Japan’s first design critic, spent hislife on developing the modern design to rebuild the post-war
Japanese society and rise up the design state in the Japanesesocial community.
Modern design was the answer to Japan after the World War
II. In the late half of the 20th century, Japanese design was influenced by the modern design styles, thinking and methods,
and then built up an identical Japanese legacy to the design
world. A decisive contribution to the understanding of European
problems of design in Japan was made in numerous articles by
Katzumie Masaru through his enthusiasm.1 Ota Yukio described
Katzumie Masaru as the man who stood behind the prominent
design masters.2 Katzumie’s career strongly co-operated withmost talented design masters such as Kamekura Yusaku, Hara
Hiromu, and Tanaka Ikko. Katzumie’s scarification in Japanesedesign society was also not limited in the graphic design field,
but also included architecture design, space design, and industrial design (see attachments).
In 1985, two years after Katzumie’s death, Katzumie Masaru’s
design critiques were selected and edited into the five volumes
collected edition “Katzumie Masaru Chosakusyu” by the staffof “Graphic Design” magazine (Figure 1.1). In 1988, Kamekura
Yusaku suggested the five most significant designer committees to co-operate to establish the “Katzumie Masaru Award”
for homaging Katzumie Masaru. Since then, the “Katzumie
Masaru Award” has been one of the highest design awards inJapan until 2008 (Figure 1.2, 1.3). It can be possible to say thatthe influence of Katzumie Masaru directly lasted until the first
decade of the 21st century. Besides, all these committees havebeen acted as the main power of the Japanese design circumstance. They are the Tokyo Art Directors Club (ADC), Japan Industrial Designer’s Association (JIDA), Japan Graphic Designers
11

Figure 1.3. Tanaka Ikko, Ten Years Memoral Exhibition of “Katzumie Masaru Award”,
1997, Printed matter, Katzumie Masaru Collection at Art Archives Center, TAU.

Figure 1.4. Katzumie Masaru Collection at Art Archives Center, TAU.

12

1 Research Background

Association (JAGDA), Japanese Society for the Science of Design (JSSD), and Japan Design Committee.
Whereas years have passed, Katzumie Masaru’s contribution isalmost forgotten by people. People now mostly know the highquality of Japanese graphic design, but less mention its rising
movements and the motivators, especially Katzumie Masaru.
Comparing with the researches on Japanese graphic design
masters, the outcome of research on Katzumie Masaru is surprisingly rare. Katzumie Masaru’s contribution is not faithfully
treated in the design circle either. Designers, especially theyounger generation, do not know his remarkable achievementsin changing the circumstance of the Japanese design. It might
because Katzumie Masaru is not generally seen as a designer.
He expressed his design philosophy in writing. Katzumie’s artworks are critiques, not art pieces. This makes people cannot
see directly and remember his artwork. At the same time, toread his critiques is more or less coming to the researcher’sside. If that is so, the design researchers have the responsibility to put the knowledge of Katzumie Masaru back to the real
path of the rising of Japanese Modern Graphic Design. The
design researchers have to bring Katzumie Masaru’s mind backto educate the designers and citizens. Fortunately, Tama Art
University has stored a massive amount of archives Katzumie
Masaru left behind (Figure 1.4). Because of Katzumie Masaru’s
success on and after the Tokyo Olympic Games 1964, to thoroughly research Katzumie Masaru including his life and design
philosophy is absolutely meaningful during the period of Tokyo
Olympic Games 2020. It is the design researcher’s responsibility
to show the value of Katzumie Masaru and his collection to thedesign society once again.
Recently, a 46.3 meters high architecture is built in Hiroo. Similar with any other apartments, this 14-story building instead of
13

Figure 1.5. The building of “Graphic Design” Magazine in Hiroo is abolished,
August 6, 2018.

Figure 1.7. Katzumie Masaru Plays Piano in the “Graphic
Design” Magazine Office in Hiroo.

Figure 1.6. The building of “Graphic
Design” Magazine in Hiroo, Google
Map, 2018.

14

1 Research Backgroundthe former 7-story building seems nothing special in Tokyo (Figure 1.5). However, more than 30 years ago, the editorial officeof “Graphic Design” magazine was in that 7-story builidng (Figure 1.6). Katzumie Masaru, the editor in chief of “Graphic Design” magazine, spent his life recording the history of Japanesemodern graphic design history (Figure 1.7). His life were also
ended in this building. It is a kind of rule that less and less historical records could be left for researchers. Luckily, with many
people’s help, the documents at the editorial office of “Graphic
Design” magazine could be carefully kept for many decades.
The collection of documents is now so-called the “Katzumie
Masaru Collection.”1

Josef Müller-Brockmann, “Japanese Industrial Design,” New Graphic Design
17/18, February 1965, 136–137.

2

Xiang Fan, “Homage to Masaru Katzumie — Innovator Behind the Japanese
Design Movement,” Zhuang Shi, no. 272, (December 2015): 024.

15

Figure 1.8. Emil Ruder, “Typography – A Manual of
Design,” Japanese Ed., 2019.

16

Figure 1.9. Josef Müller-Brockmann,

Figure 1.10. Josef Müller-Brockmann,“Grid Systems in Graphic Design,”“Mein Leben: Spielerischer Ernst undJapanese Ed., 2019.

ernsthaftes Spiel,” Japanese Ed., 2018.

1 Research Background

1.1.2

Design Theory in the 21st Century

Tanaka Ikko said, “the enlightenment movement in the 60s and
70s was the first scene of Japanese design. The brief period in
the 80s and 90s was the second scene. The next 21st century
would be the 3rd scene.”3 The biggest challenge for today’sgraphic designers is to adapt the design heritage to the future.
Even modernism is no longer the mainstream since the late period of the last century. The modernism theory or style continuously shows its power in contemporary design. The modernist
designers taught us to treat with form, and we have noticed
since then that the form is not only a mechanical effort but also
exists in the different kind nature. The digital generation is also
facing with the same question. It is important to understand thenature of the computer while designing in digital media.4
If we say, modern design was born because of democracy. The
21st century brought democracy to another level. No doubt for
that, the advancing technology of the digital media has divested the imperious mass media from the traditional industry. The
computer is an instrument for manipulating the potential. The
computer program can build connections between the machine
and users.5 In 1995, Microsoft Windows 95 with self-equipped
Internet Explorer was released, and it promoted the populationof the global Internet users thoroughly. The graphic designer
immediately reacted to the needs of web design and included itin their scope of work. The vocation so-called web designer appeared around 2000. The work of web designers mostly contributed to the developing of interaction centered research between
the viewer and the operation.6 The media revolution proclaimed
to overthrow the previous methods of communication. The media change brought designers the chance to evaluate their work.
The average person nowadays has needs molded by the status
as a free individual. Today’s design is intended to implement
the lives of free individuals. Graphic designers today must comecloser to the highly democratic society.
17Figure 1.11. Helen Armstrong,

Figure 1.12. Koga Toru, Ed.,

Figure 1.13. Katzumie Masaru,“Digital Design Theory,”“Is the Theory Needed for“Gendai dezain riron no

Japanese Ed., 2016.

Design,” 2019.

essesu,” Tokyo: Perikan-Sha,
1966.

3

Tanaka Ikko, Tanaka Ikko: Awake design, ed. Zhu E, (Guangxi: Guangxi Normal
University, 2009), 32.

4

Yamamoto Takamitsu, “Computer: Instruments for Design Potentiality,” inDigital Media and Japanese Graphic Design: Its Past and Future, ed. JAGDAInternet Committee (Tokyo: Seibundo Shinkosha, 2017), 246.

5

Ibid.

6

JAGDA Internet Committee ed., Digital Media and Japanese Graphic Design:
Its Past and Future (Tokyo: Seibundo Shinkosha, 2017), 241.

18

1 Research BackgroundAt the same time, the de-emphasis on the graphic design nature
poses several problems. The critiques of design from Internet
users can fulfill the Internet, and sometimes it really makes thechange of the evaluation in design. After many decades, eventhough the design society has already changed from Katzumie
Masaru’s generation, the internal influence has never been lost.
The past of design experiments provided the design philosophy, methodology, and universal way of communication. It is
possible to create a pragmatic design methodology and provide
further thoughts. For example, two books, known as the “design bible,” were published in Japanese in 2019. They are EmilRuder’s “Typography – A Manual of Design” in 1967 and Josef
Müller-Brockmann’s trilingual book “Grid Systems in Graphic
Design” in 1961 (Figure 1.8, 1.9). Just one year ago, the bookabout Josef Müller-Brockmann, “Josef Müller-Brockmann: Mein
Leben: Spielerischer Ernst und ernsthaftes Spiel,” was alsotranslated and published in Tokyo (Figure 1.10). These books
convince that modern design has not lost its value. The research
work of Modern design never ends. At the same time, anothertwo popular books in Japan come to another topic. The one, “Is
the Theory Needed for Design,” was published by a group ofJapanese design researchers in 2019. The other one was Helen
Armstrong’s “Digital Design Theory.” Its translated version was
published in 2016 (Figure 1.11, 1.12). These books remind me
clearly of Katzumie Masaru’s “Gendai dezain riron no essesu”(Figure 1.13). The awareness of the importance of design theory
always happens in contemporary society . Therefore, reexamining the roots of design in the present circumstances is necessary from both the practical part and the theoretical part. The
contemporary design circumstance cannot be divided from its
origin where the behavior of designing explained. The design
theory is needed in any generation. For these historical reasons,the research on Katzumie Masaru and the investigation of his
archive collection starts.
19

Figure 1.14. Progress of Digitalizing the Document of the
Katzumie Masaru Collection.

Figure 1.15. Archives of the Katzumie Masaru Collection
at Art Archives Center, TAU.

20

1 Research Background

1.2

Katzumie Masaru Collection and Digital Archive

1.2.1

A Forgotten Archive

An archive collection is often known as a group of research-worthy documents that have been selected for permanent preservation. The Katzumie Masaru Collection is a vast amount ofmaterials left behind by Katzumie Masaru and now stored at
the Art Archives Center of Tama Art University. The collection
saves approximately 10,000 pieces of primary and secondary
documents, which could reflect Katzumie Masaru’s works during Japan’s post-war graphic design development. For example,
the collection includes the design materials in various important
events, such as the Tokyo Olympic Games in 1964, Osaka Expoin 1970, and Sapporo Winter Olympic Games in 1972.
With great support from the professors and staff at Tama Art
University, I become the first man who is focusing on investigating the archives of the Katzumie Masaru Collection. In 1st July
2017, I opened the first sealed box of the collection. The survey
starts from unsealing all the boxes, then making the photo documentation, and making the general list for the documents (Figure 1.14, 1.15). To do this research must face many challenges.
For example, there is no list existed in the Katzumie Masaru Collection before the survey. Nowadays, many archive collections
are based on one single person. Most of these archives are kept
from the heritage of the artists or designers. This kind of collection is different from the integrated collections. They are not thecollection of all the masterpieces, but the documentation of theartist’s life. The value of this kind of collection is very high to
research the person from different aspects. The resource of thiskind of collection is usually very complicated. They may havediverse categories, such as hand scripts, photos, certificates,or other materials. The amount of content of Katzumie Masaru
Collection is enormous. It includes photos, letters, hand scripts,
magazines, excerpts, brochures, posters, and artworks kept in a
total number of 103 boxes.

21Figure 1.16. Progress of Digitalizing the Document of the
Katzumie Masaru Collection.

Figure 1.17. Archives of the Katzumie Masaru Collection
at Art Archives Center, TAU.

22

1 Research Background

Based on the photo documentation, it shows that the materialsof the Katzumie Masaru Collection mostly relate to the documents of the “Graphic Design” magazine (Figure 1.16, 1.17). As
Kamekura Yusaku described, “It must be very rare in the World
that a design critic has developed his own philosophy in theform of a magazine for 25 years.”7 To publish his self-oriented
international multilingual magazine was Katzumie Masaru’s
dream. This magazine presents Katzumie Masaru’s full scale ofhis perceptiveness and activities in the Japanese graphic design
field. Sasaki Kazuko, the editor of “Graphic Design” magazine,
said that “the massive material left behind by Katzumie andvarious predecessors was perused. It was as if time and space
had gone backward, and days continued in which we immersed
ourselves in this material.”8 The Katzumie Masaru Collection
reflects the full scale of Katzumie’s actual activities. This archive
collection is essential because it is not only the precious deposits of the 20th-century graphic design but also the best evidence
to prove all the research arguments about Katzumie Masaru andhis value in enlightening the Japanese modern graphic design.

7

Sasaki Kazuko, “Behind the scenes,” Graphic Design, no.100, March 1986, 118.

8

Ibid.

23

Figure 1.18. Archives of the Katzumie Masaru Collection
at Art Archives Center, TAU.

Figure 1.19. Archives of the Katzumie Masaru Collection
at Art Archives Center, TAU.

24

1 Research Background

1.2.2

Methodology of Theory-Based Archive Design

Based on the unique archives of Katzumie Masaru, I decide to
design a digital archive for the Katzumie Masaru Collection.
Nowadays, digital archives are being promoted widely by the libraries, research institutions, and universities all over the world.
Different from the traditional way of researching the original
material, a successful archive design can make the vast amountof databases available to participate in research activities without domain limitation. It can record, reorganize, and protect theoriginal files and giving back the value of archives to society.
Therefore, the digital archive of the Katzumie Masaru Collection
should be the way to reach the aim of expressing the values ofthe materials to the research field of graphic design.
The targets of the usage of the archive design of the Katzumie
Masaru Collection are as follows:
1. To research Katzumie Masaru and his contribution to design.
2. To analyze the Japanese graphic design history in diverse
perceptiveness.
3. To sustainably provide the solutions for solving the increasing design problems.
4. To share research resources for the design research field.
5. To share the research methodology of the archive design tothe art institutions.
There is a problem in Katzumie Masaru Collection. Even the
total number of the archives of Katzumie Masaru Collection isenormous, the individual document without further description
is still without the value of telling a story. For the same reason,
the materials of Katzumie Masaru Collection might not makeany sense to other researchers, because these materials could
not explain the aim of Katzumie Masaru without the theoretical background (Figure 1.18, 1.19). If the archive design for the
Katzumie Masaru Collection only gives the function of searching25

Figure 1.20. Methodology of the Archive Research and Design.

Research

Visual Impression

Katzumie’s Life

Storytelling Based Website(Researcher)(Designer)
Cataloging

Structure

Tag Based Website(Archivist)(Programmer)(Designer)

Figure 1.21. Roles of Researcher’s Design.

26

1 Research Backgroundthe data without an intellectual researching methodology, it
would not be so much different from the general search service
such as the liberary. The liberary can support to access muchbigger meta archives but may not be an appropriate solution for
the Katzumie Masaru Collection. For this reason, the target of
this research is to design a functional archive database that can
provide valuable information to the students, professors, andresearchers. The final design should be easily accessed. At thesame time, the documents should carry the story.
Intending to solve this problem, I propose a hypothetical methodology, which is to build the archive database system basedon this dissertation (Figure 1.20). It means that this dissertation
will support the theoretical knowledge of Katzumie Masaru topractice the database design of Katzumie Masaru Collection.
By participating in researching the Katzumie Masaru Collection, it is possible to understand Katzumie Masaru’s philosophy
through his critiques as well. The study of Katzumie Masaru andthe analysis of Katzumie Masaru Collection become to one. The
final database I create for Katzumie Masaru Collection should
contain two parts: the Educational Part and the Database Part.
The Educational Part supports users such as students and juniorresearchers to obtain the theoretical background of Katzumie
Masaru. The Database Part provides senior researchers with afunctional database platform to look through Katzumie Masaru
Collection.
My research will be the integration of theoretical research anddesign. It also defines the research-based process of design.
For this reason, I will expand the range of design throughthis research. There are mainly three roles I have to act inthis research: the researcher, the archivist, and the designer(Figure 1.21).

27

Schedule of Theory-Based Archive Design2017.7–2018.1

Survey and Photo Documentation2017.7–

Theoretical Research2017.7–2018.11

Visual Layout and Storytelling Part Design

2018.11–

Categorizing Process

2019.5–

Tag-Based Part Design

2020

Deliver Reports

2022

Official Site Release28

1 Research BackgroundAs a researcher, I will provide the story of Katzumie Masaru,
and give the structure of the Katzumie Masaru research. The
theoretical study of Katzumie Masaru is a fundamental part of
the whole research. It will provide the structure for the databaseof Katzumie Masaru Collection; It will give the researching resources to prove the content of archives; It provides the methods of designing UI (user interface) for the database.
As a Archivist, I will investigate the Katzumie Masaru Collection,
list and categorize the database. At the same time, I will construct a digital database system. The challenge part is wellorganizing the resources of Katzumie Masaru Collection. A carefully arranged database will represent the content of Katzumie
Masaru Collection through listing and categorizing. The archivist practice will be the core to provide readable archives andthe reviewing methods to the research.
As a designer, this design will be the UI for the Databasesystem. I will design the functional research tool for researchers
to access the Katzumie Masaru Collection. To provide an easy
operating, effective, and joyful research foundation for researchers and students is the task of UI design.
Consequently, in the aim to explain the archives in Katzumie
Masaru Collection, the understanding of Katzumie Masaru isvital. It can be believed that every archive in Katzumie Masaru
Collection has a clear aim of Katzumie Masaru. To achieve thisability, researchers have to read Katzumie Masaru’s mind andto think in Katzumie Masaru’s way. The fundamental theoreticalresearch in this dissertation is to investigate Katzumie Masaru
through his characters, growing experience, social activities, etcetera. It aims to reveal the actual person as Katzumie Masaru
and further support the archives he left in Katzumie Masaru
Collection.
29

30

2

Katzumie Masaru’s Characteristics
1909–1944

31

Katzumie Masaru
1909

Born in Tokyo

1916

Hikone Higashihirotsu Primary School (now Hikone Joto Primary School)

1922

Ichioka Middle School (now Osaka Prefectural High School)

1924

Kyoto Prefectural No.3 Middle School (Metropolitan Ryogoku High School)

1926

Tokyo Senior High School (German language)

1927

Mountaineering and Alpine author

1929

Department of Aesthetics and Art History, Tokyo Imperial University

1931“Yamagoya” magazine

1932

Graduate School, Tokyo Imperial University

1934

Professor at Yokohama Specialized School

1941

Editor in Chief of the official magazine “Industrial Art News” of the Industrial
Arts Institute of the Ministry of Commerce and Industry

1944

Counselor of the “Atelier” Publisher

Figure 2.1. Katzumie Masaru and Grandparents (thePrimary School Period).

32

2 Katzumie Masaru’s Characteristics 1909–1944

2.1

Formative Years

2.1.1

Freedom and Democratic AwarenessLooking through Katzumie Masaru’s whole life, his personality
and individual wills were built from his family. He was primarily
influenced by his father, but to himself, it may unfortunately not
be in a positive way. Katzumie Masaru was born on 18th July
1909 in Shiga Ken. He was the “chounan (oldest son)” in a typical Japanese family so that he could receive extra cares fromboth his parents and his grandparents. Katzumie had been fed
up by his grandparents until he was in his sixth grade at the
primary school. Later in the year of 1916, he moved to Osaka tolive with his parents. Since then, his relationship with his father
became complicated (Figure 2.1).
Katzumie Masaru thought the patriarchy of his father restrained
his freedom. The more mature Katzumie Masaru was, the more
freedom he sought for. It was a vital problem between the father
and the son. The first conflict was about Katzumie’s application
for choosing the subject for high school. From his father’s point,
he wanted Katzumie Masaru to study engineering or medicine
because he was an engineer and his brothers were all doctors.
Whereas in Katzumie Masaru’s point of view, he could be surethat he was genuinely interested in liberal art subjects such as
poetry, fiction, picture album, et cetera.
Moreover, he was not satisfied with the middle school, which
was chosen by his father. Therefore, Katzumie Masaru got thetacit consent from his grandmother to join the entrance examination in the liberal art at the high school in Tokyo without
noticing his father and finally passed. This incident made hisfather felt that Katzumie challenged his prestige. This situation
did not become better until he studied at high school. Katzumie
Masaru’s application to the university’s entrance examination
was in a similar situation. In 1929, Katzumie Masaru was graduated from the High School and came to study at the literature
department to study Aesthetics at the Tokyo Imperial Universi33

Figure 2.2. Katzumie Masaru’s Enlist Memory Photo(Front from left: Mother, Katzumie Masaru, Father,
Grandmother; Behind from left: Sister, Younger Brother,
Youngest Brother).

34

2 Katzumie Masaru’s Characteristics 1909–1944

ty. It would not make his father happy either. After his graduation from college, Katzumie Masaru planned to publish his international magazine but failed due to his father’s refusal. Theirrelationship was getting worse as Katzumie Masaru decided tomove out.
Katzumie Masaru mentioned his subtle relationship with hisfather in many public speeches either related to design topics or
educational aims for teenagers. He sometimes talked about his
mother and grandmother as well. They mostly acted as the role
standing behind him and provided supports to defend his father
indirectly. Many years later, as Katzumie remembered, his bodywas a little bit weak in his childhood, but his mind was rich inimaginations. His father called it “mirage.” In his middle school
period, he was fascinated by films, but his father blamed him as
the “visionary without the mechanism.”9 He could even notice
his father’s angry eye sights when he read literature. Sometimes he defended himself against his father but ended with his
departure from home, and their father-child relationship finallybroke up (Figure 2.2).
His father had never approved Katzumie Masaru’s value.
Katzumie found the problem of the patriarchy in society so thathe started to support the feminism at that moment. This first
democratic wish made him understood the individual value ofa human. He was looking for freedom and democracy and theimportance of education.

9

Katzumie Masaru, Katzumie Masaru chosakushu 5, ed. Graphic Design (Tokyo:
Kodansha, 1986), 245–247.

35

Figure 2.3. Cover, “Yamagoya”(Mountain Hut) magazine 96, 1939.

Figure 2.4. Cover of Katzumie Masaru’s first book, “Yamahe hiraku mado,” Tokyo: Hobundo, 1941.

36

2 Katzumie Masaru’s Characteristics 1909–1944

2.1.2

An Alpinist’s Philosophy

With the aim of escaping from the conflict with his father,
Katzumie Masaru began to build up an interest in climbing
mountains when he studied at high school. He could thoroughly
feel the freedom that he pursued for a long time. Nature wasalways a part of Katzumie’s spirit. When Katzumie was sevenyears old, his favorite book was Fujimura’s “Chikumagawa’s
Sketch.” When he was a high school student, he was inspiredby the alpinist magazines “Yama to ski” (Mountain and Ski) and“Kerun” (Cairn), and started to try to send articles to alpinist
magazines such as the “Cairn.” Thus Katzumie would love toclimb up the mountain once he had time from high school period to the university period. Sometimes, he preferred to walkalone, and often took that at night.
In 1929, Katzumie Masaru was graduated from the high school
and came to study aesthetics at the Literature Department ofTokyo Imperial University. Generally, he did not put all his energies into studies at the university. Instead, he had a passionate
interest in climbing mountains and going to the concerts. At
that time, the atmosphere of war had already begun. The mountaineering expedition was also strictly controlled. Katzumie
could see his future that he would probably join the army after
graduation. That was a period in depression for him.
In 1936, two years after his graduation from the postgraduate
program of Tokyo Imperial University, Katzumie Masaru as a
co-founder started the “Yamagoya” (Mountain Hut) magazine
with other alpinists Takasu Shigeru, Ozaki Kihachi, Fukata Kyuya,
Kushida Magoichi, and Mochizuki Tatsuo, et cetera (Figure 2.3).
By co-operating with the famous alpinists at that time, he involved in mountain writings. He became a mountain author.
Moreover, he met Niijima Akio during that time, the co-founderof “Graphic Design” magazine 20 years later. Katzumie Masaru’s
first book, “Yama he hiraku mado” (The Opened Window to the37

Mountain), was published in 1941. It was a collection of his previous writings on the “Yamagoya” magazine (Figure 2.4). Until
1945, he had spent many years to write more than 600 pages forhis new book “The history of describing Mountains,” which was
unfortunately ruined by American air attack just before selling.
There were no copies left for Katzumie Masaru.

The experiment of mountain climbing provided Katzumie
Masaru a strong personal view of understanding methodology:Firstly, Katzumie Masaru learned to look far from a distance.
He built up his way of observing – the “perspective observing
method” ( 遠近法 ).10 Katzumie shared this method several
times to others to remind them not to think each design subject
separately, but to consider from a broader scale. “The shapeof the Mountain was blurred by folk and cloud, the predict isimportant,” as he said.11 To find the direction to the top helped
Katzumie to develop a ability to find solutions in the chaos ofJapanese design after the World War II. When he met problems,
he was trained to look a step further (Figure 2.5).
Secondly, Katzumie formatted his pragmatic working specialty.
He encouraged others to look further, to be not afraid of the current difficulties, and to keep walking step by step. He believed
every tread step was the truth and reality when climbing up themountain.
Thirdly, Katzumie showed great perseverance. Katzumie Masaru
would not change once he had made up his mind.12 The experiments from the mountain climbing brought him the power tospread human limitation. His physical and intellectual ability
was trained.

38

2 Katzumie Masaru’s Characteristics 1909–1944

Last but not least, his understanding of human life was emphasized. While he enjoyed the beauty of mountains, his knowledgeof “hand and tools” was built through the alpinist’s experiments. It helped him to realize the “Functional beauty” and the“functional and live shape.” He realized the importance of tools
and their functions in human life. He could discover the design
problems and criticize the environment in the post-war period— this directly oriented Katzumie’s experiment to the awareness of design.

Figure 2.5. Katzumie Masaru, sketch while climbing
Mount Kobushi, 1932.11.3.

10Katzumie Masaru, Gendai dezain riron no essesu, 2nd ed. (Tokyo:
Perikan-Sha, 1973), 2.

11

Katzumie, Katzumie Masaru chosakushu 5, 223.

12

Katzumie Masaru, “Behind the scenes,” Graphic Design, no.83 September
1981, 96.

39

Figure 2.6. Cover of the “Female”

Figure 2.7. Cover of the “Kuraku”

Magazine, May 1923.

Magazine, February 1924.

40

2 Katzumie Masaru’s Characteristics 1909–1944

2.2

Self-Actualized

2.2.1

Personal Magazine Dream

Katzumie Masaru’s life to deal with magazines was destiny.
When he studied at primary school, Katzumie was already avisual type boy. He liked or disliked the course depended on
the book cover. At the same time, he could remember thesecovers for some decades. For example, he could not forget asmall book with a blue background and a red title called “French
Cloth,” but he could not remember the designer’s name. From
this point, Katzumie Masaru could be a conscious design person from an early time.
In 1922, Katzumie Masaru was impressed by Terada Torahiko’s“Fuyuhikosyu” ( 冬彦集 ) a lot. Terada Torahiko was a naturalscientist, but he was well versed in matters other than naturalscience such as literature. Terada has left many essays that
harmonize science and literature. Katzumie Masaru has been
greatly influenced by Terada Torahiko throughout his youth. In
his middle school period (1922–1926), the magazine “Female”
came to his dream. Every month Katzumie Masaru loved to readthe literature magazine “Female” started from the Platonsha
publisher in Osaka (Figure 2.6). He was fascinated by Yamana
Ayao’s illustrations on the front cover with his style, which wasstrongly influenced by Aubrey Beardsley. Katzumie was also
attracted by Kandinsky’s colorful clipping and even made themas the decoration of his room. Many years later, Katzumie recalled that he was the fun of Yama Rokuro and Yamana Ayao.
Platonsha, the publisher of the “Female” magazine, later started a new magazine called “Kuraku (Joys and Sorrows)” in 1923
(Figure 2.7). Katzumie loved that vulgar. When he saw Yokoo
Tadanori and Tanaami Keiichi’s works many years later, he remembered the same feeling when he read the “Kuraku” magazine. Katzumie Masaru’s high school period (1926–29) was asignificant time to build up his connection to design. He wasattracted by the cover of “Contemporary landscape” magazine and loved to read the Daiichi Shoto’s “Panthéon” ( パンテオン ) and “Orufion” ( オルフェオン ) magazines. Katzumie was a
41

Figure 2.8. Murayama Tomoyoshi,“Three subject of Tsukiji Theater,”
Poster, 1925.

Figure 2.10. Jan Tschichold, Article on New Typography
in “Arts et Métiers Graphiques” 19, September, 1930.

Figure 2.9. Cover, “Arts et Métiers
Graphiques” 1, September, 1927.

42

2 Katzumie Masaru’s Characteristics 1909–1944

magazine collector. He had collected the “Sabbato” ( 奢灞都 )limited magazines from the 1st issue until the 500 issues. Thismagazine had scored the reader’s number on the last page after
the content with only Katzumie’s name on, and he felt he wason the isolated island. “As a counterpoint, the literature andart are looking for a magazine which can affect each other,”said Katzumie Masaru.13 He declared his interests in visual impression, and they took in the form of intermedia. At the sametime, Katzumie Masaru’s knowledge of art was widely ranged.
He met diverse art forms during that time, such as poster, music, and film. He often attended with his friends to the Tsukiji
Theater. Because of that, he could also reach to the backstage
and brought back Murayama Tomoyoshi and Yoshida Kenkichi’s
posters (Figure 2.8). At his home, Katzuemie’s father had collected some European touristic posters. Many years after thewar, he found some Alexeieff’s posters in this collection thatwere not recognized by him in the beginning. Later in the periodof the postgraduate study, he learned the “Film Critique” andbuilt up an interest in the German Art magazine to film theory
and music. After the war, he published the book “Observing theSound” for Children.
Many years later, after Katzumie’s graduation from the postgraduate studies, he became a professor of the Yokohama Specialized School in 1934. The same year, he started to use “Masaki
Katsumi” as pen-name in his articles. One year later, he wasinvited by “Koukokukai” (The Publicity World) magazine to takethe deputy to translate the articles for the French magazine “Artset Métiers Graphiques” in 1935 (Figure 2.9, 2.10).14 During thattime, he acquainted Takahashi Kinkichi and Kamekura Yusaku.
This experience could be seen as the first chance for Katzumie
Masaru to comprehend the design field. However, he did notcontinue to do that job after two or three times because he was
not satisfied with the poor pay. This experience has not declined
43his loves for the “Arts et Métiers Graphiques” magazine, and hekept booking it for another two or three years. “Arts et Métiers
Graphiques” was a magazine that released approximately 4,000
copies bimonthly in Paris from 1927 to 1939. Because onethird of the copies were sold to foreign countries, the magazine
was partly bilingual. English translations printed alongside theFrench. The “Arts et Métiers Graphiques” was a leading design
magazine at the time in Europe, its content referred Book andPrinting History, Illustration, Bibliophily, Graphic Arts Techniques, Contemporary Graphic Design, Photography, Typography and a hodgepodge of articles.15 Katzumie Masaru wasstrongly encouraged by this magazine so that he started to plan
his international magazine. This idea made his father angry.
His father stoutly refused his concept and reduced the money
which his grandfather left to him from some hundreds of thousands of yen to nearly fifty to sixty thousands yen for punishment. Katzumie Masaru then moved out from their home.
“My dream is to make an international magazine mixed by literature, art, and music,” said Katzumie Masaru. From then on,
Katzumie Masaru built up his aim as to make his internationalmagazine in a multilingual form. He wanted to be the editor inchief. He fully believed that he could make it possible because of
his multilingual ability. Indeed, he could frequently use English,
German, French, and Latin for writing and translating articles.
After 1936, Katzumie Masaru kept on writing articles to the alpinist magazines such as “Yamagoya” magazine, but more important was that he started to write art critiques for the “Atelier”
and “Industrial Art News.” Katzumie Masaru’s writing often
appeared in the multi-fields such as art, mountaineering, andcraft at the same time. For example, his writing about alpinist
art for the “Living Art” magazine’s Vol.3 No.8 issue in 1943 wasbased on his knowledge in both mountaineering and art. In thesame issue, Takahashi Kinkichi introduced the montage alpinist
44

2 Katzumie Masaru’s Characteristics 1909–1944

poster designed by Herbert Matter. It can prove that Katzumie
Masaru’s realization of modern graphic design in diverse ways
(Figure 2.11). A year later, Katzumie decided to be a deisgn critic.
Nevertheless, the magazine plan had to be denied because of
the military enlist recruits. In any case, this magazine perhaps
could be understood as Katzumie Masaru’s more in-depth relationship with the field of Graphic Design even it was too earlyfor him to think of the design.

Figure 2.11. Takahashi Kinkichi, introduced Herbert
Matter “Poster about the Mountain” at “Living Art” 3
no.8, August, 1943.

13「要するに、文学と美術が、対位法のように、互いに響き合った雑誌を求めていたらしい」
Katzumie Masaru chosakushu 5, 221.

14

Ibid., 332.

15

“Arts et Métiers Graphiques,” Rochester Institute of Technology, 2001–2002,
http://amgweb.rit.edu/amghist1.htm.

45

Figure 2.12. Inner Page of “Industrial Art News” 11, no.10, October 1942.

Figure 2.13. Katzumie Masaru, Inner Page of “Te To Zokei,” 1944.

46

2 Katzumie Masaru’s Characteristics 1909–1944

2.2.2 Design Critic as the Peak of Life

Katzumie Masaru finally found his aim to be a design critic, but
it was not as predictable. In 1931 when Katzumie still studied Art
History in the Department of Literature at Tokyo Imperial University, the Commercial Art Promotion Movement of Mainichi
Newspaper with the catchphrase “Art makes rapid progress on
the street” had already started. However, Katzumie nearly had
no interests in such kind of topic. Katzumie’s classmates wereinterested in Marxism, but he had no benefits either.
During the War period, Katzumie was married to Okuma Yoshiko
and had his first child in 1942. One year ago, he joined theJapanese Alpine Club and accepted the invitation from the Industrial Arts Institute of the Ministry of Commerce and Industry( 商工省工芸指導所 ) to become the editorial director of the official magazine “Industrial Art News” ( 工芸ニュース ). This experience can be seen as an important period for Katzumie to build
his career. In his two years at “Industrial Art News,” Katzumie
wrote 11 articles relevant to craft for the magazine. It can see
clearly that Katzumie Masaru spread his knowledge in craft art,
industrial society, and international observation through his
critiques. At the Industrial Arts Institute, Katzumie could also
improve his knowledge of craft and design by contacting withmany influential designers at the time. Since then, Katzumie’s
career clearly turned to the field of craft (Figure 2.12, 2.13). From
the Craft, Katzumie found his interests in facing the problems ofhuman living. Therefore, Katzumie Masaru devoted to the areaof design was not altogether occasional.16
At the end of the World War II, Katzumie’s house in Shibuya
was destroyed in Bombing of Tokyo. More than twenty-thousand books of Katzumie were burned because of this incident.
Besides, his magnificent book which covered 600 pages – “TheHistory of Describing Alpine” – was included. In 1944, after
Katzumie’s return from the military, he decided to be a design
47

critic. In the same year, intending to fulfill the essential knowledge of human and human creation in Japan, he published thebooks “Te To Zokei” (Hand and Constructive) and translatedFriedrich Herig’s “Te To Kikai” (Hand and Machine, 1934) (Figure
2.14, 2.15). The essential knowledge of the craft, the relationshipbetween hand and technology, was scientifically researched in“Te to Kikai.” Katzumie’s early awareness of the design terms
Figure 2.14.

such as “function,” “form,” “constructive,” “technology,”

Katzumie Masaru,“tradition” and “living style” were mentioned in the book “TeCover of “Te To

To Zokei.” His theoretical foundation was built. It proved that

Zokei,” 1944.

Katzumie Masaru got ready to become a design critic.
One day after the war, Koike Shinji, an older schoolmate ofTokyo Imperial University who had cooperation experience
with Katzumie for translating some books before, suddenly
called and introduced Yamawaki Iwao to him. Yamawaki Iwao
was a Japanese student who had studied at the Bauhaus. At
that moment, Yamawaki Iwao was working in the Economy andIndustrial Department of Industrial Arts Institute of the Ministryof Commerce and Industry. At that moment, Katzumie did not

Figure 2.15.

know much about the Bauhaus. Soon after he cooperated with

Katzumie Masaru,

Yamawaki Iwao for constructing the “Gropius and the Bauhaus”

Cover of “Te To

exhibition in the National Contemporary Museum in Tokyo held

Kikai,” 1944.

in 1954, he became to know more about the Bauhaus and its
former president Walter Gropius. Mizutani Takehiko planned theMuseum’s first floor for the Bauhaus’s Fundamental Education,and the second floor for the works. Katzumie Masaru participated in the historical part of the Bauhaus under Yamawaki Iwao’s
direction on the third floor. Not same with Iwao’s concerns on
the Bauhaus Dessau period, Katzumie was interested in the
Bauhaus ideal and the progress of its international influences
through the world, such as Moholy-Nagy’s New Bauhaus in
Chicago and the Ulm School of Design. He also made a panel
on a black color background with a burned swastika for present-48

2 Katzumie Masaru’s Characteristics 1909–1944

ing the black period when Nazi closed the Bauhaus. Iwao did
not support this idea very much, but it received the praise from
Gropius when he attended the exhibition (Figure 2.16).17

Figure 2.16. Katzumie Masaru, article about the Bauhaus
in “Bijutsutecho” magazine, June 1954. Archive of the
Katzumie Masaru Collection at Art Archives Center, TAU.

16

Katzumie, Katzumie Masaru chosakushu 5, 249.

17

Ibid., 226.

49

戦争思考

自由意識

勝見勝
人物像

民主意識

チャプター

活動

学生

雑誌の夢

登山家

登山哲学

雑誌
編集者

勝見勝
デザイン
哲学

教育者

デザイン
成果

Figure 2.17. Map of the Chapter 2, Design: Wang Xiaofeng.

50

デザイン
意識

教育意識

デザイン
評論家

2 Katzumie Masaru’s Characteristics 1909–1944

2.3

Conclusion of Chapter 2

Looking into Katzumie Masaru’s early life, he might become awriter, a poet or an educator for his career, but he “coincidentally” joined the Japanese Design Enlightenment Movement.
As he described himself, he was the “Yajiuma” (onlooker) in theJapanese design movement.18 The idea to build his career as adesign critic was the reaction he gave to life (Figure 2.17). The
conditions changed his life as follows:
1. the family:
Katzumie’s life was characterized based on his human-natureand the evident influence from his family. Because of the patriarchy in his family, Katzumie Masaru realized the importanceof democracy and the individual value of human. He sought
the freedom paradise where he could belong. For this reason,
he received his realization of the meaning of life from climbing
the mountains. He had a real enthusiasm for writing and wrote
many articles about the mountaineering. As an alpinist, Katzumie’s body and mind got trained. He realized the importanceof life, tools, and humanity. The experience of being an alpinist
provided Katzumie a lot: he got trained of his body; he achieved
the capacity for independent thinking; he constructed his realization of the living. He found the will of life between art andnature, he fell in love with the beauty of Japan.
2. the interests:
Katzumie Masaru was a man of varied tastes in liberal art relevant subjects. Because he loved literature and art, he read manykinds of magazines which provided him with a broader insight
into the media. Katzumie Masaru was a potential modernist
from his interests and his reading. Katzumie Masaru loved thisintegrated media that mixed all his interests. Because of his talent in languages, he built up his dream to make his internationalmagazine. Also, because of this ability, he acquainted design
while participating in translating books and writing articles for51

publishing magazine. At the same time, the magazine mostly
related to his interests, such as art, literature and craft. Throughliterature and translation, he found art and craft; through art
and craft, he found the new type of art that was design. The design was primarily associated with his mixed abilities, personal
interests, and living philosophy.
3. the education and work experience:
The high school experiences allowed Katzumie Masaru to carryon his interests in art, literature, poem, linguistics, and the freedom of living, so he continued to study the education of Art History until he finished the master course from the Departmentof Literature at Tokyo Imperial University. Therefore, Katzumie
should be well understood in Aesthetics and Art education.
As an art-theoretical researcher, he influenced in the Periodof Modernism infection. Before the war, he accepted modernist thinking from books and magazines. The European Art
movement gave him the chance to live in art history. Katzumie
Masaru’s critique depended on his sense of modern philosophy and art. It can understand that he educated while the war
period. He understood the importance of art in human society.
When he learned the modern European art and craft from translating books, he realized the changing of the generation fromboth the aspects of society and the needs of Japan’s society.
From his interests to his major and his works, he continued expanding his career in art critique, translating, writing in different
fields. At the same time, he started to combine all his concerns
in a single article. For example, he wrote about the alpinist artist
based on his concerns about mountaineering and art. Designin Japan belonged to the M.I.T.I. (Ministry of International Tradeand Industry) from the administrative management. Design
had not only the connection to the industrial and commercial
fields but also related to the fields of culture and art. The design critic had to consider beyond these sides. It would not be
52

2 Katzumie Masaru’s Characteristics 1909–1944

surprising if Katzumie Masaru wrote the design critiques basedon his knowledge of art, craft, mountaineering, and living after
the war.
4. the generation:
The most significant change for Katzumie Masaru and theJapanese people was World War II. The World War II was achaos period. Especially for the Japanese people, their lives
were ruined, and their primitive society was devastated.
Katzumie was a freedom seeker so that he must be sufferedand depressed through the war period. Sadly, his house anda significant amount of books were all burned in Bombing ofTokyo. Katzumie’s previous life was mostly erased. At the sametime, Katzumie Masaru had more time to read, to translate, andto think during the war. He had to evaluate the problem of generation and humanity. Later, he built up his substantial body ofknowledge about art, craft, and the needs of the modern industrial society. At the end of World War II, he met the situationthat everything has changed, included his family, his career, hiscountry, and the society. The new society brought economic
and democracy to reform Japan. The art critic was the represented role of the generation. Katzumie Masaru firmly realizedthat the design, perhaps the new type of art, was the newsociety’s needs. He could spread all his abilities in such areaand earn his value. The magazine mostly related to his interests,
such as art and literature. The design was primarily associatedwith his mixed abilities, personal aim, and living philosophy.
He turned himself to focus on the design critiques from his art
critique background.

18

Katzumie, Katzumie Masaru chosakushu 5, 228.

53

54

3

Katzumie Masaru’s Activities
1944–1983

55

Figure 3.1. Cover of “Front” 1–2,
Tohosha, 1942. Design: Hara Hiromu.

Figure 3.2. Cover of “Nippon” 1, Nippon Kobo, 1934.
Design: Yamana Ayao, Photo: Watanabe Yoshio.

19

Uchida Shigeru, Sengo nihon dezain shi (Tokyo: Misuzu, 2011), 35.

20

Saotome Ken, “The Acceptance and Change of the Bauhaus Theory inJapanese Design Movement and Education,” Master Degree Thesis of Osaka
City University, Graduated School of Engineering, Department of Urban
Engineering (Fabruary 2015).

21

Katzumie Masaru, “Jisen to tomoni aru dezain — Katzumie Masaru ni
ukagau,” Bulletin of JSSD 1983, no42 (1983): 54–58.

22

56

Uchida, Sengo, 035.

3 Katzumie Masaru’s Approaches 1944–1983

3.1

Social Situation of Design Development

3.1.1

Pre-War Period of Japanese Design

The term “Design” did not exist in the pre-war period in Japan,
but the influences of Art Nouveau and Bauhaus actually existed.
At the beginning of the 20th century, Japanese graphic design
had already reached a high level. After the recovery of the Tokyo earthquake 1923, the development of the “Shinko Geijutsu
Undo” (Pioneer Art Movement) was of two kinds: the Modernism and the Proletarian (Avant-garde).19
Even the design profession was not established yet, Japanesedesigners had firmly noticed the developing of industrial art. After the architect Sadanosuke Nakada’s first visit, four Japanese
students studied directly at the Bauhaus. They were architects
Kakehiro Mitsutani and Iwao Yamawaki, textile designers Michiko Yamawaki and Tamae Ohno. After they returned to Japan,
they brought back the Bauhaus’ educational philosophy andacted as an important role in the enlightenment to the JapaneseModern design movement.20 Before the war, there were no industrial designers in Japan. People thought the designer was
the image-maker in a printing house or a pattern maker. When
Kunii Kitaro found the Industrial Arts Institute, the word “Sangyo
Kougei (Industrial Craft)” was used. It focused on design, whereas the differences of craft and design were not emphasized.21
Moreover, the design critic was especially needed at the time.
Young critics represented by Katzumie Masaru and Hamaguchi
Ryuichi started to focus on doing the design critiques around1944. The design critic later acted an important role in the Japanese design enlightenment period. Even though the Pre-war’s
industrial design movement had some activities, the out breakof the war made the development of design impossible. Unfortunately, the Japan Empire turned to World War II and prohibited all the commercial graphic design after 1940. The industrial
design activities stopped. The graphic design force condensed
into publishing the oversea propaganda magazines represented
by “Nippon” and “Front” (Figure 3.1, 3.2).22
57

3.1.2

Post-War Emotional Period of Japanese Design

The “Civil Society” was one of the concepts that became particularly prominent after World War II in Japan. In the late 1940s,
the main topic was nothing but food and cloth. The new challenge for the new society was to settle the poverties out fromboth productivity and living condition.23 Nevertheless, the word
“design” first appeared in the field of western-style tailoring.
The open atmosphere was the objective reason for the development of industrial design. The industry of mass productionchanged Japan’s economic form from the seller market to thebuyer market. It stimulated the development of the advertisement. In 1955, the Mainichi Industrial Design Award was found.
Many candidates conferred awards on either “Contribution” or“Establishment.” This kind of words symbolically proved thatJapan’s enlightenment movement started.24 Besides, Katzumie
Masaru acted as a Jury member for this award until 1976.
The subjective and emotional sense was the foundation ofJapanese graphic designers during the enlightenment periodof modern Japanese design. Before the war, there were no industrial designers in Japan. After the war, there were no design
definition and design theory either. The official ministry which
first used “design” was the Ministry of Education. Design education started, and the concept of design spread. The first Design Department was founded by MITI (Ministry of International
Trade and Industry).25 As Tanaka Ikko described the age, “After
World War II, the word ‘Design’ had the beautiful and brightsenses from the open modern world. Plan and intellectual rationalism also showed the people a Romanticism future.”26
At the time, Japanese society was strongly influenced by thedesign developed countries. The Industrial Arts Institute revived
and accumulated the pre-war oversea design’s information andbrought the most functional American design methods to apply to the methodology of directing the companies to develop58

3 Katzumie Masaru’s Approaches 1944–1983

the design in the abolished Japanese industrial society. Lotsof design documents were imported, and many experts cameto Japan at that time. They stimulated the commercial design
movement. For example, In 1952, Raymond Loewy’s redesignof the cigarette pack for the Japan tobacco’s “Peace” brandearned a vast design fee became a hot hint of news. It madethe Japanese graphic designers and society acknowledged thecommercial value in design (Figure 3.3). In the name of the social or public design, the information about graphic art fromoverseas, no matter if they focused on either the technology orcompany’s cultural policy or advertising social policy, was all
accepted by the passionate Japanese designers.27 All Japanesedesigners had strong passions and worked hard in the aim toraise the Japanese design level to the developed country’s level.
At the same time, graphic designers have not fully understoodthe definition of graphic design. They felt muscular tension
because they cannot identify themselves and their works.
The modern design was born to apply to the industrial system,
and it was possible to be separated in each specialty to fit eachtechnology. The pursuit of a better life for humans in the industrial society was the original intention of modern design. The
modern design was the answer to cut poverty by producing
goods. In Europe and America, the modern design philosophy,
design strategy, and methodology were entirely constructed
and showed its strength of changing the aspect of the entire
world. The functionalism design philosophy provided the standard rules which were needed to reconstruct the country as anindustrial unit.28 In Japan, the illustration was the mainstream
at the time. The graphic designers, either in the Kansai Regionor Tokyo, started to evaluate their works and to find some theory. They often argued in aim to find the difference between
commercial art and fine art. For example, A Club believedthat “Graphic Design is not the continued development from59

Figure 3.3. Raymond Loewy, Package
Design for the “Peace,” 1952.

Figure 3.4. Kamekura Yusaku, Poster for Nikkor, 1955.

Figure 3.5. Tanaka Ikko, Poster for
Theater Performance, 1957.

60

3 Katzumie Masaru’s Approaches 1944–1983

Drawing.” It was the generation when it might be the earliest
embryonic stage of the constructivism. Comparing with theemotional design in the Kansai district, Tokyo paid much more
attention to theoretic practice. For example, Kamekura Yusaku
thought that the poster without text could not be a poster.
Kamekura Yusaku was seen as Japan’s first generation of constructive designers. After Tanaka Ikko moved from Kansai toTokyo in 1957, Kamekura Yusaku directly told him, “Your design
missed a screw”29 (Figure 3.4, 3.5).
Tanaka Ikko described, “Japanese culture put much emphasison emotion than theory so that it is difficult to find some ideology or ism in the history. Japanese social ideals cannot be
spread to the rest of the world because they were not systematically constructed.”30 Whereas some Japanese critics passing
on the new historical moment, represented by Koike Shinji,Katzumie Masaru, and Hamaguchi Ryuichi, were engaging on
promoting the design theory for the Japanese design circle atthe same time.

23

Toyuguchi Katsuhei, “Design Movement after the War,” in JapaneseContemporary Design Movement History, ed. Kougei Saitan (Tokyo: Perikan,1990), 6–7.

24

Tanaka Ikko, Tanaka Ikko, 86.

25

Katzumie, “Jisen to tomoni,” 54–58.

26

Tanaka Ikko, Tanaka Ikko, 043.

27

Tanaka Ikko, Tanaka Ikko, 79.

28

Nikolaus Pevsner, Pioneers of Modern Design: from William Morris to Walter
Gropius (New Haven: Yale University Press, 2004), 10.

29

Tanaka Ikko, Tanaka Ikko, 240.

30

Tanaka Ikko, Tanaka Ikko, 174.

61

Figure 3.6. Katzumie Masaru, Conceptual Map of Promoting Industrial
Design, 1952, From: Industrial Art News 20, no.11.

Figure 3.7. Katzumie Masaru, Conceptual Map of Promoting Industrial Design,
1952, From: Katzumie Masaru Chosakushu 2.

62

3 Katzumie Masaru’s Approaches 1944–1983

3.1.3

Conceptual Strategy for Design Promotion

During the post-war recovery period, Japanese society’s
new situation probably was similar to the Meiji Restoration ahundred years ago: They all denied the previous experiments
and reformed to a fresh start. The civil society was built
increasingly in both economic and democratic parts. These
indications provided the foundation of modern design development. In the graphic design field, a study of the western graphic
design was fully executed, and this made the Japanese graphic
design assimilated the Bauhaus design traditions. At the sametime, Japanese art critics, represented by Katzumie Masaru,
reacted with the debates from the democratic civil society andfocused on rebuilding the quality of humanity. To Katzumie
Masaru, the design was the answer to a democratic society. At
the same time, Katzumie realized that the power of modernism
design could be used to construct a new world. It could improve the quality of life and provide them the modern lifestyle.
“Design” was the choice for people to rebuild a good life. He
understood that from his self-actualized. The famine had no
relationship with design.31
Katzumie Masaru was known as a design critic who had promoted the modern Japanese design, whereas the critic role did
not limit his social activities. He put his philosophy not onlyin writing but also in participation in a wide range of design
activities.
Early in 1952, Katzumie Masaru had shown his conceptual mind
map for promoting the industrial design (Figure 3.6, 3.7). First ofall, a “Design Problem Seminar” had to be built by the people
from academies (A), committees (B), Journalisms (C), and Industrial society who had an understanding of industrial design (D).
Secondly, the promotion of this seminar would integrate various
design fields and make the “Manifesto of Design.” Then, theseminar could give the proposal to emphasize the importance
63

年間

東
京
高
等
学
校
高
等
科
︵
独
語
︶

1926

1929

東
京
帝
国
大
学
大
学
院

1932

﹁
山
小
屋
﹂
雑
誌

1931

毎
日
産
業
デ
ザ
イ
ン
賞
審
査
員

1950

日
宣
美
評
議
員

1952

東
京
ア
ド
・
ア
ー
ト
デ
ィ
レ
ク
タ
ー
ズ
ク
ラ
ブ
︑
顧
問

1952

日
本
イ
ン
ダ
ス
ト
リ
ア
ル
デ
ザ
イ
ナ
ー
協
会
顧
問

1952

日
本
デ
ザ
イ
ン
学
会
創
立
︑
理
事
長
︑
会
長

1953

桑
沢
デ
ザ
イ
ン
研
究
所
開
校
︑
講
師

1954

造
形
教
育
セ
ン
タ
ー
の
創
設
に
参
画
︑
顧
問

1955

東
京
教
育
大
学
講
師
︵
意
匠
論
︶

1957

東
京
大
学
講
師
︵
工
科
・
建
築
・
工
業
意
匠
に
つ
い
て
︶

1957

通
産
省
産
業
意
匠
奨
励
審
議
会
委
員
︵

1957

金
沢
大
学
教
育
学
部
講
師
﹁
近
代
造
形
思
想
史
﹂

1958

﹁
デ
ザ
イ
ン
﹂
編
集
顧
問

1959
G
マ
ー
ク
︶

グ
ラ
フ
ィ
ッ
ク
デ
ザ
イ
ン
雑
誌

1959

日
本
デ
ザ
イ
ン
コ
ミ
ッ
テ
ィ
ー
理
事
長

1961

桑
沢
学
園
理
事

1962

東
京
オ
リ
ン
ピ
ッ
ク
デ
ザ
イ
ン
連
絡
協
議
会

1963

東
京
オ
リ
ン
ピ
ッ
ク
デ
ザ
イ
ン
専
門
委
員
会
委
員
長

1964

東
京
オ
リ
ン
ピ
ッ
ク
デ
ザ
イ
ン
専
門
委
員
会
委
員
長

1964

横
浜
市
都
市
美
審
議
会
委
員

1965

日
本
万
国
博
覧
会
協
会
シ
ン
ボ
ル
マ
ー
ク
選
考
委
員
会
委
員
長

1966

日
本
万
国
博
覧
会
協
会
シ
ン
ボ
ル
マ
ー
ク
選
考
委
員
会
委
員
長

1966

東
京
造
形
大
学
の
設
立
︑
教
授
︵
造
形
学
部
デ
ザ
イ
ン
学
科
︶

1966

ICOGRADA

札
幌
オ
リ
ン
ピ
ッ
ク
冬
季
大
会
の
マ
ー
ク
制
定
委
員
会
委
員
長

1966

総
理
府
明
治
百
年
記
念
式
典
シ
ン
ボ
ル
審
査
委
員
長

1966

日
本
出
版
学
会
会
員

1968

日
本
出
版
学
会
理
事

1969

万
国
博
統
一
シ
ン
ボ
ル
マ
ー
ク
国
内
審
査
員

1969
日
本
通
信
会
員

国
際
グ
ラ
フ
ィ
ッ
ク
シ
ン
ボ
ル
世
界
学
生
コ
ン
ペ
審
査
員

1966

万
国
博
デ
ザ
イ
ン
顧
問
︵
デ
ザ
イ
ン
ポ
リ
シ
ー
の
調
整
︶

万
国
博
デ
ザ
イ
ン
顧
問
︵
国
際
グ
ラ
フ
ィ
ッ
ク
シ
ン
ボ
ル
の
設
定
︶

1970

文
化
庁
芸
術
選
奨
選
考
審
査
員

1970

Pictorial Institute

札
幌
オ
リ
ン
ピ
ッ
ク
冬
季
大
会
の
デ
ザ
イ
ン
専
門
委
員
会
委
員
長

1972

を
成
立
︑
所
長

札
幌
オ
リ
ン
ピ
ッ
ク
冬
季
大
会
の
デ
ザ
イ
ン
専
門
委
員
会
委
員
長

1972

沖
縄
海
洋
博
覧
会
シ
ン
ボ
ル
マ
ー
ク
選
考
委
員
会
委
員
長

財
団
法
人
工
芸
財
団
理
事
︑
国
井
喜
太
郎
産
業
工
芸
賞
選
考
委
員

1973

沖
縄
海
洋
博
政
府
館
顧
問

日
本
体
育
協
会
シ
ン
ボ
ル
マ
ー
ク
指
名
コ
ン
ペ
審
査
員

1974

講
談
社
﹁
世
界
の
グ
ラ
フ
ィ
ッ
ク
デ
ザ
イ
ン
﹂
編
集
顧
問

1974

第
六
回
ブ
ル
ノ
国
際
グ
ラ
フ
ィ
ッ
ク
・
ビ
エ
ン
ナ
ー
レ
の
副
審
査
委
員
長

1974

モ
ン
ト
リ
オ
ー
ル
五
輪
記
念
銀
貨
の
審
査
委
員
長

1975

第
六
回
ワ
ル
シ
ャ
ワ
国
際
ポ
ス
タ
ー
・
ビ
エ
ン
ナ
ー
レ
審
査
副
議
長

1976

日
本
専
売
公
社
シ
ン
ボ
ル
マ
ー
ク
審
査
員

1979

JAGDA

1979

顧
問

第
二
十
七
回
芸
術
選
奨
美
術
部
門
選
考
審
査
員

1976

A.D.

1974

教育家

1972

職能団体

1971

編集者
1970

審査員
1966

顧問、会員

﹁
リ
ビ
ン
グ
デ
ザ
イ
ン
﹂
誌

1954

デザイン委員会委員長

ア
ト
リ
エ
社
顧
問

1944

編集者

横
浜
専
門
学
校
教
授

1941

教育者

登
山
と
山
岳
作
家

東
京
帝
国
大
学
文
学
部
美
学
美
術
史
学
科

1934

商
工
省
工
芸
指
導
所
嘱
託
︵
﹁
工
芸
ニ
ュ
ー
ス
﹂
編
集
顧
問
︶
戦
前
と
戦
後

﹁
ア
ジ
ア
・
タ
イ
プ
・
オ
リ
ン
ピ
ア
ー
ド
＇

1980

80

﹂
審
査
委
員
長

64

1927

デザイン賞審査員

東
京
府
立
第
三
中
学
校
︵
現
都
立
両
国
高
等
学
校
︶

1924

人物像

市
岡
中
学
校
︵
現
大
阪
府
立
高
等
学
校
︶

1922

Figure 3.8. Timetable of Katzumie Masaru’s Design Activities, Design: Wang Xiaofeng.

35
34
33
32
31
30
29
28
27
26
25
24
23
22
21
20
19
18
17
16
15
14
13
12
11
10
09
08
07
06
05
04
03
02
01
0
年代

彦
根
東
尋
常
高
等
小
学
校
︵
現
彦
根
城
東
小
学
校
︶

1916

3 Katzumie Masaru’s Approaches 1944–1983

of the design policy as a national policy to the Diet and the government, and especially to the trade-centered industry. Finally,
the “Industrial Design Council” would be established. Basedon the promotion of the “Industrial Design Council,” it recommended developing a design center for each industry and eachgovernment enterprise.32
Looking back through the Japanese design history, it more orless develped in the same way. Look through Katzumie’s whole
life, he had almost put his strength on developing all the fields
he could imagin on the conceptual map. At the same time, rather than to understand Katzumie Masaru roughly as a design
critic, his role can be further clarified to four categories basedon the time he spent on each subject: Design Educator, Art Director, Jury for the Award, and Editor in Chief. All his activities
on enlightening the Japanese Modern Design could be summarized in his specific role (Figure 3.8).

31

Tanaka Ikko, Tanaka Ikko, 86.

32

Katzumie Masaru, “Industrial Designer as a Profession” Industrial Art News20, no.11 (December 5, 1952): 7.

65

Figure 3.9. Katzumie Masaru, The relationship between
Art and Society 1, 1955.

Figure 3.10. Katzumie Masaru, The relationship between
Art and Society 2, 1955.

66

3 Katzumie Masaru’s Approaches 1944–1983

3.2

Design Critic

3.2.1

Design Critique is the Reaction to Democracy

Katzumie Masaru declared that the design critic was importantin the design movement. Design critique was the reaction todemocracy.
The modernism design plan aimed to solve the problem of poverty in the market economy system and to make a better life forpeople in a fast-paced and comfortable society.33 No doubt ofthat, it was the industrial development which made the mass
production fast and cheap. It supported the average human’sneeds and built the foundation of the democratic civil society.34
Based on the contemporary industrial revolution, a democratic
civil society was built up. The citizen started to have the right tocritique. This background was the foundation of the existenceof the critic. Around the 1950s, some people, either designer or
non-designer profession, joined the design critic’s works early,
and they were still called “Art Critic” at the moment. Their critiques were from different perspectives of observing the termof design. Katzumie described that the design critique was thereaction to the democratic industrial society. It was the third
person standing between the artists and the citizen. “The critic’s aim is to join the conversation between the artist and thecitizen,” said Katzumie Masaru.35 The critic represented the citizen’s critical spirit, and its critiques represented the voice of the
public. In front of the artist, it represented the citizen’s voice. In
front of the citizen, it acted as the commentator for the artists.
The target of the critic was to put its minds in society. It had the
responsibility to involve the high-quality lifestyle in people’s
daily life (Figure 3.9).
Katzumie Masaru pointed out that the design theory was themedia to connect designers and society. The design moment
could develop enormously was because of the acceptance fromthe society (Figure 3.10). He also believed that the positive situation for critique must be constructed in the design movement
67and developed under the theoretical orientation. Without thehigh standard theoretical leader, the high level of design movement could never reach. From this point of view, the work of
Koike Shinji, who was considered to be the pioneer of design
critic, should be highly valued. At the same time, Katzumie
believed that the design theory should suit reality. Katzumie
pointed out the problem of Koike’s enlightenment movement
was that he ignored the reality of Japan. Koike concentrated on
raising industrial design in Japan. On Katzumie’s side, the postwar Japanese society was destroyed, and the new form of commercial society was facing more challenges from other countries. Koike only focused on the highest level example of theworld and appeared an idealism direction. Thus Koike Shinji’spropose to the period to develop industrial design was too early.36 The problem of that, the theoretical was far more beyond
the designer or the industrial environment so that they could
not reach up to the theory. To make the theory lead the revolution movement at the same time was necessary to the needs ofreality.
Katzumie’s mind was influenced by Herbert a lot. In 1954, Herbert Read’s book “Art and Industry,” initially published in 1934,
was translated by Katzumie Masaru and Maeda Yasuji ( 前田泰次 ). They used Japanese Katakana “インダストリアル・デザイン ”(Industrial Design) instead of the original title. It was the word
“Design” first appeared as a title in the General books (Figure
Figure 3.11.

3.11).37 Katzumie Masaru had introduced Herbert Read further

Cover, Art andon the articles “Herbert Read and D.R.U” on the No.4 issue of

Industry, 1954.

the Vol.20 “Kogei News” magazine, and the “Design Movement
100 Years” on the Vol.1 no.6,7,8 of “Living Design” magazine.
Katzumie Masaru’s design critiques also depended on his
un-designer background. This situation was helpful to him. As
he described by himself, the critic was the person who could

683 Katzumie Masaru’s Approaches 1944–1983

build up the communication between the artist and the society.
The critic’s neutral position made the critique and theory objective. The critic had a keen awareness of the responsibility inthe field to provide his knowledge and ideas. Katzumie Masaru
would not tell the design principles such as “less is better.” Instead of “less,” he used “Clarity.” What he concentrated on was
the theory behind the method. He could show the problems, direct the way of the design solutions, and give the platforms for

Figure 3.12.

the designers. He was looking for a more prominent and central

Cover, Designingpromotion for the graphic design. His work was unlimited andfor People, 1959.

extraordinary expended. When Katzumie Masaru worked as thechief editor of “Graphic Design” magazine, he also realized thatit could be a big challenge for him because the readers were
only the designers. He has his confidence in his visual sense,but the writings always suffered him.38 He would not feel constrained when he talked about such terms as form or shape orclarity. His critiques were faithful to his readers as human-being.
For the designer’s profession, he translated American designer
Henry Dreyfuss’s “Designing for People” in 1959 (Figure 3.12).

33

Kashiwagi Hiroshi, Modernism Design Critique (Tokyo: Iwanami Books, 2002), 44.

34

Katzumie Masaru, Katzumie Masaru chosakushu 2, ed. Graphic Design (Tokyo:
Kodansha, 1986), 37.

35

Katzumie Masaru, Katzumie Masaru chosakushu 1, ed. Graphic Design (Tokyo:
Kodansha, 1986), 240.

36

Wada Meiji and Onanie Tsuyoshi, “Konosuke Matsushita’s Businessadministrative Foresightedness for Design,” Bulletin of JSSD 51, no.5, (2005):
37–46.

37

Josef Müller-Brockmann, Josef Müller-Brockmann: Mein Leben: Spielerischer
Ernst und ernsthaftes Spiel, trans. Saga Ichiro, Murase Yonko (Tokyo: BNN,
Inc., 2018), 201.

38

Katzumie, Katzumie Masaru chosakushu 5, 369.

69

3.2.2 An Alpinist’s Design Critique

Katzumie Masaru’s methodology of design promotion was
firmly based on his mountaineering philosophy and which connected to his ideas of being one of the citizens.
Katzumie Masaru described the meaning of mountaineering,“There is a high ideal to act in nature and seek pure things.
Alternatively, searching for a quiet pictorial world, a truth thatreaches the depths of clear, deep humanity.”39 His mountaineering experience was clearly a meditate on the meaning of life. It
helped him to transfer his knowledge from “Functional beauty”
of alpinist tools to the needs of modern life. Different with many
people who were fascinated by design styles, Katzumie Masaru
understood the real meaning behind the design for life. His
deep understanding made him not seek for the visual attraction,
but the function (purpose and reason) in his critique career. His
background as an alpinist brought him the profound realizationof life more than any other ism. To Katzumie Masaru, the worksof being a design critic and an alpinist were alike. He shared thephilosophy and methodology of mountaineering to the promotion in Japanese Modern Design.40
Katzumie Masaru was a man of action. He certainly understood
the problematic situation to enlighten the “design” in Japan.
Someone felt that the time to hold World Design Conferencein 1960 was too early. Someone was afraid that there was stilla shallow level of Japanese design. Someone blamed that the
pictogram design for the Tokyo Olympic Games was not beautiful enough. Katzumie Masaru kept working on it because hebelieved in his own words, “The truth is, no matter how highthe mountain is, when you walk on it, it was under your feet.”41
His contribution made the problems of Japanese design under
his feet. Katzumie was undoubtedly not the predictor of design,whereas he believed himself, “the shape of the Mountain was
blurred by folk and cloud, the predict is important.”4270

3 Katzumie Masaru’s Approaches 1944–1983

When Katzumie Masaru started the “Graphic Design” magazine,
he made it the first bilingual design magazine in Japan in both
Japanese and English. Indeed, the awareness of international
communication was also reflected in Katzumie Masaru’s activities. The “Graphic Design” magazine explained that Katzumie
Masaru was not only aimed to import the graphic design toJapan but also concentrated on exporting the great Japanesegraphic design information to the world. Also in his “Graphic
Design” magazine, he wanted to establish the foundation forgraphic design in Japan times by times and to touch on the
problem of the East and the West in Japanese Culture. He had
no idea how long the work would take either. He used an English
alpinist’s words when he was climbing Mount Everest, “Because
the mountain is there, so I climb up” to describe his activities indesign, “Because the design is there, so I research.”43 As a staffof “Graphic Design” magazine described Katzumie Masaru, “theeditor will not change once he has made up his mind.”44 His
research work did not stop until the last minute of his life.

39「自然の中に行動し純粋なものを求めようとする高い理想もあつたであらう、或いは静寂な絵画的な世界、清澄で深い人間性の奥底に到達する真理を探つたのでもあらう。」
Katzumie Masaru, Yamagoya, no 96, 1939, 79.

40「デザインの学問的体系化という問題にも、この登山と共通した面があるのではないかとおもっている。
」Katzumie Masaru, “Dezain he no kitai,” Bulletin of JSSD 1960
no.2 (1960): 2.

41「どんな高い山頂でも、歩いているうちには、いつか自分の足の下にある」Ibid.

42

Katzumie, Katzumie Masaru chosakushu 5, 223.

43

Katzumie, “Dezain he no kitai,” 2.

44Katzumie Masaru, “Behind the scenes,” Graphic Design, no.83 September
1981, 96.

71

Education
1934

Professor at Yokohama Specialized School

1954

Lecturer Kuwasawa Design School

1955

Consultant in the Founding of the Zokei Education Center

1957

Lecturer at Tokyo University of Education (Design Theory)

1957

Lecturer at the University of Tokyo (Architecture, Industrial Design)

1958

Lecturer at the Faculty of Education, Kanazawa University

1962

Director of the Kuwasawa Gakuen Educational Foundation

1966

Co-Founder of Tokyo Zokei University, Professor of Department of Design

Research
1952

Consultant of JAAC (Japanese Advertising Artist Club)

1952

Consultant of Tokyo Ad Art Directors Club (Tokyo Art Directors Club in 1961)

1952

Consultant of JIDA (Japan Industrial Designers Association)

1953

Founder of JSSD (Japan Society for the Science of Design)

1961

President of the Japan Design Committee

1962

President of JSSD (Japan Society for the Science of Design)

1966

Chairman of JSSD (Japan Society for the Science of Design)

1966

Japan Liaison Member of ICOGRADA

1968

Member of the Japan Society of Publishing Studies

1969

Director of the Japan Society of Publishing Studies

1971

Founder and Director of the Pictorial Institute1973

Director of the Crafts Foundation and the member of the Kitaro Kunii
Industrial Crafts Award Selection Committee

1979

72

Consultant of JAGDA (Japan Graphic Designers Association)

3 Katzumie Masaru’s Approaches 1944–1983

3.3

Design Educator

3.3.1

Design Education

Katzumie Masaru equally faced the place of the designer tothe artist. It was the reason why he pushed himself to enroll inthe design fields. To highlight the designer’s value, Katzumie
had to identify and develop the theoretical background of theprofession. Katzumie Masaru believed that the designer was
also a kind of artist. Katzumie Masaru had similar thinking with
Herbert Read. Herbert Read thought the artist was not limited
by someone who could paint, a musician, a poet, and a tailor
all could be the artist. Because of the full range of the definitionof the artist, the designer was also the artist.45 Read envisaged
that artists would participate in reforming technical education
to train people in the excellent use of form and color, while alsoenabling mass production of better products for everyday use.
While the Bauhaus had drawn to the nineteenth-century British
Arts and Crafts movement, this early-twentieth-century renaissance was particularly innovative in that machines were acknowledged or assumed as integral components of production.
Against this backdrop, Read explained in his writing that educational reform was essential.46 Katzumie Masaru had the same
thought. It cannot be possible if Japan wants to promote theposition of the designer without higher education for designers.
Because of Japan’s thirst for the professional designers, theimportance to establish a design school that integrated boththe fundamental education and the specialty education was
realized. In 1954, Kuwasawa Design School was founded by
Kuwasawa Yoko with active educators, artists, and designersin Tokyo.47 Katzumie Masaru was a principal director of thefaculty and gave great support for the design courses. He wasalso the editor in chief of the “Living Design” magazine which
released from the school. In the same year, Walter Gropius, thefirst president of the Bauhaus, visited this “Japanese Bauhaus”
Kuwasawa Design School. Moreover, he wrote a letter toKatzumie Masaru, “Here I have found genuine Bauhaus spirit,73

the desirable trend I am looking for – the transitional, creative
bridge between east and west great success to you!”48 Many
students who graduated from here became the Japanese design masters in the future, such as Aoba Masuteru, Asaba Katsumi, Uchida Shigeru, Naganishi Motoo, et cetera.
Moreover, in aim to provide higher education for the designers
for the country, he put his strength on establishing Japan’s first
design university — Tokyo Zokei University in 1966. (Figure 3.13)
Kuwasawa Yoko founded Tokyo Zokei University with advice
from Katzumie Masaru. The name of this university was eventually preferred Tokyo University of Art and Design, but theJapanese language of “design” in Katakana “ デザイン ” was not
admitted yet by the Ministry of Education at that moment. Thus
“Zokei” (Constructive), the fundamental term of art and design,
was used to be the school name. It also meant that Japan was
still progressing on the modern design movement.49
Katzumie Masaru also focused on education for children. He
believed that the children would be the future citizen. In the aim
to improve the Japanese education for children, he became a
consultant and participated in the founding of the Art Education
Center ( 造形教育センター ) in 1955, and translated Viktor Lowenfeld’s book “Your Child and His Art” in 1956 (Figure 3.14). In
his book, Katzumie declared he hoped to connect the Bauhaus
Figure 3.14.

based Art Education Center to Herbert Read based creative

Cover, Your

aesthetic education together to expense the scale of Japan’s art

Child and His

education.50 The Art Education Center was an art educational

Art, 1956.

research committee for children. It held exhibitions and seminars for children education. The “constructive”works made bychildren were widely published in textbooks of primary schools
and middle schools in Japan. The founding of Art Education
Center was a pioneer activity in World’s art education history.

74

3 Katzumie Masaru’s Approaches 1944–1983

Figure 3.13. Katzumie Masaru, the Target of Constructive
Education at Tokyo Zokei University, Archive of the
Katzumie Masaru Collection at Art Archives Center, TAU.

45

Tsunami Mikiko, “Kousei as Basic Design Education at Kuwasawa Design
School,” Bulletin of JSSD 51, no.4 (2004): 9.

46

Lars Müller ed., Shizuko Yoshikawa (Zürich : Lars Müller, 2018), 49.

47“Founder: Yoko Kuwasawa,” Kuwasawa Design School, accessed October 07,
2017, http://www.kds.ac.jp/about/history.

48

Katzumie, Katzumie Masaru chosakushu 1, 216.

49

Takamatsu Daro, “Kuwasawa Design School and Tokyo Zokei University,” inJapanese Contemporary Design Movement History, ed. Kougei Saitan (Tokyo:
Perikan, 1990), 92–93.

50

Viktor Lowenfeld, Your Child and His Art, trans. Katzumie Masaru (Tokyo:
Hakuyosha, 1956): 229.

75

Figure 3.15. JSSD Mark.

Figure 3.16. Reports from different
Design Committes, Archive of the
Katzumie Masaru Collection at Art
Archives Center, TAU.

Figure 3.17. WoDeCo, Front from left: Otl Aicher, Josef
Müller-Brockmann, Saul Bass, Behind from left: Hara
Hiromu, Max Huber, Kamekura Yusaku, Katzumie
Masaru.

76

3 Katzumie Masaru’s Approaches 1944–1983

3.3.2

Design Research

The Emperor issued the Humanity Declaration ( 人間宣言 ) on
1st January 1946. It put the right back to people. A democratic
civil society began to bring the freedom atmosphere to people.
Many design organizations in Japan were established in the
1950s. The JAAC (Japanese Advertising Artist Club), founded
in 1951, was centered by Kono Takashi, Hara Hiromu, Kamekura
Yusaku and other avant-garde designers. Katzumie Masaru alsojoined the JAAC as a design jury one year after its foundation.
They believed that design was obliged in peaceful declared
Japan so that they joined in the enlighten movement. The democratic society supported people who only with strong abilities
to become the main force. It could be found from the member
list of JAAC that no people came from the Kanritsu (governmental) school. In the research field, Katzumie engaged in putting the design statue to a higher position in Japanese society
by participating in establishing the JSSD (Japanese Society for
the Science of Design) from 1953. Since then, the term of design
had been a part of the academic fields in Japan (Figure 3.15, 3.16).
In the chaos Japanese design circle in the 1950s, one ofKatzumie Masaru’s most significant contribution was his strong
support for holding Japan’s first international design conference. On 11th May 1960, the World Design Conference (WoDeCo)was held in Tokyo and lasted six days. This event included 227
people in total (84 from 25 overseas countries) from diverse
design fields such as graphic design, industrial design, architecture, craft, critique, and education, et cetera. There were three
critics joint the conference, Koike Shinji (1901–1981), Katzumie
Masaru (1909–1983), and Hamaguchi Ryuichi (1916–1995). The
conference started with Herbert Bayer’s speech “Observation about Design,” and closed by the announcement of theTokyo Manifesto (Figure 3.17). The World Design Conference inTokyo was seen as the beginning of modern Japanese design.
This event had educated the younger generation of Japanese77Figure 3.18. Katzumie Masaru, Map of Industrial Design, Report of WoDeCo 1,
1960, Katzumie Masaru Collection at Art Archives Center, TAU.

Figure 3.19. Josef Müller-Brockmann,

Figure 3.20. Herbert Bayer, Polio

Musica Viva, 1959, poster, Takeo

Research, 1948, poster, Takeo

Poster Collection, Tokyo.

Poster Collection, Tokyo.

78

3 Katzumie Masaru’s Approaches 1944–1983

designers with idealism thinking with rapid industrial development. Let them knew the delegating responsibilities of designfrom society (Figure 3.18). Tanaka Ikko memorized, “the typography was awake by the influence of the event. The new directionsof the design were shown, for example, to enlarge the Latin letters to achieve a strong impression. Then, this concept adapted
to the logical layout of Kanji and Hiragana based Japanese typography design.”51 Josef Müller-Brockmann, Jan Lenica, Herb
Lubalin, Saul Bass, and many other designers’ works strongly
impressed many Japanese designers (Figure 3.19). Ishioka Eikoremembered, “at that time, Herbert Bayer was already over 60
years old, but his job was so cool. About that age, I had decided to spend a life which can do a good job” (Figure 3.20).52 The
conference’s direct outcome was Katzumie Masaru’s success inthe art direction in the Tokyo Olympic Games four years later.
Katzumie said that the prime time for Japanese design was in
the late 1950s because the commercial artists started to comeand work together.53

51

Tanaka Ikko, Tanaka Ikko, 41.

52「そのときにハーバード・バイヤーは確か 60 代だったと思うんだけど、かくしゃくとして
カッコよくてね、
私もその歳くらいになっていい仕事ができる人生をやっていきたいなって、そのとき決めちゃったの」Ishioka Eiko, Eiko by Eiko, Ishioka Eiko fuwashi kaden(Tokyo: Kyuryudo, 1983).

53

Katzumie, Katzumie Masaru chosakushu 2, 103.

79

Figure 3.22. Anti-JAAC Joint
Struggle Committee, 1969.

独善意識

民主意識

上部構造

上部構造

下部構造

下部構造

Figure 3.21. JAAC Exhibition, 1953.

Figure 3.23. Katzumie Masaru’s
concept for the design committee,
Design: Wang Xiaofeng.

80

3 Katzumie Masaru’s Approaches 1944–1983

3.3.3

Young Generation

Katzumie Masaru realized the important value of the young
generation. Because of the subtle relationship with his father,he always reminded himself and the others not to be his father’s
style. He understood the potential ability of young people.
Same as the generation that design movement ruined the oldgeneration, Katzumie was sensitive with the definition of “old”
and “young.” When he was more than 50 years old, he said, “I
am still young!” Even Katzumie Masaru’s working style in the“Graphic Design” magazine office was rigorous, sometimes
was described as “Superman-Style” by the young staff, he
could remember to bring some sweet foods from his room tothe young staff who worked until late. When the young staffs
left from office, he did not forget to escort them to the place
where they could catch a taxi. An editor described him, “He is avery kind editor who is like my grandfather.”54 Furthermore, heunderstood that the generation gap would predestine to comeso that the older generation should be open-minded and takecare of the young.
In the graphic design field, the JAAC (Japanese Advertising
Artist Club) widely known as Niisenbi ( 日宣美 ) was the firstJapanese graphic design organization. It had flourished fortwenty years but finally dissolved from the student movement
because of its undemocratic centralized role (Figure 3.21, 3.22).
Katzumie Masaru had explained the real reason, “In Japan,
there is the tendency for an organization to concentrate on art
and cultural activities as a top structure instead of emphasizing
union activities as a lower-echelon structure and establishinga vocational code. That the JAAC was dissolved so easily wasdue to the lower-echelon structure not being firmly established.”55 From debated by the young generation, or so-called
post-modernist at the time, modernist noticed that the situation of the modern graphic design has to be a merging of form
81

Figure 3.24. Photo of the Designers at the “Persona” Exhibition. Katzumie
Masaru Collection at Art Archives Center, TAU.

Figure 3.25. Cover, the 1st issue of“Graphic Design” Magazine, 1959.

Figure 3.26. Ikko Tanaka, “Graphic
Design” Magazine, cover, 1959,
Archive of the Katzumie Masaru
Collection at Art Archives Center.

82

3 Katzumie Masaru’s Approaches 1944–1983

and function and an awareness of human values expressed
concerning industrial production for a democratic civil society.
Katzumie Masaru knew that early, he was very depressed to saythat he has to agree to the dissolution of JAAC because it lostthe spirit and power to be a pioneer. That was why, he included
his hopes in the following haiku poem, “Lie Low, fly high, wild
geese” to the JAGDA (Japan Graphic Designers Association)(Figure 3.23).56“It would be great if all Japanese would be able to express
their thoughts and impressions correctly and beautifully,” said
Katzumie Masaru.57 Katzumie took the individual value seriously.
He believed that different graphic designers had different values from their personality. In November 1965, graphic design
exhibition “PERSONA” was held in Matsuya Ginza. Katzumie
Masaru was the consultant for the exhibition. This exhibition
exhibited the projects from the 30 years old designers Awazu
Kiyoshi, Nagai Katsumasa, and Tanaka Ikko, and the 20 years
old designers Wada Makoto and Yokoo Tadanori, et cetera (Figure 3.24). Katzumie Masaru also gave the name of the exhibition, and he said, “I think the topic of ‘PERSONA’ saved the wish
of a diverse world in graphic design.”58 As Ishioka Eiko said, “Thediverse impressions of the Japanese graphic design made thewestern world to reexamine the Oriental design position.”59
One of these designers who was supported strongly by
Katzumie Masaru was Tanaka Ikko. In 1958, the second year
when Tanaka Ikko moved to Tokyo from Osaka, Tanaka Ikko
met Katzumie Masaru at the Kuwasawa Design School. When
Katzumie Masaru started the “Graphic Design” magazine in
1959, everyone thought a famous design master would design
the cover for the first issue, but Katzumie Masaru chose thenewcomer designer Tanaka Ikko (Figure 3.25, 3.26). Therefore, it
was easy to understand that Katzumie Masaru resolved to feed83the newcomer designers up. Because of Katzumie Masaru’s
guide, Tanaka Ikko participated in the World Design Conferencein 1960 and later became the design volunteer for the Tokyo
Olympic Games in 1964. As Tanaka Ikko remembered, “there
was a period I felt overwhelmed (by Katzumie), but becauseof the kind of strict guiding and taught, I learned the thinking
method of observing problems and expended my international view at the same time.” Tanaka Ikko’s design philosophy
was influenced very strongly by Katzumie Masaru. It was not
only because they had participated with each other more andmore, but also because Katzumie was full knowledge in thedeveloping progress of Architecture, Industrial design, craft
goods, and illustration. Day after day, Tanaka Ikko kept calling
Katzumie “Sensei” (teacher). “The vital part I have learned from
Katzumie Masaru is the consciousness of understanding design comprehensively,” said Tanaka, no doubt of that Katzumie
Masaru had promoted Tanaka Ikko to a leading position faster.
On the Katzumie Masaru’s memorial speech, Tanaka Ikko called
Katzumie as “the father of Japanese design” (Figure 3.27).
The young designers who were affected strongly by Katzumie
Masaru were certainly not limited to Tanaka Ikko. After
Katzumie’s death, many designers cooperated to support therest design of the “Graphic Design” magazine. The senior editorial advisors were Tanaka Ikko and Sakane Susumu, and editorial advisers were Aoba Masuteru, Asaba Katsumi, Igarashi
Takenobu, Kamijo Takahisa, Kojitani Hiroshi, Sato Koichi, andNagatomo Keisuke.60 They were all young designers seen from
Katzumie but already became the main strength in the Japanesegraphic design society at the time.

84

3 Katzumie Masaru’s Approaches 1944–1983

Figure 3.27. Tanaka Ikko, Memorial Speech for Katzumie
Masaru, 1983. Archive of the Katzumie Masaru Collection
at Art Archives Center, TAU.

54

Katzumie, “Behind the scenes,” no.83, 96.

55「欧米のように、中世以来の長い組合の伝統を持たない日本では、下部構造としての組合活動や、職業倫理の確立に力をいれず, 上部構造としての芸術運動や文化活動に偏よる嫌いがあります。日宣美があんなにももろく解散に追いこまれたのも、下部構造がしっ
かりしていなかったためかと思われます。」Katzumie Masaru, “Behind the scenes,”
Graphic Design, no.72, December 1978, 88.

56

Ibid.

57

「たとひ未熱ではあっても、すべての日本人が正しく、美しく自己の思考を表現し、印
象を傳へあふことができれば、どんなに好いかと思ふのである。」Katzumie Masaru,
Yama he hiroku mado (Tokyo: Hobundo, 1941), 6.

58

Katzumie Masaru, “Round-talk on Aspen,” Graphic Design, no 76, December
1979, 40–50.

59Ishioka Eiko, Eiko by Eiko, 45.

60

Sasaki Kazuko, “Behind the scenes,” Graphic Design, no.93, March 1984, 96.

85

Pictogram System and Design Policy
1950

Jury of the Mainichi Industrial Design Award

1964

Chair of the Tokyo Olympic Design Committee

1965

Member of the Yokohama Urban Beauty Council

1966

Chair of the Symbol Select Committee of the Japan World Exposition

1966

Jury of the ICOGRADA International Symbol Student Contest

1966

Chairman of the Mark Committee of the Sapporo Olympic Winter Games

1966

Chair of the Jury of the Symbol Selection of the Meiji Centennial Ceremonysponsored by the Prime Minister’s Office

1969

National Jury of the World Expo Unification Symbol

1970

Design Consultant of the World Expo (Design Policy Adjustment andInternational Graphic Symbol Setting)

86

1971

Founder and Director of the Pictorial Institute1972

Chair of the Design Committee of the Sapporo Olympic Winter Games

1972

Chairman of Symbol Mark Selection Committee of the Okinawa Ocean Expo

1974

Consultant of the Okinawa Ocean Expo Government Building

1974

Jury of the Symbol Nomination Competition of the Japan Sports Association

1975

Chairman of the Jury of the Montreal Olympics Commemorative Silver Coin

1979

Jury of the Symbol Mark of the Japan Tobacco and Salt Public Corporation

1980

Chair of Jury of the ’80 Asia Type Olympiad

3 Katzumie Masaru’s Approaches 1944–1983

3.4

Art Director

3.4.1

Olympic Pictogram System

Katzumie Masaru’s most significant work worldwide should
trace to the Pictogram System. Tokyo Olympic Games 1964
was an iconic statue for the Japanese Graphic design society. It
was the beginning of the modern Japanese graphic design performed on the world stage and received a high evaluation fromother countries. In 1960, Katzumie Masaru acted as the directorof the Design Department of the Committee of the Games of the
XVIII Olympiad in Tokyo 1964 (Figure 3.28, 3.29).
The well-known “Man and Woman” toilet pictogram signs werefirst used under Katzumie Masaru’s guidance in Tokyo Olympic
Games. Katzumie’s idea came up intending to communicate
with people all over the world during the Olympics. To design
a functional pictogram system instead of all the languages was
the answer he gave to the world. His plan of designing pictogram system that used to communicate worldwide beyond thelanguage influenced the development of pictogram system. It
was the biggest contribution of the Tokyo Olympic Games to thewhole world. Katzumie Masaru was a linguistic as well. In 1953,
he published his popular science book relating to the written
language – “The History of ABC.” This book was a foundational
material for the understanding of the history of the Alphabets.
It was translated into a Chinese version in 1959 (Figure 3.30).
Katzumie paid his attention to clarifying different properties
between written character and visual image. As he declared on
the “Camera” magazine in 1953 that “the image is the international language beyond the ethnic boundaries.”61 Such awareness was the reason that Katzumie Masaru could direct the

Figure 3.30.

pictogram system in the 1964 Tokyo Olympic Games. Katzumie

The History of

Masaru mastered many languages, and he was sensitive toABC, Chinese Ed.,

distinguish the problem of misunderstanding the words in re-1959.

ality. Katzumie Masaru realized more than half of the audienceon the games would be the Japanese people. Thus he proposed
to change the standard language sequence of the way-finding
87

Figure 3.28. Game Symbols, Tokyo Olympic Games 1964.

Figure 3.31. Game Symbols forTokyo Olympic Games, 1964,
Figure 3.29. Life Symbols, Tokyo Olympic Games 1964.

88

Katzumie Masaru Collection, TAU.

3 Katzumie Masaru’s Approaches 1944–1983

system from French, English, and the host country’s language
to the host country’s language (Japanese), English and French.
This functional and realistic concept worked without any doubts(Figure 3.31). The use of pictogram system in the Tokyo Olympic
Games was unquestionably an intense activity for designers.
At the same time, the support of the Japanese government wasalso considerable. As Katzumie Masaru remembered, “I have avery close feeling of the time of the Tokyo Olympic Games, I remember it was not like politics.”62 The methods of designing thepictogram system were debated a lot by other designers. However, in Katzumie’s point of view, the real problem was neverrelated to the technical point of designing, but how to apply theusage of the pictograms in the history of the Olympics.63
Without any doubt, the pictogram system had its efficiency formodern human. It became the trend of the generation. By 20th
century’s rapidly developing of international airline system,
humans could have a new experience to move on the surfaceof the earth than ever before. At the same time, the problem oflanguage differences also became huge for more people thanever. The pictogram system was designed on this historic turning point, but its rapid spread had another reason. In World War
II, the public foundations of the war combatant countries weredestroyed enormously. After the war, the part of any cities anywhere which was essential to be rebuilt should be the road,so the new type of traffic system could be established widely
and rapidly in European countries. The proposal to develop the
pictogram system was firstly delivered on the United Nations
Geneva Conference in August to September 1949. Then it wasused through Europe. The United Kingdom did not fully utilize. It
was the level to use the pictogram and letters together. America
still used the letters assigned. The situation in Japan was a little
different. The biggest problem for Japan after the war was thatit did not have enough food. Indeed, there was no attention left
89

Figure 3.32. Otl Aicher, Munch
Olympic Games 1972, pictograph,
Katzumie Masaru Collection at Art
Archives Center, TAU.

Figure 3.33. Katzumie Masaru on theselecting meeting of the ICOGRADAWorld Student Competition, 1966.

Figure 3.34. Ekuan Kenji, GK Industrial Design Institute,
Arata Isozaki, Shigeo Fukuda, Osaka Expo 1970, pictograph,
Katzumie Masaru Collection at Art Archives Center, TAU.

90

3 Katzumie Masaru’s Approaches 1944–1983

on improving the traffic sign system at the time. When Japan
started to use the pictogram system was already in 1964, whichwere nearly twenty years after the war.64 The pictogram systemseen from Katzumie Masaru was not only a graphic design object but also the method to modernize the post-war Japanesesociety. Katzumie, as the director of the Olympic design department, grouped many young designers to work together. He
found the word “Ekotoba” had existed in the history of Japan,
and it was better than the translated form as “Visual Language.”
He wanted to develop the traditional Japanese traditional signculture in the modern generation.65 The Olympic pictogramsystem was firstly born in Tokyo and later became the integrant
design project of the Olympic Games. Otl Aicher later designed
the high standardized pictogram for the Munch Olympic Gamesin 1972 (Figure 3.32). After the success of the direction of theTokyo Olympic Games, Katzumie Masaru started to attend
more international pictogram conferences such as the International Organization for Standardization (ISO) and ICOGRADA topromote the international standard for pictogram in life. At thesame time, he participated as a jury member in many competitions about pictogram design to encourage the designers to put
attention on this subject. He also put pictogram into the design
education and research aspects. Katzumie became one of theworld’s active expert of pictogram design (Figure 3.33, 3.34).

61

Katzumie, Katzumie Masaru chosakushu 1, 347–351.

62

Katzumie, Katzumie Masaru chosakushu 5, 256.

63

Katzumie Masaru, “Pictogram on international events,” Asahi Journal 10,
no.17 (April 28,1968): 11–14.

64

Katzumie Masaru, “Internationalization of pictogram,” Asahi Journal 7, no.41,(October 3, 1965): 6–10.

65

Katzumie, “Internationalization of pictogram,” 6–10.

91

Figure 3.35.
Tanaka Ikko,
WoDeCo Poster.
Kono Takashi,
WoDeCo Design.

Figure 3.36. WoDeCo Print Matters: Tanaka Ikko, Sugiura
Kohei, Hara Hiromu, Ejima Tamotu.

92

3 Katzumie Masaru’s Approaches 1944–1983

3.4.2

Design Policy

Katzumie Masaru was well aware of the importance to develop
the “Design Policy” in Japan early when he was the editor in the“Industrial Art News” magazine. The iconic design policy directed by him was in the Tokyo Olympic Games in 1964. Actually,
Katzumie Masaru had directed the design policy for the World
Design Conference four years earlier than the Olympic Games.
With the tremendous changes of the post-war Japanese society,the situation of Japanese design was ready to be reevaluated.
The World Design Conference in Tokyo in 1960 was an excellent
opportunity for the world to know the situation of Japanese design. For this reason, to keep the visual design materials of theconference in a standard design policy was quite necessary.66
Katzumie Masaru took care of the art direction of the Print
matters and sign design. Hara Hiromu led the young talented
graphic designers, such as Tanaka Ikko, Sugiura Kohei, andEjima Tamotu.67 The World Design Conference was Japan’s firstprosperous period in graphic design. It made a stable design
foundation for Katzumie Masaru to direct the design policy forinternational events (Figure 3.35, 3.36).
The successful design policy for the Tokyo Olympic Games in
1964, directed by Katzumie Masaru, changed the Olympic design history forever. The main emblem and series posters designed by Kamekura Yusaku received international acclaim andmade Japan as a leading role in the graphic design field.68 At
the beginning of the design activity, a “Design Seminar” wasbuilt, and Katzumie Masaru was the chair. Katzumie Masaru
mainly directed three successful directions in the design policyof the Tokyo Olympic Games. The first one was to decline thechance of over decoration and to highlight the functional abilityof the necessary design programs. The second one was to keepusing the same design standards to create unity. The last one
was to supply the weakness of multi-lingual communication as
93

Figure 3.37. Kamekura Yusaku,
Tokyo Olympic Games 1964, poster,
Art Archives Center, TAU.
Figure 3.38. Kamekura Yusaku, Tokyo Olympic Games
1964, poster, Art Archives Center, TAU.

66

Izuhara Eiichi, “World Design Conference,” in Japanese Contemporary
Design Movement History, ed. Kougei Saitan (Tokyo: Perikan, 1990), 223–224.

67

Printing Museum ed., 1960 graphism (Tokyo:Printing Museum, 2002), 022.

68

Philip B. Meggs and Alston W. Purvis, Meggs' History of Graphic Design, 4thed. (New Jersey: John Wiley & Sons, 2006), 487.

69

Katzumie Masaru, Katzumie Masaru chosakushu 3, ed. Graphic Design (Tokyo:
Kodansha, 1986), 195–202.

94

70

Uchida, Sengo, 098.

71

Tanaka Ikko, Tanaka Ikko, 86.

3 Katzumie Masaru’s Approaches 1944–1983

much as possible.69 It nominated six professional graphic designers to join the design campaign: Takashi Kono, Kamekura
Yusaku, Kohei Sugiura, Tanaka Ikko, Nagai Kazumasa, andKoichiro Inagaki. The adoptive emblem “Circle of Sun” designed by Kamekura Yusaku used the simple red circle gatheredwith the golden letters designed by Hara Hiromu “Tokyo 1964”
in Neue Haas Grotesk (old name of Helvetica) typeface (Figure3.37). This typeface was so-called as the functional typeface tomake standards at the time. This legendary typeface of Modern
graphic design was the first time used in the national event inJapan. To use photography skill to create poster was also thefirst time in Olympic history. These solutions made a strong andfresh image of the visual impression of the Olympic Games (Figure 3.38).70 Takeda Tsuneyoshi, the deputy of the Olympic committee, won the special prize of the “Mainichi Design Prize” forthe success “Design policy for Tokyo Olympic Games.” It was astrong encouragement for the designers.71
After the Tokyo Olympic Games, Katzumie Masaru had continuously supported the design policy in many international events
such as World Expo 1970, Sapporo Winter Olympic Games 1972
and Okinawa Ocean Expo 1975, et cetera. Japan’s rapid economic development promoted the fast growth of the advertising industry. By holding many international events, Japanesegraphic design policy and design quality developed consummately high. In the 1980s, the Japanese CI Design (Corporate
Identity) was succeed gathered with its international economy
by global companies. Nakanishi Motoo, the winner of the first“Katzumie Masaru Award,” represented the Japanese designforce in the use of CI design. No doubt of that, the CI design
grew on the foundation of the national events and with the similar purpose of international development. From the national ideals to the details of the civil society, design policy was entirely
applied and highlighted the design quality of Japan.
95

Magazine

96

1931

“Yamagoya” magazine

1941

Editor in Chief of the official magazine “Idustral Art News”

1944

Consultant of the “Atelier” Publisher

1954

Editor in Chief of “Living Design” magazine

1959

Editorial Advisor of the “Design” magazine

1959

Editor in Chief of the “Graphic Design” magazine

3 Katzumie Masaru’s Approaches 1944–1983

3.5.

Editor in Chief

3.5.1

Man’s Dream Became True

As referenced in Chapter 2, Katzumie Masaru’s dream was tomake his international magazine. In human history, every revolution came with the media revolution. Newspaper became
the mass media which responded to communicate to the publicfrom the empire directly and rangy. Then, the democracy system was built.72 In Katzumie Masaru’s generation, the magazine
was one of the most compatible, flexible, and democratic media
for sending the personal voice. In 1959, with the previous experiment from magazines, Katzumie and Niijima Akio of Geibi Publishing Company started the first issue of the “Graphic Design”
magazine (Figure 3.39). From the first issue to the last issue
until 1986, over 24 years passed. It was the full observation of
Katzumie Masaru’s latter half of his life which he engaged on
enlightening the Japanese graphic design until his death.
The “Graphic Design” magazine was the first and only bilingual
magazine in Japanese and English at the time in Japan. It was aquarterly publication. Katzumie Masaru himself was the editor
in chief, and the art director begun with Hara Hiromu and inherited by Tanaka Ikko (Figure 3.40, 3.41). Kamekura Yusaku described the “Graphic Design” magazine as Katzumie’s self voice.
It was Katzumie Masaru’s design channel. In the total 100 issues, Katzumie Masaru had published 172 articles, included four
items by his pen name Masaki Katsumi (see attachments). Thismagazine was developed with Katzumie Masaru’s design promotion. At the same time, it was also very personal, Katzumie
Masaru can share his minds and moods to the audience. However, the long-developing progress fulfilled unpredictable challenges.
The “Graphic Design” magazine changed its publisher threetimes: from issues No.1 to No.4 started by Geibi Publishing Co.;
from No.5 to No.29 transferred to Diamond Co.; from No.30 to
the 100th issue were arranged by Kodansha Ltd. At first, this97

Figure 3.40. Tanaka Ikko, “Graphic
Design” magazine, no 3, cover, 1960,
art director: Hara Hiromu.

Figure 3.39. Tanaka Ikko, World Commercial Design
Exhibiton with the annoucement of the publishing of the“Graphic Design” magazine, poster, 1959, Takeo Poster
Collection, Tokyo.

Figure 3.41. Funabashi Zenji,“Graphic Design” magazine, no.85,
cover, 1982, art director: Tanaka
Ikko, the magazine title changed toEnglish.

98

3 Katzumie Masaru’s Approaches 1944–1983

magazine was planned to be the assistant project of the World
Econometrical Design Exhibition which Katzumie helped before(1951–1960). The sponsor was Kyodo Tsushin; the supporter wasTokyo City; the Exhibition hall was in Mitsukoshi. The “Graphic
Design” magazine was planned to be the official magazine by
Katzumie for this international exhibition. However, Katzumie
was later appointed more jobs from the World Design Conference in 1960 and Tokyo Olympic Games. This plan was postponed.73 Moreover, during the time of the World Design Conference (WoDeCo), Niijima, Katzumie, and some others talked
about the future of the “Graphic Design” magazine. They wanted to make the magazine as the central force for the Japanesegraphic design society and made it to be the joint international
project in the future (Figure 3.42). Herbert Bayer and Max Huber supported this idea. However, Niijima was suddenly deadwhen the magazine’s 4th issue was published. Their aim to
make international publication together seemed not to be possible. Even Katzumie Masaru was also very confused that if hecould continuously publish the “Graphic Design” magazine fora while, he did not cancel this proposal.74 A few years later, themagazine received the Special Prize of Mainichi Industry DesignAward for evoking significant repercussions from aboard. It
achieved a high reputation by choosing international designers’
works the same to the Swiss magazine “Graphis.”75
The reason to stop the “Graphic Design” magazine wasapparent. It put too much emphasis on Katzumie Masaru’s philosophy so that it could not become a free editorial magazine.
Without Katzumie’s critique and guidance after his death, themagazine was hard to continue (Figure 3.43). “Graphic Design”
magazine as an international publication definitely needed astrong financial foundation. Katzumie and his magazine were
lucky because they received the trust from Noma Shoichi–thepresident of Kodansha Ltd. Noma Shoichi promised Katzumie
99

Figure 3.43. Tanaka Ikko, “Graphic
Design” magazine, the memorial
issue for Katzumie Masaru, 1984.

Figure 3.42. Grid System of “Graphic Design” magazine,
Katzumie Masaru Collection, Art Archives Center, TAU.

Figure 3.44. Kamekura Yusaku,
the last issue of “Graphic Design”
magazine, cover, 1986.

100

3 Katzumie Masaru’s Approaches 1944–1983

to continue publishing the magazine to the No.100 regardlessof the economic loss (Figure 3.44). By learning on the magnanimity of the Kodansha Ltd., Katzumie had neglected efforts toincrease the number of buyer-readers. At the same time, Noma
recognized the internal mission of this magazine and extended
his abilities for the international exchanges. Unfortunately, thiswork finally resulted in Noma’s illness. After that, Katzumie took
Noma’s mission as his responsibility. In September 1981, Katzumie’s health was getting worse, but he insisted on a visit to
the Helsinki Congress regardless of the advice from Tanaka Ikko
and Sakane Susumu.76 He aimed to sell “Graphic Design” magazine in Europe and the United States. Obviously, he did notgive up rescuing the magazine. On the No.82 issue of “Graphic Design” in June 1981, that was the first time that Katzumie
announced the magazine’s embarrassing situation of selling.
There were not enough buyers to avoid the bankrupt for themagazine.77

72

Ise Katsuya, Kageyama Midori, and Saga Ichiro, Kodoken – Seicho (Tokyo:
Joshibi Universtiy of Art and Design Press, 2016), 96.

73

Katzumie, Katzumie Masaru chosakushu 5, 254–255.

74

Ibid.

75

Habara Syukuro, “Design Magazine,” in Japanese Contemporary Design
Movement History, ed. Kougei Saitan (Tokyo: Perikan, 1990), 180.

76

Kuromai Syo, “Behind the scenes,” Graphic Design, no.83, September 1981, 96.

77

Katzumie Masaru, “Behind the scenes,” Graphic Design, no.87, September
1982, 96.

101

Figure 3.45. Inner Page of the “Graphic Design” magazine, no.76, 1979.

102

3 Katzumie Masaru’s Approaches 1944–1983

3.5.2

The Goal Beyond the Dream

Katzumie Masaru had mainly four clear reasons when he established the “Graphic Design” magazine.
First of all, the “Graphic Design” must be his dream. “My dreamis to make an international magazine mixed by literature, art,and music,” said Katzumie Masaru twenty-four year before hepublished the “Graphic Design” magazine. Partly because ofthis dream, he could even break up with his father and moved
out from home. It was true that Katzumie had participated inpublishing many magazines such as the “Yamagoya” and “Industrial Art News.” He already became the editor in chief inthe “Living Design” magazine. Whereas these magazines were
not all as his wishes except the “Graphic Design” magazine.
The “Graphic Design” magazine was unique not only because
it was the only multi-lingual edited international magazine, butalso because the graphic design field was the multi-disciplinary
subject from his aspects. Katzumie was not the young man who
only considered a single dream. He was the earliest design critic, and his dream entirely extended to the social responsibilities.
Secondly, on Katzumie Masaru’s idea, the “Graphic design”
magazine should take the international exchange responsibility.
“To make this magazine with international fame and the best
professional magazine is my duty,” said Katzumie Masaru.
Katzumie believed, “the specialty of the ‘Graphic Design’ magazine was fully bilingual,” so that the Japanese content could express to the English reader, and the English content can express
to the Japanese reader at the same time. The reason he madethis plan was that the Japanese language circle was initially isolated. Katzumie Masaru wanted to make the voice for Japanesedesign circles. To make the magazine to be well known was
Katzumie’s way to highlight the Japanese graphic design stateon the world stage (Figure 3.45).

103

Figure 3.46. the “Graphic Design Movement” in the 100
issue of “Graphic Design” magazine.

104

3 Katzumie Masaru’s Approaches 1944–1983

The third and the very specific reason for Katzumie Masaru
to establish the “Graphic Design” magazine was to record thedevelopment history of graphic design. “The graphic design
works were more natural to disappear comparing with otherdesign works, so it was often called ‘graphic ephemeral,’” said
Katzumie Masaru.78 Katzumie Masaru knew the importance ofthe graphic design efforts which were invested in the darknessof history for the future. That was why Katzumie Masaru was
not only appealed the organizations such as ICOGRADA to retain the records of the graphic design works but also gave themission to the “Graphic Design” magazine. Katzumie pointed
out, “In this magazine should record those things which should
be retained amid the big waves in world design circles.” Sasaki
Kazuko described, “It was as if the ‘graphic ephemeral’ which
is fated to disappear, was revived once again.”79 As Katzumie’s
wish, the heritage of the graphic design history was kept because of their contribution. The editorial staff finally summed up
the “Graphic Design Movement” in the last issue of the “Graphic Design” magazine. The “Graphic Design” magazine left theworld a graphic panorama from 1959 to 1983 (Figure 3.46).
Last but not least, Katzumie said, “to build up a new society inthe new form of constructivist was the purpose of founding the‘Graphic Design’ magazine.” In the aim to put the “constructive”
ideas to Japan’s design society, the “Graphic Design” magazine,
as the first magazine fully in graphic design, took the way as an
academic journal. Each issue of “Graphic Design” magazine had
each excerpt that did not often appear in general magazines.
The detail of the “constructive” mission of the “Graphic Design”
magazine will also be mentioned in Chapter 4.

78

Katzumie Masaru, “Behind the scenes,” Graphic Design, no.85, March 1982, 96.
Sasaki Kazuko, Graphic Design, no.100, 118.

105

3.6

Conclusion of Chapter 3

The importance of Katzumie Masaru was that he was not only atheoretic role but also the promotor to the enlightenment, whichmeant he put the theory close to society (Figure 3.47).
Katzumie Masaru introduced the importance of industry andlife design to improve Japan’s chaos society after World War II
through publishing writings, holding lectures, and joining international conferences et cetera. He published more than 40
books (authoring and translating), 220 articles for magazines,
100 reports for newspapers and introduced his design critiques
to designers, politicians, and other people he knew from theeconomic circles.80 In the generation of post-war Japan, theterm of design had not been defined yet. Katzumie Masaru’s
design theory was eventually far beyond the Japanese design
society. He realized that design was too early to be enlightenedin Japanese society at the time. Katzumie Masaru defined the
movement’s three cores: Design Education, Design Research,and “Good Design.”81
Katzumie Masaru’s activities in the Japanese Modern Design
Movement can be separated into three main parts:
The first part was in aims to build up the foundation of visual
culture. He acted as the art director for pictogram design anddesign policy and became the jury for symbol marks.
The second part was his editorial activities based on his magazine dream. It could be seen from the “Kogei News,” “Graphic
Design,” and other magazines.
The last one was the target to highlight the design state in society. Katzumie Masaru found the JSSD to raise the academic
position of design. Also, Katzumie Masaru sacrificed in thedesign education field. He joined the founding of Kuwasawa
106

3 Katzumie Masaru’s Approaches 1944–1983

Design School in 1954 and also devoted himself to teaching. He
also realized that he should participate in the cultural movement
to bring the awareness of design to the society, in time to create
the modern lifestyle he found the “Good Design Award” andthe “Modern Living” magazine. He was the people’s critic.
絵ことば

デザイン
評論家

勝見勝
デザイン
活動

アート
ディレクター

デザイン
ポリシー

視覚伝達
文化醸成

デザイン賞
審査員

シンボル
マーク

夢の実現

デザイン誌
編集者

グラフィック
デザイン
雑誌

デザイン
地位の向上

社会教育

デザイン
教育者

Figure 3.47. Map of the Chapter 3,
Design: Wang Xiaofeng.

80

Xiang, “Homage to Masaru Katzumie,” 025–026.

81

Ibid.

デザイナー
養成

デザイン学
研究

107

108

4

Katzumie Masaru’s Philosophy

109

4.1

“Designer is the Artist Who Construct the View of Life”

As Kamekura Yusaku believed, “Katzumie Masaru’s design
philosophy is the foundation of his activities” (Figure 4.1). This
research assumes that Katzumie Masaru’s philosophy is the vital to understand his motivation behind his promotion in design
fields. Katzumie Masaru as a design critic applied his philosophy in the form of design principles and contributed to enlightening the Japanese Modern Design.
After World War II, the definition of the “designer” was stillblurred in Japanese society, not only to the public but also to
the people who worked in this profession. Katzumie Masaru,
one of Japan’s earliest design critic, made a significant contribution to the definition of designer. “Human is the social animal,”82
in Katzumie Masaru’s opinion, “art is one phenomenon of society, so that artist is also a member of society.”83 Thus the foundation of a designer’s work should be a part of the society. “Designer, gather with the engineer, music conductor, film director,
magazine editor and so on, is the new type of human born from20th Century’s mechanical civilization,” said Katzumie Masaru.84
Therefore, the designer should be the expert of its profession in
the new era. Katzumie Masaru shortened that, “the designer isFigure 4.1.

the new type of artist who was born in the industrial age” (Figure

Kamekura Yusaku,

4.2).85 As a result, Katzumie believed that the designer was tech-

The Memorial

nically the same as the artist. He emphasized, “the art world is

Speech forthe hometown of the designer’s heart. The design world is theKatzumie Masaru,

colony of the artist’s ability.”86

1983.

Based on Terada Torahiko’s idea of the multidisciplinary
research, the unique way of Katzumie Masaru to observe designer was that he digested the boundary between science andliberal arts. In the conference of “Industrial Art News” in 1952,
Katzumie Masaru announced that only designer could avoid
the gap between Art and Engineering. Because of the battle
between the machine and the natural science, the engineer was
110

4 Katzumie Masaru’s Philosophy

born; In the same situation, because of the battle between themachine and art, the designer was born.87 In Katzumie Masaru’s
mind, the relationship between the artist and the designer was
similar to the relationship between the scientist and the engineer. There was no hierarchy between each other. They were allneeded by society.
“Art, design, and architecture are inseparable components ofhuman activity in pursuit of the good forms of the times,” said
Katzumie Masaru. On his point of view, the isolated culturalareas such as art, design, and architecture, were all the specialization developed on the progress of human civilization. He
encouraged architects, designers, and artists to work together
for human civilization on a global scale (Figure 4.3).88 Under
this philosophy, the Japan Design Committee was found in the
1950s. Katzumie finally defined that, “designer is the artist who
constructs the view of life.”89 Katzumie considered Graphic
designer as a type of artist so that he could take the value ofindividual artist into consideration. As mentioned above, his
believing of graphic designer’s distinct values from personality
made the success of the “Persona” exhibition in 1965, which indicated the next step in the design development. Furthermore,
Katzumie disagreed with architecture’s priority in the design
field. He had considered that the graphic design and industrial
design had to join and develop together with architecture design (Figure 4.4). Graphic design and industrial design were thesame as architecture. They all constructed the total image of theliving environment. Katzumie suggested developing the graphic
design in priority. He believed that the citizen in modern society
would first notice the life-changing from the graphic design.
This condition would be the foundation of developing otherdesign subjects with people’s understanding, and with people’s
support. In his words, “Designer’s actual result to the society should be commercial art, such as the poster, advertising,
111

芸術家

デザイナー

産業社会

デザイン

時代の良き形

Figure 4.2. Katzumie Masaru’s
Concept of “Designer,” Design:
Wang Xiaofeng

美術

建築

Figure 4.3. Katzumie Masaru’s
Concept of the relationship between
Art, Design, and Architecture,
Design: Wang Xiaofeng.

Figure 4.4. Katzumie Masaru, The Relationship between Industrial Design,
Commercial Design, and Architecture Design.

112

4 Katzumie Masaru’s Philosophy

packaging, et cetera.”90 Because of Katzumie Masaru’s strong
support, as mentioned before, the first international design
conference in Japan–the World Design Conference (WoDeCo)–
could include 227 people in total from diverse design fields suchas graphic design, industrial design, architecture, craft, critique,and education, et cetera. Japanese people who attended theconference could improve the knowledge of the diversity in design. It can be proved by Ishioka Eiko’s words, “As a student, it
was the first time for me to listen to the world known designers’
lectures and to know their consideration of design. I was able togain exciting experience that allowed me to know the actual big
feature of design from architecture design to industrial design,interior design, graphic design, and so on.”91 The problems in
the city were solved due to the graphic designers, industrial
designers, and architects. The interdisciplinary force was theway to solve problems.92 Katzumie Masaru’s thinking was reflected in the plan of the Tokyo Olympic Games 1964. Usually,
the design in such kind of international events requested thearchitects firstly. Then, other design subjects joined to work forthe entire space. Katzumie Masaru tried to avoid this defect asmuch as he could so that the Tokyo Olympic Games in 1964 was
the precedent (Figure 4.5).93
Katzumie Masaru was not the one who jumped into the design
field, because the design field has not existed in Japan in the
1940s. He started to write critiques in the field of craft. During
this period, he built up the knowledge and philosophy system inart, craft, beauty and function knowledge, and society. Herbert
Read believed that creating a synthesis between art and craftsmanship was the task of the designer.94 Katzumie had declared
the importance of the position of craft. He said, “It is often said
that craft is the limit area of industry and art, and can be seen
as more artistic when it comes to machinery and architecture,
but when it comes to painting and sculpture, it shows a lifestyle113インダストリ
アルデザイングラフィック
デザイン
デザイン運動インダストリアルデザイン

総合問題

建築
インダストリアルデザイン建築

グラフィックデザイン

Walter Gropius

Katzumie Masaru

Koike Shinji

1883–1969

1909–1983

1901–1981

Figure 4.5. Different Consideration About Design Fields,
Concepts Between Walter Gropius, Katzumie Masaru,
and Koike Shinji, Design: Wang Xiaofeng.

Figure 4.6. Katzumie Masaru, The Relationship between
Fine Art, Craft, and Design.

114

4 Katzumie Masaru’s Philosophy

or technical aspect. It seems that there will be a chance to finda way to bridge the gap between the traditional scientific viewand technology, art, and fine art.”95 To Katzumie, the craft was
an interdisciplinary subject that often ignored by the educationof science and art. “We were always taught subjects like science, technology, art, and literature as in a kind of parallel situation so that they do not integrate. As a result, when we faced aproblem that was in the middle of the two, or the limit domain,no matter how serious it was, we could not expect an answer
from education,” said Katzumie Masaru.96 When Katzumie
Masaru faced design problems, it was the same situation. The
foundation of design in Japan at the time was not built for sure.
Influence by Terada Torahiko, Katzumie Masaru tried to introduce Terada Torahiko’s view of craft and his perceptiveness of
integrating the academic fields. Katzumie believed that Terada
Torahiko was the most celebrated pioneer of the limit territory
in Japan. Katzumie Masaru noticed the specific design education could not be the isolated territory of consideration. It must
be connected to the relevant fields and gathered these subjects
to work together. Therefore, Katzumie could say that “The fieldclose to Graphic Design is printmaking, the field close to industrial design is craft. These nearby fields should have communication.”97 This idea was very important not only because hewanted to fill the gap between the field of the craft and the design, but also to build the connection to them.
Katzumie Masaru discovered the hidden principle of the difference between artist, designer, and craftsman by explaining therelevance of heart, head, and hand (Figure 4.6). On this diagram,fine art started from the heart but not lack the function of thehead and the hand; the head could motivate design, but could
not ignore the inspiration from the hand and the heart. The
craft had to face seriously to the heart and head as well.98 Thismethod of thinking could be beneficial for the understanding of115

design while the design theory and its education were not constructed yet in Japan.
At the same time, Katzumie Masaru had clearly realized thatthe craft was not the same to design. “As things are changing
at a rapid tempo at present, such traditional packages, together
with crafts, will sooner or later disappear,” said Katzumie Masaru. He also clarified that the industrial revolution made a new
way of producing goods. Gathering with the new materials, themethod of producing goods transferred from handmade to mechanical manipulating. The craft was challenged by industrial
producing.99 In Katzumie Masaru’s eyes, the artist who received
professional education and joined the early design works became the profession as a designer.100 From this point of view,the designer must receive the specific education different fromthe craftsman, because the craftsman’s profession was not due
to new technologies and materials. Whereas the value of craft
was faithfully admitted. This forethoughtful concept could beseen as the theoretical reason why the Japanese design could
develop enormously on the Japanese cultural root.

82「人間は社会的な動物である。」Katzumie, Katzumie Masaru chosakushu 1, 347.

83

「美術も一つの社会現象であり、美術家も一個の社会人であります。」Katzumie, Katzumie Masaru chosakushu 1, 352.

84

「デザイナーは、工学者（エンジニーア）や、音楽の指揮者や映画の監督や雑誌のエディターなどとともに、二十世紀の機械文明が生んだ、新しいタイプの人間である。」Katzumie,
Katzumie Masaru chosakushu 2, 33.

85「デザイナーとは、産業の外にではなく、産業の内に生まれてきた、新しいタイプの芸術家である。」Katzumie, Katzumie Masaru chosakushu 2, 39.

116

4 Katzumie Masaru’s Philosophy

86

Katzumie, Katzumie Masaru chosakushu 1, 352.

87

「機械と自然科学の対決からは、工学者が生まれてきたといえるし、同じようにして、機械と美術の対決から、デザイナーが生まれてきたともいえる。」Katzumie, Katzumie
Masaru chosakushu 2, 29.

88「美術とデザインと建築は、時代の良き形を追い求める人間活動の、互いに切り離せぬ構
成要素である。これらはしばしば、孤立した文化領域、互いに対立する活動と見なされ勝ちであるが、専門と分化は、人類文明のトータルな進歩を前提としてのみ是認されよう、
われわれは相互の無理解、先入見、専門家がおち入り勝ちの独断を排斥する、建築家とデザイナーと美術家は、汎地球的な規模における人類文明のため、協力を重ねなければならない必要性を、改めてここに確認する。」Katzumie, Katzumie Masaru chosakushu 2, 35–36.

89「デザイナーとは生活風景を整える芸術家である。」Katzumie Masaru, “Dezaina noishiki nitsuite,” Industrial Art News 19, no.2, (1951): 18.

90

Wada and Onanie, 37–46.

91「私は学生として、はじめて世界のデザイナーたちの講演を聞き、彼等の考えるデザインの意味あいに触れる機会をもった。同時に建築からインダストリアルデザイン、インテリ
アデザイン、グラフィックデザインなど、デザインという実像を大きな枠組みでくくって考えることのできる刺激的な経験を得ることができた。」“Ishioka Eiko,” Kashiwashobo,
accessed August 29, 2019, http://eiko-timeless.com/?p=562.

92

Katzumie, “Jisen to tomoni,” 54–58.

93

Katzumie, Katzumie Masaru chosakushu 5, 247.

94

Müller, Shizuko, 47.

95

Katzumie Masaru, Te to zokei (Tokyo: Kyoiku bijyutsu shinkokai, 1944), 5.

96「私どもは従來、あだかも科学や技術と芸術や文学とは、互ひに交ることのない平行線のやうなものとして教へられて來た。その結果、両者の中間にあって、いはゆる限界領域に属する問題に當面した場合には、これがどれ程切實な性質のものであっても、その解答を教育から期待することは出来なかったのである。」Katzumie Masaru, Te to zokei(Tokyo: Kyoiku bijyutsu shinkokai, 1944), 3–4.

97

Kougei Sido-Syo Tyosaka ed., “modan ribingu to indasutoriaru dezain wo
kataru,” Industrial Art News 20, no.1, (January 1951): 37–42.

98

Katzumie, Katzumie Masaru chosakushu 2, 45–51.

99

Oka Hideyuki, “Traditional Japanese Packaging,” Graphic Design, no.16, July
1964, 2.

100

Katzumie, Katzumie Masaru chosakushu 2, 35–36.

117

4.2

“Form Follows the Human-Centered Function”

Katzumie Masaru did not simply introduce the European
Modern Design to Japan. At the same time, he debated it. In his
mind, he directly pointed out that the function meant the human-centered function.
Perhaps the essential modern design principle was “Formfollows Function” announced by American architect Louis
Sullivan. After the practices from the Bauhaus, this principle
was believed as the designers’ guideline for many decades.
Actually, the Bauhaus’ idealism thinking of modern design was
to consider mechanical purity and neutral property. Katzumie
Masaru had realized the meaning of functionalism design at avery early time. He pointed out the problem of the Europeanfunctionalism design. “For the human being, we have otherneeds from the mentality, from sociality, from geometry, et cetera. The human-centered function mixes many elements. Has
today’s ‘functionalism’ achieved yet?” said Katzumie Masaru.101
Katzumie’s idea was similar to László Moholy-Nagy’s. Nagy believed that “The demand for the function is the motive power ofhuman creativity. Function means the task an object is designed
to fulfill, the task instrumental in shaping the form. It must beemphasized that function is not only based on the mechanicalusage as we acquainted it in Modern design period, but also
asked from biological, psychophysical, and sociological requirements.”102
Jan Tschichold said, “Today we have moved considerably closer
to the recognition of its essence through the renewed study ofnature and more especially to technology (which is only a kindof second nature). Both nature and technology teach us that‘form’ is not independent, but grows out of function (purpose),out of the materials used (organic or technical), and out of how
they are used. This was how the marvelous forms of nature andthe equally marvelous forms of technology originated.”103 These118

4 Katzumie Masaru’s Philosophy

principles included the idea that designed objects should becharacterized by a lack of ornamentation; design should be true
to materials; design should be true to form; design should express the purpose. Obviously, function means the purpose.
Katzumie Masaru pointed out that the particular conditions ofdesign as follows:
1.the applied material;
2.the tool to choose to suits to the functional technology;
3.the target of function;
4.the influence from the tradition or the popularity;
5.the beautiful and joyful form, which meant the will of beauty.
In the middle of all these five conditions, Katzumie Masaru alsodeclared that the last condition was the actual vital point of thedesign. Therefore, In Katzumie’s mind, the function was only
one part of the conditions of design, not all.
Modernism’s functionalism design reduced the ornament purpose from the functional form. This condition made the modernism objective and cold. On the contrary, most human beings
seem not corresponded in the same sense. The modernism
designer supported the functionalism state–“Form follows function”– through the 20th Century. However, observing the whole
history, the function was not always the aim of making architectures or crafts. Indeed, human activities without functional purpose also existed.104 The pure functional design did not consider
the myths, religions, and empires as a part of the human being.
The subjective human had to accept the objective design could
not be the rule. Human absolutely needed the physical, cultural,and geographical cares as well. Simply with the purpose to beagainst with the Modernisms, post-modern designers place aform in space because it “feels” right rather than to fulfill a rational need. The post-modern design was often subjective andeven overdone. The designer became an artist showing himself
119

Figure 4.7. Katzumie Masaru, Structure of the Functional
Beauty in Craft.

120

4 Katzumie Masaru’s Philosophy

before the audience.105 “Less is more,” the famous quotes fromthe modernist architect Ludwig Mies van der Rohe, has beenused to understand the meaning of design work for many decades. “Less is a bore,” said Robert Venturi directly posted the
problem of Modern Design.
The history proved that the Modernism living style could be
utopian.106 For nineteenth- and early twentieth-century designers and critics, the perception of science and technology was
rapidly changed and transformed many aspects of everyday lifeand experience. It represented both utopian and dystopian possibilities.107 The approach of Modernism design was idealism.
The reason was that the pure functionalism design was not all
people’s needs.108 When the postindustrial era came, the social,economic, and environmental awareness of the period caused
the opposite to the modern aesthetic. Modern design was nolonger the most relevant part of society. For post-modernism
designers, the modern design was seen as the old thing: theold philosophy, the old aspects, the older man did the old style.
People in many fields embraced the term post-modernism toexpress a climate of cultural change.109
Katzumie Masaru’s knowledge of “function” was not only
learned from design, but also received from craft. Katzumie
Masaru believed that the meaning of craft was not about thelots of production, but the quality.110 He also had a clear definition for the functional beauty of the craft, “The functional beauty takes care of the user’s psychology … When the emphasis is
on functional beauty, the crafts are viewed not as isolated ones,
but as ones that localized in the human living environment, andones that form an organic whole”111 (Figure 4.7). The function ofdesign to Katzumie Masaru was an integrated form conveyed
the aesthetic culture from the functionalism design, the craft,
and the human-centered function. For this reason, he was not121asking the Japanese design took the same form to the European
Design because he knew that the design was the outcome ofreality. Therefore, the development of Japanese Modern Design
was not total idealism.
Katzumie Masaru made his Non-Utopian design philosophy
in developing the Japanese modern graphic design. That was
the reason why the post-modernism design did not invade andattack the Modern Japanese design like the European design. It
was a topic of the broader range of possibilities, which was not
one style against with another style. Japanese graphic design
has no big problem in the post-modern design period, whichattacked the modern design culture because it was developed
based on the humanization. Hamaguchi Ryuichi, one of the earlyJapanese Architecture Critic, had argued “Humanism Architecture” on the 1st issue of the “Plan1” magazine by Mayekawa
Associates, Architects & Engineers in 1947. He argued that contemporary architecture should change the old citizen to the new
citizen, and the citizen in the future. The meaning of “functionalism” to Hamaguchi was that it should “beyond the function,”and “beyond the human.” Therefore, the Japanese graphic
design was not pure modernism because it was not utopian. It
was a part of life.
The Japanese modern graphic design was not the same as theEuropeans’, because of the language and culture conditions.
The Japanese modern graphic design had educated many designers in many generations. The selections of the “Graphic Design” magazines were not only chosen design works from idealistic Europe but also included economy-oriented America anddesign developing countries. Not as the “New Graphic Design”
magazine in Switzerland, Katzumie’s “Graphic Design” wasopen to all the experimental designers. Moreover, the hot words
such as post-modernism design in Japan were not so that122

4 Katzumie Masaru’s Philosophy

popular, instead of that, Japanese design after the World War IIcame to the modern, pioneer, traditional pragmatic post-modern style development so-called the “Post-war Period.”101「人間にはそのほかにも、心理的な面や、社会的な面や、地理的な面などがあって、さまざまな要素の複合体である。このような複合体としての人間の立場から要求される機能が、現在のいわゆる〈機能主義〉によって、はたしてみたされるであろうか。」Katzumie,
Katzumie Masaru chosakushu 2, 27.

102

László Moholy-Nagy, “New Method of Approach-Design for Life,” in Design Reform, Modernism, and Modernization, ed. D. J. Huppatz (London:
Bloomsbury Academic, 2016), 139.

103

Jan Tschichold, The New Typography, trans. Ruari McLean (Berkeley:
University of California Press, 2006), 65.

104「古来のすぐれた建築や工芸で、機能にしたがっていないものがあったであろうか。」
Katzumie, Katzumie Masaru chosakushu 2, 27.

105

Meggs and Purvis, Meggs’ History, 467.

106

D. J. Huppatz, Design Reform, Modernism, and Modernization (London:
Bloomsbury Academic, 2016), xvi.

107

Ibid.

108

「機能主義の無装飾性というか、合理性の冷さというか、何かそういったものに対して、もう多くの人々が、一種みたされない感じを抱いているように見える。」Katzumie, Katzumie Masaru chosakushu 2, 27.

109

Meggs and Purvis, Meggs’ History, 466.

110

「クラフトは量でなく、質の立場から評価されねばならないと感じた。」Katzumie, Katzumie Masaru chosakushu 2, 45–51.

111「機能美に重点を置くときは、工芸品は個々に孤立したものとしてではなく、人間の生活環境のうちに定位されたもの、有機的全体を形成するものとして眺められるであらう。」
Katzumie, Katzumie Masaru chosakushu 2, 21–25.

123

4.3

“Design is to Achieve the Form of the Will of Beauty”

Katzumie Masaru pointed out that the decisive conditions ofdesign were as follows: the first was the applied material; thesecond was the tool to choose to suits to the functional technology; the third would be the target of function; the fourthwould be the influence from the tradition or the popularity;
last but not the least was to get the beautiful and joyful form
which meant the will of beauty. In the middle of all these fiveconditions, Katzumie Masaru also declared that the last condition was the actual vital point of the design. “Achieving themost beautiful and good form is the top priority of the design’s
guiding principle.”112
The Japanese word “Katachi,” Katzumie Masaru used, could
be translated to either the “Form” or the “Shape.” The “form”
could be seen as an important outcome in 20th Century’s modern design movement. The awareness of form in design wasoften misunderstood as shape. The “form” is the unity of theelements that can be visually described by shape. The “shape”
can be expressed as the abstract feature or any subjective
impression. As American architect Louis Sullivan put it, “Allthings in nature have a shape, that is to say, a form, an outward
semblance, that tells us what they are, that distinguishes themfrom ourselves and each other.” A human did not make the“form,” but human knowledge was improved by realizing new
form in large realms such as Science, Technology, and Aesthetics, et cetera. Therefore, the “form” is often the hidden principle that constructed the materials to be the visible shape. It is
the substance. On this point, it is clear to know that Katzumie
Masaru meant the “form,” not the “shape.” Based on Katzumie
Masaru’s belief, “the designer is the new type of artist.” It possibly explained that he used the will of beauty to describe the“form” in design. Herbert Reed believed that the form of a product was the inevitable nature of things and the accidental natureof beauty. In addition to the art was established by processing124

4 Katzumie Masaru’s Philosophy

various materials, Reed tried to base the significance of the artthat collected and combined existing units from art and names
them as the art of construction.113 Katzumie Masaru also said,“How to cooperate the conditions (materials, technology, theway of use, function, the cost, et cetera.) with the visual elements (dot, line, square, three-dimension, space, color, brightand darkness, texture, et cetera.) to construct and receive themost beautiful and good affection is the work of design”114 (Figure 4.8). Therefore, the form of a designer’s work was undoubtedly not meant to create the shape of the design, but to findthe solutions and create the best solution to be appropriately
used for the industrial society. For example, in graphic design,
because the traditional readers before the modern age had
plenty of leisure time to read a book line by line, the old-style
books contained both texts and ornaments.115 On the contrary,
the modern graphic design highlighted the form of function by
separating the text to hierarchy, because of the huge amountof information and the fast lifestyle. The will of beauty alsochanged at the same time. In the 20th Century, the modernism
designers somehow succeeded in finding the industrial forms.
They learned to summarize the form from modern art, and thento correspond it to the industrial form. This method was thereason that modern design can become prosperous in a shorttime (Figure 4.9).116 In Max Bill’s mind, the “good form” was the“sum of all functions in harmony.”117 However, many designers
were usually fascinated by the diversity of shape but ignore theexistence of form. So that such design might be “beautiful”,
but could not be the “good form.” It was not possible to spreadout the property to the society. Katzumie Masaru pointed outthat the most beautiful and good form was the goal of thedesigner’s work.
Moreover, the perfect “Form” must be achieved in the wayof “Construct.” Josef Müller-Brockmann believed that “the
125

デザイン
条件

視覚要素

材料

点・線・面

技術

立体

用途
機能

空間

配合

色彩

伝統

明暗

コスト

テクスチュアなどなど

デザインの形構成

最も美しく好ましい効果

Figure 4.8. Katzumie Masaru’s Concept of Design
Activity, Design: Wang Xiaofeng.

モダン社会

アーティスト

モダニティ

モダニティ

デザイナー

モダンアートの形（モダンアートの美意識の形）

構成

モダンアートの形（モダンアートの美意識の形）

Figure 4.9. The Method to Carry Modernity into Design,
Design: Wang Xiaofeng.

126

転換

デザインの視覚要素

4 Katzumie Masaru’s Philosophy

designer is the citizen who is using design to construct the society in order to contribute to society. This is the awareness ofthe designer’s responsibilities.”118 Katzumie Masaru realizedthat the “constructive” awareness was not wholly obtained by
the Japanese designers so that he devoted himself to promote
the establishment of constructivism design in Japan (Figure 4.10,
4.11, 4.12).
Le Corbusier described that “comparing with the technicalman’s work is to analyze and calculate, the meaning of ‘constructive’ is to integrate and create. The technical man’s result isto achieve the function, but the constructivist is enthusiastic in
the order of compromising and beauty.”119 In the post-war period, the Japanese graphic designers did not clearly understandthe definition of graphic design. They felt muscular tension
because they could not identify themselves. Katzumie Masaru
realized that the Japanese designers lost the “constructive”
purpose, and the graphic design theory was inevitably needed.
“For Japanese graphic design to free itself of the academism ofthe ‘school of applied arts,’ it was first of all necessary to establish constructivism. The next urgent task was to introduce theconstructivist methodology firmly into printing.”120 As Katzumie
explained, to build up a new society in the new form of constructivist was the purpose that he found the “Graphic Design”
magazine. The role and the social responsibility of the magazine
were entirely recorded on its name by Katzumie Masaru, as heexplained that “If the journal had been called Commercial Design, it might well have won more readers, and if it called itself
Visual Design, it might have been able to formulate a more
Avant grade editorial policy. However, in choosing the title of‘Graphic Design’, it was our wish to promote the establishmentof constructivism firmly connected with printing.” Katzumie put
his clear opinion on selecting the design works. For example,
when he focused on the designers with a frankly constructivist
127

構成主義

構成

社会

Figure 4.10. The Constructivism Way of Constructing
Society, Design: Wang Xiaofeng.

デザイナー
構成

最も美しく好ましい効果

アー
ト

イン
ザ

ととのえる

デ

モダンリビング社会

Figure 4.11. Katzumie Masaru’s
Concept to Construct Modern Livingfrom Designers’ Aspect, Design:
Wang Xiaofeng.

Figure 4.12. The Relationship of Art,
Design, and Society, Design: Wang
Xiaofeng.

128

4 Katzumie Masaru’s Philosophy

style, Katzumie chose Max Bill, Joseph Muller-Brockmann andKarl Gerstner rather than Raymond Savignac, Hans Erni andHerbert Leupin.121 Actually, Katzumie admired the art value ofSavignac a lot. He had already introduced him in his books,
such as the “Compendium of Design” in 1954 and the “World’s
Commercial Designers 80” in 1956. Therefore, in Katzumie
Masaru’s clear mind, the “Graphic Design” magazine was theweapon used to construct the graphic design society. He did
not make a magazine for leisure view. It was indeed a theoretical magazine with high academical value. In 1965, Josef
Müller-Brockmann described that one of the properties of Japanese Publicity Design was that the image ordered on emphatically constructivist lines.122

112「最も美しく好ましい形態を与えたいという意図が、デザインの最高の指導原理である。」
Katzumie, Katzumie Masaru chosakushu 2, 35.

113

Katzumie, Gendai dezain riron, 232.

114

「材料、技術、用途、機能、伝統、コストなどをにらみ合せに上で、どんな風に点、線、面、立体、空間、色彩、明暗、テクスチュア等の視覚的要素を配合し、構成したら、最も美
しく好ましい効果を与えることができるかと、いろいろ工夫することがデザインである。」
Katzumie, Katzumie Masaru chosakushu 2, 35.

115

Tschichold, The New Typography, 64.

116

J. Edgar Kaufmann, “What Is Modern Design?” in Design Reform, Modernism,
and Modernization, ed. D. J. Huppatzs (London: Bloomsbury Academic, 2016).

117

Katzumie, Gendai dezain riron, 182.

118

Müller-Brockmann, Josef Müller-Brockmann, 221.

119

Katzumie, Gendai dezain riron, 232.

120

「日本のグラフィック・デザインが、いわゆる〈応用美術〉の美学から自由になるためには、
まず構成主義の確立が必要であった。つぎに、このような構成主義の手法を、印刷術のなかに定着させることが急務であった。」Katzumie Masaru, “Behind the scenes,”
Graphic Design, no.34, June 1969, 88.

121

Ibid.

122

Müller-Brockmann, “Japanese Industrial Design,” 136–137.

129

4.4

“Design is the Quality of Civic Life”

European Constructivism was known as the major resource for
the Japanese design movement.123 However, Katzumie Masaru
made a decisive contribution to the understanding of European
problems of design. He learned that from history. He knew thelong path of European design movement after the industrial revolution, from the Arts and Crafts Movement, the Art Nouveau,
until the Bauhaus. The European design history reminded himthat the art styles were not the reasons for design. Design had
to prove the value of the humanization to the citizen.
By defining the term of the designer, Katzumie Masaru also put
the task to the Japanese designer. “Although it is often called‘modern living,’ it is almost always the designer’s side to cultivate modernity and bring it into life,” said Katzumie Masaru.124
He directly pointed out that the actual designer’s responsibility
was to provide modernity to civic life. At the same time, theterm “modernity” in the Oxford Dictionary of English meant thequality or condition of being modern. Therefore, it was understandable that the quality of civic life meant the quality of being
modern living to Katzumie Masaru. The condition of civic life
also meant the condition of being modern living. Furthermore,
civic life was the core object of design. The quality of civic life
was the vital problem of design (Figure 4.13).
Katzumie Masaru always took the love of living into consideration. “So far, my method of critiquing is always based on mybelief that I am also one of the living people, a consumer and anormal citizen, I take the love of living as the first priority.”125 He
put the same request to the designer. Katzumie emphasized thatthe property of the designer was to construct the view of life.
The designer himself as a citizen should pay attention on people’s living place and put their loves into it. He said that “WhenI climbed up the mountain many years ago, I deeply understood
the meaning of living. Of course, this is not the designers’ ob130

4 Katzumie Masaru’s Philosophy

ject. Their object is the society with the democratic culture.” Besides, Katzumie warned the designer to keep the social philosophy and the awareness of solidarity. Once the design could not
be fed from society, the design development could be broken as
a boom. The designer, as a new type of human, had to be apartof society. The society was where they came from, and what
their practice had to work. Katzumie described the designer
who made the bad design as a killer. He emphasized that thedesigners had to be strict with themselves. They had to equipwith the high awareness of the problem of society. Katzumie
pursued this kind of designers for constructing society.
“The civic life as the designer’s object is always the averagelevel of a civilized democratic society,” said Katzumie.126 This
clearly explained that Katzumie Masaru’s democratic thoughts
and his aim to develop modern design. The design activity had
to come close to the full range of citizen and to develop withthem together. As Katzumie explained, “if the design is much
more expensive than the purchasing ability, the design could
not reach the popularization.” Same with Katzumie’s idea,
Hamaguchi Ryuichi believed that the outcome of post-war functionalism design in Japan should not be the beauty. Because
the living condition and the producing ability were low, thearchitecture at that time was not beautiful. This problem would
be settled when people’s quality of living and social ability become better.127 The experimental design was crucial for the design world, but the design was not the art of a citizen’s life. On
Katzumie’s mind, “design is not the topic to be considered to besacrificed by each citizen, because everyone has different taste.
Design is the topic to serve them all.” In other words, “design
should reflect the average level of all people’s needs.”
Nikolaus Pevsner posited design practice as an embodiment ofboth the zeitgeist (spirit of the age) and national characteristics,131デザイナー

モダニティ

Figure 4.14. Kamekura Yusaku,
G Mark, logo, 1957.

モダンリビング
Figure 4.13. The relationshipbetween Designer and Modern
Living, Design: Wang Xiaofeng.

Figure 4.15. Cover, “Living Design
Magazine,” no.2, 1955.
着る

使う

服飾

家具
食器

市民生活

デザイン
住む

住宅
建築

Figure 4.17. Katzumie Masaru’s
見る

132

ポスター
広告

Concept of Living Design, Design:
Wang Xiaofeng.

4 Katzumie Masaru’s Philosophy

aesthetic, and technological forces. The designer’s moral imperative to improve the material and social aspects of people’s
lives.128 Felling the possibility of the life-changing was the identity of modernism designers. In post-war Japan, its population
was only 70 million. The way for Japan’s economic policy was
to input the materials and produce, then export the production
abroad. In this situation, the direction of copy the “cheap andbad” productions from foreign countries was the way that Japan took at that time. There was no awareness and ambition
to compare with foreign countries’ good products. Katzumie
realized that “Actually, if we focus on good quality with a sharp
focus, it will become a design issue.”129 From Katzumie’s perceptiveness, the term of design in Japan was not thoroughly
evaluated yet. Japan’s Peace Industry would not be developed
well if there was no profession and without the designer. To
think of Japan’s actual condition was one step before the working progress. Katzumie realized that the enlightenment of design in Japanese society was the most indispensable part. At
this historical point, a concept with “good design” made in the
post-war design movement. Katzumie organized the “design
movement” in “Industrial Art News” magazine, and made thestrategy for the continued development of the administrative
management, and proposed to statesmen and entrepreneurs.130“I have rather regarded it as a consumer problem and have considered the Good Design Movement as the creation of a global
lifestyle,” said Katzumie.131 He participated in enlightening the“good design” concept to the Japanese society – founded theGood Design Awards (G mark) in 1957 (Figure 4.14). At the sametime, Katzumie Masaru made the magazine “Living Design” in
1955. (Figure 4.15) Quality in graphic design was measured by
the changes it produces in the audience.132 This magazine, asa part of the “good design” movement, focused on promoting
the “good quality” awareness to the Japanese citizens. In orderto highlight the modern lifestyle in both western and Japanese133ways, this magazine took advantage of the power of advertising page as the same principle as the articles. The slogan of themagazine was “The monthly magazine is in the aim to make thelife proper,” “This magazine should be called total design magazine. In our daily life, living design makes your life beautiful
and rich.” Furthermore, Katzumie serialized his articles on thecolumn of “Design Movement 100 years” in one year, and later
Figure 4.16.

accumulated into a book – “Gendai Design Nyumon” (funda-

The History ofmental of the modern design).133 Many years later, this book wasModern Design,translated in Chinese language and published in Taiwan, China

Chinese Ed.,in 1976 and in China’s mainland in 1988 (Figure 4.16).

1976.

The magazine’s name “Living Design” was as the same as
the name of the course at Kuwasawa Design School. This
was Katzumie’s proposal “design for the living.” At that time,
the word “living design” was used in Europe and America.
Katzumie considered almost all the problems through civic life.
He used Katakana “ リビング (living)” instead of the Kanji “ 生活(living),” because he thought it could represent the generation.
Katzumie separated the main topic “Living” into “Wear Design(cloth),” “Use Design (furniture and tableware),” “Living Design(architecture),” and “Seeing Design (poster, advertising)” (Figure4.17). The “Living Design” magazine was abolished in 1958, andthe new magazine named “Design” replaced in October 1959. In
the same year, Katzumie started the “Graphic Design” magazine
to spread his philosophy into the graphic design field.
Katzumie Masaru said, “Design is the common property of
mankind.”134 After directed the pictogram system for the Tokyo
Olympic Games, Katzumie Masaru decided to waive the copyright of the pictogram. He received support from the designers
in the design group. Shigeo Fukuda remembered the momentthat Katzumie said to the design group, “You all have donea great job, but it has to be returned its profits to society. If
134

4 Katzumie Masaru’s Philosophy

someone asks “who drew this?” The answer would be that theJapanese people did this job!”135 The copyright of the pictogramsystem may bring him a fortune at the time, whereas Katzumie
never thought that way. He believed that if the copyrightachieved, the pictogram would not be widespread. Therefore,
Katzumie Masaru did not considered the design just as a job. He
did not intend to earn money from it. Katzumie Masaru held hisheart to change society to be its original aspect – a better living
circumstance in the modern period – by the power of design.

123

Meggs and Purvis, Meggs’ History, 448.

124

「ひと口に、〈モダン・リビング〉などと言うが、モダニティを開拓し、それを生活に持ち込んでいくのは、ほとんどいつもデザイナーの側である。
」Katzumie, “Dezaina no ishiki,” 18.

125

Katzumie, Katzumie Masaru chosakushu 2, 279–281.

126「ひと口に生活といつても、デザイナーの対象となるのは、民主的な文明社会の平均水位にある生活である。」Katzumie, “Dezaina no ishiki,” 18.

127

Hamaguchi Ryuichi, Shimin syakai no dezain: Hamaguchi Ryuichi (Tokyo:
Jiritsu-Shobo, 1998).

128

Huppatz, Design Reform, xxi.

129

「実は good quality に鋭く焦点を当てて煮つめていけば、デザイン問題になってくるんですね。」Katzumie, “Jisen to tomoni,” 54–58.

130

Katzumie, “Jisen to tomoni,” 54–58.

131「私はどちらかというと、コンシューマーの問題としてとらえ、グッドデザイン運動を、汎地球的な生活様式の創造と考えてきた。
」Katzumie, Katzumie Masaru chosakushu 2, 271.

132

Jorge Frascara, “Graphic Design: Fine Art or Social Science?” Design Issues 5,
no.1 (Fall 1988): 18–29.

133

Tsunami Mikiko, “Kuwasawa Design School in the Design Movement inJapan,” Bulletin of JSSD 50, no.6 (2004): 47–56.

134「デザインは人類の共有財産である。
」Katzumie, Katzumie Masaru chosakushu 3, 265.

135

Noji Tsuneyoshi, Tokyo Olympic Monogatari (Tokyo: Syogako-Kan, 2013), 209.

135

Figure 4.18. Tanaka Ikko, Nihon buyo,
poster, 1981, Takeo Poster Collection,
Tokyo.

Figure 4.20. The College of Fine Arts, In Appreciationof Katzumie Masaru for the Curation of the Classical
Performing Arts Friendship Mission. Katzumie Masaru
Collection at Art Archives Center, TAU.

Figure 4.19. Fukuda Shigeo, Kyogen,poster, 1981, Takeo Poster Collection,
Tokyo.

136

4 Katzumie Masaru’s Philosophy

4.5“To Love Japanese Life is the Designer’s Beginning”

The outstanding representation of Katzumie Masaru’s concept
should be referred to the excellent arrangement of traditional
Japanese motifs in modernist design. “To love Japanese life isthe designer’s beginning,” said Katzumie Masaru.136 He reminded the necessity for younger Japanese designers to give morethought to the relationship between the national traits of people
and industrial development.
Katzumie Masaru himself as a Japanese had a keen awarenessof the relationship between the traditional Japanese lifestyleand the modern lifestyle. Under Katzumie Masaru’s art direction, Japanese traditional culture signs were entirely reinvented
to modern aspects. Katzumie said, “the Japanese standard ofbeauty – to be neat and trim – is no longer seen in any aspectof our life. This is one of the superior qualities of Japanese design. The question is how to develop this quality in modern
industry.”137 He hopes each Japanese designer will acquire acomplete understanding of Japanese beauty and a complete
mastery of Japanese techniques and then endeavor to create
new Japanese design based on newly developed materials andproduction processes. For example, Katzumie Masaru curated
the poster exhibition in the Japanese traditional performing arts
theme at the University of California, Los Angeles (UCLA) in
1981. The posters designed by 12 Japanese graphic designers
in the topics of Nihon buyo, Kyogen, Noh, Hayashi, Gagaku, andNagauta shamisen received great accomplishments. Robert
Gray, the Dean of the College of Fine Arts UCLA, ever said,“this exhibition showed the creativity on the highest levels inJapanese culture is truly timeless” (Figure 4.18, 4.19, 4.20).
Katzumie believed that the education of craft contains theknowledge of science and technology, and instills the spirit ofnational spirit and soul. The education of craft was the tool toeliminate the distinction between the current technology and137

Figure 4.21. Sugiura Kohei, Match

Figure 4.22. Noren, Inner Page of “Graphic Design”

Package Design, 1964. Katzumie

Magazine.

Masaru Collection at Art Archives
Center, TAU.

日本人の
リビング

モダニティ

伝統

日本の
デザイン

Figure 4.23. Katzumie Masaru’s Concept of the Relationshipbetween Japanese Culture, Japanese Modern Living, andJapanese Design, Design: Wang Xiaofeng.

138

4 Katzumie Masaru’s Philosophy

art to the next generation of citizens. In order to organicallyinherit the traditional master skills from history to the modernage, Katzumie gave his solution once he talked to Oka Hideyukion the topic of the traditional Japanese packaging. It’s like a
hardback and paperback edition of a book, Katzumie suggested
to produce two different categories of the packages. One wasthe craft packages made of the traditional material with traditional technique. The other one should be separated from thetraditional packages, and newly designed in Japanese style andsuited to new production processes and technologies.138 In other words, “design” was not limited by “technology” in Katzumie
Masaru mind. Technology could create a social living environment, but it did not have the power to make it beautiful. Similarly, it was not just “expression.” Expressions lacking technology
could bring beauty to life, but they did not have the power toform a social living environment. From the technology part,
Katzumie suggested modern Constructive Design. From theexpression part, he encouraged Japanese designers to focus on
the traditional aesthetic style and the Japanese living style. This
concept can be observed from Sugiura Kohei’s new Japanesematch design from the report of the “Graphic Design” magazine(Figure 4.21).
Under Katzumie’s guidance of the “Graphic Design” magazine,
the research on traditional element took a big part of Katzumie’swork. Lots of traditional orientated materials could be found in
this magazine. Despite the identical cultural element Ukiyo-e,
the much familiar objects closed to people’s daily life werealso included, such as traditional package, Japanese traditional
wooden information plaques, pattens, and paper (Figure 4.22).
He used these materials for the first chapter of every issue of“Graphic Design” magazine. With the theme of tradition, he put
his declaration to the other designers that the traditional visualelements will come up at the beginning of the contents. For an139

Figure 4.24. The Logotype of “Graphic Design”
Magazine, Archive of the Katzumie Masaru Collection at
Art Archives Center, TAU.

140

4 Katzumie Masaru’s Philosophy

other example, when Katzumie Masaru directed the pictogram
design in Tokyo Olympic Games in 1964, he realized that thevisual sign was already in Japanese traditional visual culture,such as the traditional “Kamon” (Mark of the Family).He also
found the word “Ekotoba” existed in Japan’s history, and it canmake a better understanding of the Japanese people rather thantranslate it to the “Visual Language.” He intended to develop
the traditional Japanese sign into the modern application (Figure4.23).139 Katzumie Masaru chose the most common visual element from Japanese people’s daily life so that it would remindthe citizen that the design was not far from their living circumstances. People were easy to accept it as a tool to present themessage in their traditional way. The form and the function of
the pictographic system design were all based on the reality ofJapanese life.
Moreover, the logotype design of this magazine was also
very typical. It unexpected used the Japanese Katakana on
a Mincho-style typeface gathering with the functionalism
Latin sans-serif typeface “Univers” (Figure 4.24). This design
proved Katzumie Masaru’s humanistic design realization under the European Modern design philosophy. If it was not so,
the “Graphic Design” magazine headline should undoubtedly
use a Japanese Gothic-style typeface because the principleof the European modern graphic design was to use sans-serif typefaces. The eager of applying Mincho typeface was thereflection of believing in human-centered functionalism, thatbrought the high quality to all the citizens with a different background. Such kind of identical feature of Japanese modern
graphic design explained that there are not only one feature
or a unique style of the modernism design. Japanese modern
designers could evaluate the possibilities of modern design depending on their culture, habits, and the realization of the term
“Modern.”
141

デザイン

社会活動

市民生活

Figure 4.25. Design as the Social Activity for Civil Life,
Design: Wang Xiaofeng.

Figure 4.26. Sato Koichi, Takeo Paper
Show, 1982, Takeo Poster Collection,
Tokyo.

142

4 Katzumie Masaru’s Philosophy

It was the intelligence of the Japanese people who made therest of the world understood their design. The modern development under the multi-culture circumstance made the iconic identity of modern Japanese graphic design. Eventually,
Japanese people had to meet the contrastive “Western” and“Japanese” culture forms since the Meiji Era. After a hundredyears development, Japanese people learned their lives fromboth traditional aspects such as Zen, Tea Ceremony, Flower
Arrangement, and modern objects, such as the car, television,
washing machine, et cetera. The edge of different living forms
was obvious, but Japanese traditional culture signs were entirely reinvented to modern aspects. As Tanaka Ikko described,
the “traditional” transited to the “modern” was natural, but thecondition in Japan was the traditional culture digested in themodern lifestyle (Figure 4.25, 4.26).140

136「デザインの仕事は、広はんな市民生活と、常に密着して進められねばならない、日本のデザイナーは長いデザインの傳統を持つ、日本人の生活と密着して、その仕事を進めて行かねばならない、… まず、日本の生活を愛すること、それからデザイナーの出発は始まる。」Katzumie Masaru, “Dezaina no ishiki,” 18.

137

Oka Hideyuki, “Traditional Japanese Packaging,” Graphic Design, no.16, 80.

138

Ibid.

139

「実は、
わが国には、〈視覚言語〉などという生硬な訳語がはやりだす前から、ちゃんと〈絵ことば〉という用語があり、また、紋章という世界でも最も完成した視覚言語の一体系が存在していた、［...］筆者が東京オリンピックのデザイン、ポリシーに生かしたいと念願したのは、わが国の紋章デザインのこの伝統にほかならなかった。」Katzumie Masaru,“Internationalization of pictogram,” Asahi Journal 7, no.41, (October 3, 1965):
6–10.

140

Tanaka Ikko, Tanaka Ikko, 51.

143

144

活動

成果

民主意識

登山家

学生

登山哲学

雑誌の夢

教育者

雑誌
編集者

2, 3, 4, Design: Wang Xiaofeng.

Figure 4.27. The Structure of the thesis, including Chapter

チャプター

勝見勝
人物像

自由意識

教育意識

デザイン
意識

戦争思考

勝見勝
デザイン
哲学
デザイン
評論家

勝見勝
デザイン
活動

デザイン
地位の向上

夢の実現

視覚伝達
文化醸成

デザイン
教育者

デザイン誌
編集者

デザイン賞
審査員

アート
ディレクター

デザイン学
研究

デザイナー
養成

社会教育

グラフィック
デザイン
雑誌

シンボル
マーク

デザイン
ポリシー

絵ことば

4 Katzumie Masaru’s Philosophy

4.6

Conclusion for Chapter 4

Katzumie Masaru’s philosophy is the foundation of the design
thinking behind the design activities. This research provides themethodology which starts from investigating the person’s characteristics and social activities to assume the person’s philosophy. Then, the philosophy becomes the reference knowledge
to explain the un-told history about his actual motivations andactivities (Figure 4.27). This methodology can also be advantageous to research another person’s perspective on humanhistory. The research on Katzumie Masaru in a full scale also
clarifies the relationship between the individual personality andthe development of the design in society. Katzumie believedthat “design aims to construct,” so that he constructed hisrole in the design circle depended on his personality. He could
adopt his interests, life thinking, and previous experience as theguidance of his design critique. To Katzumie, he could solve theproblem in life through design (Figure 4.28). This awareness isstill new if we see from today.
Based on democracy and industrialization, modern design embodied the values of Katzumie Masaru’s age. He understood
the power of design from Western industrial movement. At
the same time, he did not apply the concrete European design
philosophy into Japanese society. He found the importance of
Humanity in the Modernism Design. “Designer is the artist who
constructs the view of life,” said Katzumie Masaru. He reminded the designers not to forget their role as the citizen in society
while they did their work; He determined the meaning of design was the human creativity to work on other human-being.
Despite the function of constructing modern society, he found
the function of design was to make people survive in the modern lifestyle. Design was not an artistic style nor the means formaking money. Design was the way to solve problems and to
make human life into a better condition. The reason for keeping
designing is the needs of better quality. That is why design can
145

Figure 4.28. Katzumie Masaru’s
Philosophy and His Social Activity,
Design: Wang Xiaofeng.

登山（人生の哲学）

社会活動

美学（デザインの哲学）

Figure 4.29. Pictogram, “Design Ah!” Exhibition,
Miraikan, Tokyo, 2018.

Figure 4.30. Family Mark, “Design Ah!” Exhibition,
Miraikan, Tokyo, 2018.

146

4 Katzumie Masaru’s Philosophy

be seen by Katzumie Masaru as the power of revolution. Under
Katzumie Masaru’s leadership from design activities, Japanesegraphic designers dispelled the narrow scope of traditional
visual communications and established their current professional status. After the poverty of post-war period, modern Japanese people have learned to observe this world conservatively.
They sought for a life in quality but never beyond their needs. In
1977, Tanaka Ikko became the art director and was credited with
developing the concept of “Muji”– a Japanese brand for quality goods. In the society of waste, the production of “Muji” asa kind of democratically designed goods would provide peoplesome high spirits. Katzumie Masaru’s influence can be foundalmost everywhere in today’s Japanese design society, andeven in the future. In recent years, the exhibition, “Design Ah,”has been held in Toyama and Tokyo and still going on exhibiting
around Japan. The art director of this exhibition, Satoh Taku, isalso the current president of JAGDA. This exhibition is basedon the “Design Ah!” program on the NHK Educational Channel.
This program is created to nurture children’s “design minds.”
Many Japanese design elements such as pictogram and family mark in this exhibition expand the practice of “Design Ah!”
into an experiential space (Figure 4.29, 4.30). Same to Katzumie
Masaru’s idea to educate the children for the nation’s future, theofficial “Design Ah!” team posts, “Our wish is for children, whowill be responsible for the future, to experience the richness oflooking, thinking, and creating with their ‘design minds.’”141
For Japanese people, Katzumie Masaru’s contribution is to provide a philosophy and methodology to make people living inmodern life with high quality of Japanese dignity.

141“Design Ah Exhibition,” accessed September 3, 2019, https://www.designah-exhibition.jp/en/.

147

148

5

Archive Design for the Katzumie
Masaru Collection

149

Figure 5.1. Wang Xiaofeng, Exhibition for Practice Work, Archive Design for
the Katzumie Masaru Collection, 2019.

Figure 5.2. Wang Xiaofeng, Final Examination, Archive Design for the Katzumie Masaru
Collection, 2020.

150

5.1

Theory-Based Archive Design

5.1.1

Introduction

Based on the previous chapters of the dissertation, the research
provides the whole figure of Katzumie Masaru through investigating his growing experience, personal minds, and design
activities. The research also analyzes Katzumie Masaru’s design philosophy, which explains his motivation for directing theenlightenment of modern Japanese design. This is the reason
that theoretical research can be integrated into archive design.
At this point, theoretical research becomes a part of the design
process (Figure 5.1).
The theoretical research provides the foundation for the archivist to understand and categorize the archives of Katzumie
Masaru Collection. When the archive design could connect thedata of resources to Katzumie Masaru’s design roots, theoretical research becomes a part of the archive design for supporting the design guideline. On this point of view, theoreticalresearch offers the theories, principles, and methods to the designer for designing the digital archive. The archive design canalso provide archival resources to do better research. They both
become the organic elements of researching Katzumie Masaru.
For the same reason, while understanding better of Katzumie
Masaru’s philosophy, I can reach to the story behind the archives and make it possible to make the archive design. Therefore, this research shares the methodology of constructing thearchive database based on a single person in art and design
history. The researcher who is using the archive of Katzumie
Masaru Collection could improve their knowledge of Katzumie
Masaru’s philosophy (Figure 5.2).
This archive design for Katzumie Masaru Collection is a framework that contains 735 pieces of photo-documented archives.
There are two ways to access the database: the dissertation-based Storytelling Part, and the category-based Tag-Based
System Part.
151

Figure 5.3. User Manual.

Figure 5.4. List of “Graphic Design” magazine.

Figure 5.5. Academic Research Report Platform.

152

5.1.2

Research-Based Resource Support

As an educational platform, this database provides numeralreference resources for researchers and students to use. An organic way of supporting the better researching experience is tocombine the reference researching materials with the databasesystem of Katzumie Masaru Collection. The archive design itself
as a hub integrates as many research materials as possible, sothat the user can compare and analyze each academic argument
on one website.
The Research-Based Resources can be divided into five parts:(1) User Manual:This section contains the introduction of the using method of
the website. Users can find the connection how the structure ofdissertation works on constructing the database. Materials of
the archive design (research aim, method, conclusion, and thefigures, et cetera) (Figure 5.3).
(2) Katzumie Masaru Resources
The user can understand the real figure of Katzumie Masaru
from these resources. This section has Katzumie Masaru’s resume, timetable, the lists of “Graphic Design” magazine andKatzumie Masaru’s writings (Figure 5.4). Katzumie Masaru has
left his design critique in a large number. From these articles, it
is possible to directly observe his life, his thinking, and his design philosophy.
(3) Academic Research Report Platform:
This website is also possible to become the media to publish
and update the recent information about the researching ofKatzumie Masaru. This archive can be a tool for people to understand Katzumie Masaru and his activities. The website canbe the academic exchange network for the researchers doing
Katzumie Masaru’s relevant researches (Figure 5.5).

153

Figure 5.6. My dissertation.

本研究について研究資料について

勝見勝

研究概要

履歴書

グラフィックデザイン誌

ニュース

1909–1983 日本のグラフィックデザイン

勝見勝の著作学術研究の更新

1909–1983 グラフィックデザイン比較

Figure 5.7. Japanese Graphic Design History from 1909 to 1983.

Figure 5.8. Comparative Timetable Between the Western and the Japanese Graphic Design.

154<

40 - 75><

40 - 75>

5 Archive Design for the Katzumie Masaru Collection(4) My dissertation:
My dissertation provides the content (the story of Katzumie
Masaru), the theoretical observation (the foundation of structure methods), and design methods (the analyses of the archive
design) to construct the organizing foundation for the databaseof Katzumie Masaru Collection. As one of the deep researches
about Katzumie Masaru, this dissertation can be used to research Katzumie Masaru Collection or for other research purposes (Figure 5.6).
(5) Visual History:
This site provides two visual historical timetables for users
to understand the transformation of the visual expression ofgraphic design through Katzumie Masaru’s life. They are theJapanese Graphic Design History from 1909 to 1983 and thecomparative timetable between the Western and the Japanesegraphic design from 1909 to 1983 (Figure 5.7, 5.8). The masterpieces on the timeline are mainly based on the resources from
“Graphic Design” magazine, “Megg’s history of graphic design,” MoMA collection, and Takeo Poster Collection, et cetera.
In the future, this part can share data with other archive collections at Tama Art University.

155オリジナルの書体
A-OTF A1 明朝 Std Bold

勝
見
勝
か カ
つ ツ
み ミ
ま マ
さ サ
る ル

か
つ
み
ま
さ
る

Katzumie masaru
標題
書体： A1明朝 Std Bold

Title
Typeface: Univers 55 Roman
Size: 42 pt

タイプサイズ： 36pt
CriticBerna Heights 6A-6
tel. 03-446-8062

内容
書体： A1明朝 Std Bold
タイプサイズ： 27pt

勝
見
勝

カ
ツ
ミ

Content
Typeface: Univers 55 Roman
Size: 27pt
Lining: 28 pt

Katzumie masaru
Collection
Databaseマ
サルTama Art University
Art Archives Center

Figure 5.9. Katzumie Masaru’s Visiting Card and the Design Policy.

156

5 Archive Design for the Katzumie Masaru Collection

5.1.3

Design Policy for the User Interface

With the aim of creating a comprehensive resource for the
research on Katzumie Masaru, the visualization of the Katzumie
Masaru Collection should match Katzumie Masaru’s visual taste.
Because Katzumie Masaru suggested the modern design, thevisual design for the archive of Katzumie Masaru Collection isfollowing the modern design principle, which is emphasizing
the clarity and readability. Jan Tschichold’s realization of theessence of the New Typography was clarity.142 Clarity could also
be Integrity and Harmony. Integrity was most surely expressedin the oneness of form and function. The simple declaration of
the real form of the material succeeds in revealing a practical,
uncomplicated, sensible beauty.143 The interface is aiming to express the function of carrying on the database. That is why thedesign policy for the Katzumie Masaru Collection keeps cleanand straightforward.
Based on the research on Katzumie Masaru, the design policy issummarized for the application of Katzumie Masaru Collection.
First of all, Katzumie Masaru’s Visiting Card describes the essential aesthetic points of Katzumie Masaru. Katzumie Masaru hasannounced that the English name of Japanese people should
follow the Japanese way. Besides, the method of identifying the
given name is kept in lowercase. He uses “Katzumie masaru”
to instant “Masaru Katzumie.” The Latin typeface used the sansserif “Univers” to gather with the Japanese “ A1 Mincho” typeface. The logo for the database keeps the same structure of thevisiting card (Figure 5.9).

157

Grid of Label for A4 Size Paper

Transformation to Digital Label

Digital Label

Figure 5.10. Layout Principle for different media, 2017.

Figure 5.11. Photo Documentation on
Google Photos, 2017.

Figure 5.12. Survey and Photo Documentation of the Katzumie Masaru Collection, 2017.

158

5 Archive Design for the Katzumie Masaru Collection

Secondly, the layout principle of “Graphic Design” magazine
directed by Hara Hiromu reflects the modern design clarity
and information hierarchy. Grid System, as the important design method summarized during the period of Modern Graphic
Design, improved the design facilities of a mathematical, rational, and logical functionalism design to the international circumstance. There is no doubt that modernism functional methods
will spread its ability in the digital age. In fact, the revival of theusage of the grid system became the forefront in digital graphic design (Figure 5.10). The Design Policy is applied for all thevisual materials, including the photo documentation on Google
Photos, folders for paper documentation, and the interface forthe database (Figure 5.11, 5.12, 5.13).

Figure 5.13. Grid for the Interface of the Katzumie Masaru Collection, 2018.

159

Figure 5.14. Pictograms are used on interface.

160

5 Archive Design for the Katzumie Masaru Collection

Thirdly, the Pictogram is an identical element to represent
Katzumie Masaru. The interface of Katzumie Masaru Databaseuses the signs of the pictograms of Tokyo Olympic 1964. Because of the daily using pictograms such as the “Man and Woman” symbols are firstly applied for the Olympic Games in Japan,
to use these symbols on the Welcome page of the database system is helpful to remind the contribution of Katzumie Masaru.
At the same time, the man sign and the woman sign also direct
to different accessibilities. The symbol of man directs to the
Storytelling Part. People with the question of “Who is Katzumie
Masaru” could achieve the knowledge of Katzumie Masaru
from this part. To the others, especially to researchers, they candirectly come to the Tag-based Exploring Part to overview thearchives of Katzumie Masaru Collection (Figure 5.14).

142

Tschichold, The New Typography, 66.

143

Kaufmann, “What Is Modern Design?” 159.

161

Figure 5.15. Process of Transforming the Navigation
Structure from the Thesis.

162

5 Archive Design for the Katzumie Masaru Collection

5.2

Storytelling Part of the Archive Design

5.2.1

Introduction

The Storytelling Part of Katzumie Masaru Collection is one of
the most creative methods for creating digital archives. The Storytelling Part gives researchers a way to investigate the archivesof Katzumie Masaru Collection by reviewing Katzumie Masaru’s
legend.
In the theoretical part, this dissertation aims to find the relationship between Katzumie Masaru’s personality, activities, and philosophy. Because the materials of Katzumie Masaru Collection
are the evidence of Katzumie Masaru’s activity, the constructing method for the archive design becomes reasonable to bea similar frame as the dissertation. Depend on the Storytelling
Part, the theoretical part (dissertation) and the practical part(digital archive design) of this research can influent each other.
For example, the chapter of Katzumie Masaru’s activities in thisdissertation cannot be done if only based on the written materials without the refined categorizing structure of the Katzumie
Masaru Collection.
Different from the other archive design, the logically systemized
Storytelling Part in diagram visualization could be the proposal
to design other archive databases based on single artists. The
Diagram-Based Visual Navigation is the specific way to carryon the story. The structure of the navigation map carefully follows Katzumie Masaru’s career (Figure 5.15). The story is told inthe same way as it is related to my dissertation. Furthermore,
the Storytelling part will not only provide the theoretical background but also support the accessibility to the database basedon Katzumie Masaru’s motivation and philosophy. It could also
provide a new researching experience to investigate archives.

163

Figure 5.16. Three Visual Components:
Red Dot, Black Circle, and Black Dot.

チャプター

活動

デザイン
成果

Figure 5.17. Basic Mode of the Diagram-Based Visual Navigation.

デザイン
評論家

勝見勝
デザイン
哲学

勝見勝
人物像

学生

雑誌
編集者

登山家

教育者

勝見勝
デザイン
活動

アート
ディレクター

デザイン誌
編集者

Figure 5.18. Full Strucuture of the Diagram-Based Visual Navigation.

164

デザイン賞
審査員

デザイン
教育者

5 Archive Design for the Katzumie Masaru Collection

5.2.2 Diagram-Based Visual Navigation

The Diagram-Based Visual Navigation adapts the visualizationof the Storytelling Part. The story’s full scale is transferred tothe diagram’s full map by constructing many abstract visualcomponents. Each visual component carries a part of the story,
and it inserts the link to the subpage where the user can readthe part of the story.
1. The Visual Components
There are three kinds of visual components: Red Dot, Black Circle, and Black Dot (Figure 5.16).
(1) Red Dot
The red dot represents the chapter of the dissertation. The
whole structure of the story is composed by three chapters.
Each red dot consists of the content of each chapter of the dissertation:
1. Katzumie Masaru’s Characteristics;
2. Katzumie Masaru’s Design Activities;
3. Katzumie Masaru’s Design Philosophy.
These three dots in the Diagram-Based Visual Navigation of
the interaction interface are equally arranged around Katzumie
Masaru’s general figure as “Design Critic” (Figure 5.17).
(2) Black Circle
The Black Circle represents Katzumie Masaru’s roles. Except
for the central role as a Design Critic, there are four roles of the“Katzumie Masaru’s Characteristics” part: Student, Editor of
Magazine, Alpinist, and Educator; four roles in the “Katzumie
Masaru’s Design Activities” part: Art Director, Editor in Chief,
Jury of Design Awards, and Design Educator (Figure 5.18).
(3) Black Dot
The Black Dot represents Katzumie Masaru’s outcomes.

165

Figure 5.19. The Front Page of the Storytelling Part.

Figure 5.20. The Sub-Page of the Storytelling Part.

166

5 Archive Design for the Katzumie Masaru Collection

In the dissertation, the “Katzumie Masaru’s philosophy” is thelink to connect the “Katzumie Masaru’s personality” part withthe “Katzumie Masaru’s Design Activities” part. In the interface,“Katzumie Masaru philosophy” is the foundation to explain all
Katzumie Masaru’s roles. At the same time, the Diagram-Based
Visual Navigation breaks the narrative sequence from the dissertation. Besides, a group of visual components as a unit
shows the way of storytelling could not be changed but can beaccessed separately from the whole diagram map. The user canfreely access any part of the entire story without concerning
the chronological sequence (Figure 5.19). This interactive navigational map simplifies the original structure of the dissertationand provides an efficient operating experience for the users.

2. The Front-Page and the Subpage:
The Front-Page is the dynamic diagram-based interactive navigation map that follows the structure of the story. The Subpageis the platform conveys the detailed information of the story.
The story starts with Katzumie Masaru’s birth until he foundhis role to be a design critic. In the Subpage, the link to thenext subpage was attached. The user can read the story pageby page inside the subpage. Furthermore, the interactive Diagram-Based Visual Navigation also appears on the top of eachsubpage, so that the user can easily change the position fromthe subpage (Figure 5.20). Moreover, there is a right arrow on
the bottom of the subpage. Users can receive continuously storytelling experience that always consists of the narrative structure (Figure 5.21, 22, 23).

167

Figure 5.21. The
Subpage of the
Storytelling Part.

Figure 5.22. The
Subpage of the
Storytelling Part.

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5 Archive Design for the Katzumie Masaru Collection

Figure 5.23. The
Subpage of the
Storytelling Part.

169

Figure 5.24. Database Page of the
デザイン
評論家

Storytelling Part.

勝見勝
デザイン
活動

Figure 5.25.
Structure of the
Database Page of
the Storytelling
Part.

絵ことば

170

アート
ディレクター

デザイン誌
編集者

デザイン賞
審査員

デザイン
教育者

デザイン

グラフィック

シンボル

デザイン学

デザイナー

ポリシー

デザイン誌

マーク

研究

養成

社会教育

5 Archive Design for the Katzumie Masaru Collection

5.2.3 Database Access Method

In the Storytelling part, the user can look through the data of
Katzumie Masaru Collection. In the section of “Katzumie Masaru’s Activities,” the data of the archive of Katzumie Masaru
Collection is categorized into “Design Outcomes” based on hisroles. The user can access the resource of the database by clicking the Black Circle (Figure 5.24).
The group of visual components keeps logically by one Black
Circle and one Black Dot. They are used to represent Katzumie
Masaru’s activity and outcome: the Black Circle used for expressing Katzumie Masaru’s social role, and the Black Dot used
for representing Katzumie Masaru’s outcomes. These two blackrounded-shapes always consist. Therefore, the users can reachthe database by following the sequence of the component of the
diagram (Figure 5.25). By operating through the interface, theusers can understand the theoretical structure from Katzumie
Masaru’s concepts, activities, and outcomes in each role.

(1) Design Concepts
Three concepts: Establish the Visual Culture, Magazine Dream
Became True, Promote the state of Graphic Design(2) Design Roles
There are four roles of Katzumie Masaru to promote the enlightenment of the Japanese Modern Design: Art Director, Jury of
Design Awards, Editor in Chief, Design Educator(3) Design Outcomes
Six categories of the design outcomes: Pictogram System, Design Policy, Symbol Mark, Graphic Design Magazine, Social
Education, Support for Designer

171

Figure 5.26. Database of Archives of Katzumie Masaru Collection.

144“Wikipedia: Tag (Meta),” Wikipedia Foundation, last Modified August 29,
2019, https://en.m.wikipedia.org/wiki/Tag_(metadata).

172

5 Archive Design for the Katzumie Masaru Collection

5.3

Tag-Based System Part of the Archive Design

5.3.1

Introduction

The Tag-based System is designed for researchers. The target
user is the one who equips the academic background of
Katzumie Masaru. These kinds of people needn’t view the Storytelling part at first to learn the story of Katzumie Masaru. The
aim of designing the Tag-based researching website is to provide a powerful database for further research (Figure 5.26).
The tag is a keyword or term assigned to a piece of information(such as a digital image, database record, or computer file) in
information systems. This kind of metadata helps describe an
item and allows it to be found again by browsing or searching.144 A database is a structured collection of data. It comprises
two essential parts: the content and the structure. The content
means the elements or individual pieces of data contained in
the database. Words, later work like tags, can define the content
of the document. The structure means the way of categorizing the database records. At this point, to make the databasefor Katzumie Masaru Collection must respect to an archivist’s
work. Based on the previous theoretical research, the archivist
can start to create and maintain the digital data, categorize andorganize database structures, and uniquely shape the content
for the usage of the database. The archive’s properties of the“Katzumie Masaru” Collection make the collection unique anddiffer from other digital archives. Also, based on the propertiesof archives, the archivist creates the methods of how records
are controlled, managed, accessed, and used. Therefore, it isvital to define the properties of the archives as tags in order
to identify the data and to be categorised in the database. At
the same time, the methods of accessing the Katzumie Masaru
Collection should require the implementation of new plans. In
the prototype of the database, 515 tags are set as categories for
exploring the archives of Katzumie Masaru Collection. The wayof building up the tag system can share the specialty of creating
the digital archives of Katzumie Masaru Collection.
173

Figure 5.27. List of the Foujita Tsuguharu Archive Database,
University Art Museum of the Tokyo University of Arts.

174

5 Archive Design for the Katzumie Masaru Collection

5.3.2

Analysis of Tag-Based Archive Design

1. Foujita Tsuguharu Archive
The Foujita Tsuguharu Archive Database is the relic left behind by Foujita Tsuguharu and his wife, Foujita Kimiyo. It has
become the donation to the Tokyo University of the Arts since2010. The collection contains 5,808 documents including diaries
from 1930 to 1968 (except 1941-1946), manuscripts, letters, photos and videos taken by Foujita. It is a valuable primary source
for clarifying Foujita’s life and creative activities.145 This collection is similar to the Katzumie Masaru Collection because they
are all based on one person. Furthermore, the property of thematerials is also similar. By the dedication of the University Art
Museum of the Tokyo University of Arts, the archive resourcesof Foujita Tsuguharu have been organized. The archive databse
has been released to the public. The design of the Foujita Tsuguharu Archive is typically based on the category-searchingsystem (Figure 5.27). The documents of the Foujita Tsuguharu Archive Database is well classified into categories A1 to A7(single item, such as a diary) and B1 to B3 (multiple items, suchas printed matter), depending on the content and form of the
document. The method of arranging the data of the category
list is similar to the files belong to the folder. By clicking each
item in the category list, users can see the description and link
which can access to another list of documents for each series.
The prime categories are divided into several smaller series.
In each smaller series, the information of the materials can befound with a search engine. All files are kept in chronologicalorder. The appearance of the construction of the archive simply
keeps in the form of a category list with several columns. It is an
excellent example of easy operating category-searching basedon archive system.
145“Foujita Tsuguharu Archive,” Tokyo University of Arts, accessed Augest
29, 2019, https://www.geidai.ac.jp/museum/collection/research_materials_
ja.htm.

175

Figure 5.28. Takeo Poster Collection Database, Tama Art
University and Takeo, Co., Ltd.

176

5 Archive Design for the Katzumie Masaru Collection

2. Takeo Poster Collection
The Takeo Poster Collection is a poster collection including 3,206
world’s famous posters from the 1870s to 1990s. Approximately
730 designers’ posters are in the collection. Tama Art University and Takeo Co., Ltd. have been conducting joint research andcuratorial activities on the Takeo Poster Collection since 1998.146
From 2009 to 2013, all posters are photo-documented to data
achieves. The investigation on the poster is over eight years.
In 2014, the archive site development started. This archive design is a typical example which designed on the Tag system. It
means that the tag system deconstructs the poster from a pieceof paper to several pieces of information (Figure 5.28).
In order to capture the property of the poster from various perspectives, the database of this archive are set in 593 tags as categories. Currently, there are 33,448 categories suit for the 3,206
posters. The categories are selected from the vocabularies
related to design, art, society, and technology refer to the CCO
commons.147 The reason to make this archive design excellencealso has to refer to its stable academic foundation. The search
provides the encyclopedia to describe a poster from its specificproperties, such as paper texture, typeface, printing technique,historical effect, et cetera. Besides, part of the collection isregularly exhibited at the “Takeo Poster Collection Best Selection” exhibition at Tama Art University and Mihoncho Honten. I
participated in planning some of this series of exhibitions. This
experience reminded me of the importance to build a functional
database system as the foundation for today’s research environment. The facility of Takeo Poster Collection provides a new
way of learning.
146“Takeo Poster Archive,” Takeo Archive, accessed August 29, 2019, https://www.takeoarchives.com/archive-collection/1/.

147“CCO Commons,” CCO Commons, accessed August 29, 2019, http://cco.
vrafoundation.org.

177

Figure 5.29. Saga Ichiro, Tag-Based System of Takeo Poster Collection.

Figure 5.30. Saga Ichiro, Concept of Takeo Poster Collection
Database, Tama Art University and Takeo, Co., Ltd.

178

5 Archive Design for the Katzumie Masaru Collection

5.3.3

Tag-Creating Principle

The Tag-Based System of the Katzumie Masaru Collection provides searching ability in the form of the tag-based categorizing
system like the Takeo Poster Collection (Figure 5.29). The property of the resource materials is summarized in different categories. The tag carries the historical and theoretical concept of
the research. Different with the visible category list of the Foujita Tsuguharu Archive Database, the archives of the Katzumie
Masaru Collection are interdisciplinarily arranged. The user canfreely come across the document pages by clicking tags with orwithout the notice of which category the document belongs. In
the document page, the detail information of the archive documents can be found. At the same time, the relevant informationof other resources or documents could also be presented by thefunction of matching the mutual tags.
In this research, the tag system has to be constructed to suit for
all the conditions. The specialty of the Katzumie Masaru Collection makes the categorizing method not entirely depended on
one standard.
Firstly, same as the Takeo Poster Collection, it is helpful toshare knowledge by building a universal standard categorizing
system. The Categorizing system learns from the General International Standard Archival Description, ISAD (G) of the International Council of Archives. The tag system refers to the CCO
commons, the CDWA (Categories for the Description of Worksof Art), the DCMI (Dublin Core Metadata Initiative), and the National Diet Library, Japan.148
Secondly, there are several design collections stored at TamaArt University. In order to elevate and effectively utilize thevast amount of digitized data, the art archives center of TamaArt University is planning to build a functional hub to integrate all the collections. To define the unified discipline for the179

Figure 5.31. Saga Ichiro, The Art–Design History Concept
for grouping the Collections at Tama Art University.

Figure 5.32. Data Name with the Title ‘KM.’

180

5 Archive Design for the Katzumie Masaru Collection

cross-searching ability can base on a meta-architecture called“Art–Design History Concept” (Figure 5.30). All archives are kept
in a common foundation for accumulating the history concept
as one intelligent system. In this concept, it is possible to collaborate on a group of digital archives provided as a university
under a particular intelligent system, so that any material fromany collection can be accumulated in a structured vocabularysystem. This system has to be the tag-based system and uses
tags to represent the properties of any individual piece of thematerial (Figure 5.31). It means that the materials with the same
property in the Katzumie Masaru Collection can be searchedfrom researching other design collections. Besides, the system
can propose the related materials from Katzumie Masaru Collection to the other collection users by measuring the relevanttags attached to the materials. The mutual tags contain common knowledge that is needed to achieve the anticipation of
intellectual systematizing and synergy. It is obliged to standardizing the tags as much as possible in categorizing and naming
progress. A common foundation for operating the interface isalso preferred. In the aim to separating with other collectionsof archives at Tama Art University, all documents in Katzumie
Masaru Collection are named with the title “KM.” Because thenumber of materials is quite large, the numbering system keeps
the form as “KM00000” (Figure 5.32). In the future, the collections can be the shared resources specifically proposes digitalarchives that meet the needs of the educational and research
institutions.
148“CDWA Category,” CDWA, last modified February 28, 2019, http://www.getty.
edu/research/publications/electronic_publications/cdwa/index.html.
“DCM Vocabulary,” DCM, last modified February 28, 2019, http://www.
dublincore.org.
”Online Service,” National Diet Library Japan, last modified February 28,
2019, https://www.ndl.go.jp./jp/use/service/index.html.

181

Figure 5.33. Listof the Katzumie
Masaru Collection.

182

5 Archive Design for the Katzumie Masaru Collection

5.3.4

Tag-Categorizing Method

The Digital Archive of Katzumie Masaru Collection starts obviously from transforming the physical archives into digital objects. Actually, the activity of making documentation is alreadycreating progress because it transfers the nature of physicaldocuments to photographs, labels, and notes to record information, including condition, content, and context. The work ofarchiving means that the documents of the Katzumie Masaru
Collection have to be all transferred to be the text form for defining the physical documents. Such processes provide thedocumental archiving two functions: the information capability
and the accessibility. These texts are later applied to be the tagsof describing the documents in digital archives (Figure 5.33).
Before the Katzumie Masaru Collection’s research foundation
created, the materials of archives mostly exist as individual
items. They often hide the historical story behind the materials.
Different from the physical archival materials, the digital archive
is not objectively existed but determined by researchers. The
researcher can create the contents and show the relationshipbetween the physical materials under their methodologies.
When the researcher successfully finished listing and categorizing, the digital document will soon become the researchable
media. The definition of each material must be honest, correct,
and true. Therefore, the method of creating a digital archive is
not simply changing the material technological dimensions.
To create a digital archive itself is the same as creating the research resources.149
Categorizing is the way for the archivist to re-document thecontents of collections. Normally, the original archive will not
be researched by people except archivist. The collections ofarchive people normally known, are the reproduced archive by
the archivist.150 It means the archivist has the ability to choose
particular documents to record and to present. The archivist cangive the new realization to the archive through categorizing. The
183

勝見勝コレクション

ファイル調査

デジタル化（103 箱）（10.000 件超）（例 730 件）

研究方法（資料へのタグ付け） （カテゴリー）
桑沢学園
建築文化
工芸財団
講談社
美術出版社
色彩情報
新幹線建設局
新建築
世界デザイン会議
世界商業美術展

Figure 5.34. Method of the Categorizing Practice of the
Katzumie Masaru Collection.

184

新配列

5 Archive Design for the Katzumie Masaru Collection

way of categorizing gives the way of presenting the archives.
Categorizing can highlight the value of the archive. Categorizing
decided the method of researching at the same time. Categorizing will enable potential researchers to complete the researchon Katzumie Masaru (Figure 5.34).
There are mainly three kinds of categories: the Primary Category, the Sub-Category, and Other Categories.
1. Primary Category
The Primary Category, as the storefront catalog, is a group defined by different principles. In the aim of providing an efficient
accessing ability, the Katzumie Masaru Collection is summarized to five Primary Categories:(1) The Primary Category of “Graphic Design” magazine
The “Graphic Design” magazine is the consolidated material tosupport the knowledge of understanding the Katzumie Masaru
Collection. Katzumie Masaru, the editor in chief, engaged inpublishing the “Graphic Design” magazine for 25 years. From
this magazine, it could summarize the structure of Katzumie
Masaru’s activities in the graphic design field. The primary category of “Graphic Design” magazine includes the original materials related to the edition of “Graphic Design” magazine, such as
Photos, Films, and Layout Principles for Printing.
(2) The Primary Category of “Primary Source” means the original archival materials from Katzumie Masaru, and most of thematerials are not copied works. This selection shows the specific value of researching Katzumie Masaru through this collection.

185

Figure 5.35. Relationship between Primary Category and
Sub-Cateogy.

186

5 Archive Design for the Katzumie Masaru Collection(3) The Primary Category of “Image” is the accumulation of
the visual works. There are several kinds of visual works in
Katzumie Masaru Collection, such as the Original Art Pieces,
Maps, Stamps, et cetera. These works are too diverse to be arranged in a single category except the “Image.”(4) The Primary Category of “Book” is the publication in
Katzumie Masaru Collection. It includes General Books, Magazine, and Private Publication, such as Handbook, Diary, Catalog,
et cetera. The categorizing methods consider the standards ofdifferent libraries.
(5) The Primary Category of “3D” is the collection of three-dimensional objects, such as Trophy, Package Design, et cetera.
These objects are mostly isolated exist and separated from other paper-based materials.

187

2. Sub-Category
The Sub-Category is based on the property of the resource
document. It is the branch of the Primary Category. Despite thematerial property, the sub-category is also determined by international recognized design and fine art disciplines, such as
Package, Printmaking, and Magazine, et cetera (Figure 5.35).
The Relationship between the Primary Category and theSub-category:Primary Category 1. “Graphic Design” magazine
Sub-category: Envelope, Excerpt, Layout Film, Photo (Paper),Photo (Film), Layout (Paper), Layout (Manuscript), Magazine
Primary Category 2. Primary Source
Sub-category: List, Note, Letter, Scrap Book, Album, Tape, Postcard, Photo (Paper), Photo (Film), Certification, Telegram, Name
Card
Primary Category 3. Image
Sub-category: Flyer, Poster, Pictogram, Original, Kamishibai,
Stamp, Map, Printmaking
Primary Category 4. Book
Sub-category: Catalog, Diary, Handbook, General Books, Special Edition, Magazine, Newspaper, Report, Others
Primary Category 5. 3DSub-category: Package, Trophy, Others

188

5 Archive Design for the Katzumie Masaru Collection

3. Other Categories(1) Relationship to the “Graphic Design” magazine
Based on the back-numbers of “Graphic Design” magazine, thearchives of Katzumie Masaru Collection, which are related tothe content of “Graphic Design” magazine, can be identified.
Thus users can easily find the archives through choosing theissued numbers of “Graphic Design” Magazine in this category.
The Graphic Design magazine will further be the foundation to
explain Katzumie Masaru’s aim and his way of using the document in the archive.
(2) Relationship to Katzumie Masaru
In this category, the archives directly relate to Katzumie Masaru
are emphasized, such as Katzumie Masaru’s manuscripts, articles, and social relationships. This category will help users tofind the relevant archives belongs to Katzumie Masaru directly.
(3) Category of Events
The Category of Events is categorized based on the eighteen
most essential events in Katzumie Masaru Collection. The
importance of the events is evaluated from three conditions.
The first condition is the International popularity. International
events, such as the Olympic Games or World Expositions, areabsolutely considered. Some events which are especially important in Japanese Modern Design history have to be included,
such as WoDeCo and Mainichi Industrial Design Awards. The
events, such as the Establishment of Tokyo Zokei University andGood Design Awards, are chosen on the list because they are
identical topics to describe Katzumie Masaru’s contributions.
Some important events without a significant amount of archives
are not selected in the category.

189

List of Event

List of Year

List of Creator’sCountry

International design conference in Aspen

1940s–1950s

Argentina

Classical Performing Arts Friendship Mission of Japan

1950s–1960s

Belgium

Olympic Games (except Japan)

1960s–1970s

BrazilGood Design Awards

1970s–1980s

CanadaTsukuba Expo 1985

1980s–1990s

China

Munich Olympic Games 19721990s–2000s

Czech

Okinawa Ocean Expo 75

UnclearDenmark

Sapporo Olympic Games 1972

FranceKatzumie Masaru Homage Exhibition

Germany

Katzumie Masaru Award

Hungary

ICSID

Italy

WoDeCoIranTokyo Olympic Games 1964

Japan

Establishment of Tokyo Zokei University

Korea

Osaka Expo 1970

Lithuania

Mainichi Industrial Design Awards

MexicoWorld Expo (except Japan)

Netherlands

Unclear

PolandSwitzerland
SwedenSpain
UK
USA
Yugoslavia
Others190

5 Archive Design for the Katzumie Masaru Collection

List of Creator
Designer / Artist
Alan Fletcher

Louis Dorfsman

朝倉直巳

中井幸一

America Sanchez

Luc Vannalderen

伊藤哲郎

中西元男

Andre Derain

Mary Viera

浦野亮

中村憲造

Andrew Wyeth

Matthew Leibowitz

永井一正

仲條正義

Antoni Clave

M. C. Escher

岡本武紫

長大作

Aoi HuberMichael Hilsevard

河原敏文

塚原琢哉

Ardeshir Mohassess

Michel Waxmann

花岡慎一

定村俊満

Ben Shahn

Oldrich Lipa

亀倉雄策

佐藤優

Bob Gill

Pablo Picasso

宮永岳彦

天野太道

Boris Artsybasheff

Paul Davis

芹沢銈介

田中一光

Bruno Munari

Pentres Naifs

杉浦康平

田中豊太郎

Charles Goslin

Per Arnoldi

剣持勇

柏木博

Curt DahlenPeter Bruegel

原弘

福田繁雄

Colin Forbes

PICHA

原田維夫

片山利弘

Elsa Kula

Rene Magritte

向秀男

豊口協

FHK Henrion

Roger Woles

黒川雅之

北川佳子

Franco Grignani

Rosmarie Tissi

佐藤信太

木村一男

Franco Ricci

Rudolf Modley

斎藤寅郎

矢萩喜従郎

George Tscherny

Salvador Dari

細谷巖

柳宗理

Giovanni Pintori

Stephen Meskr

山下勇三

鈴木仁一

Guy Peellaert

Szymon Bojko

秋月繁

和田誠

Hans Jenny

Toulouse Lautrec

勝見勝

奧平英雄

Hermann Bollmann

Uwe Loesch

小野忠重

Leibowitz

Will van Sambeek

松永真Jacques Richez

Wim Crouwel

松本はるみ

Jan Rajlich

Wolfgang Walther森啓

Jan Tschichold神田昭夫

John Halas

神保侃司

Josef Albers

青葉益輝

Josef Müller-

石岡瑛子

Brockmann

増井和弘

Julian Key

大高猛

Karl Gerstner

瀧口修造

Lester Beall

沢村徹

191

List of Creator
Team / Company / OrganizationAIGA

ICOGRADASM

AirFrance

ICSID 世界インダストリアルデザイン

Spokane World’s Fair EXPO 74

Angle

IDDA

Swiss EXPO 64

BAZAAR

Illustrations

TDS

Braun

IMAGO

TEKNISKA MUSEET

Brno Biennale

International Design

tgc

CBC

Conference in Aspen

Tokyo Olympic Games 1964

CBS

ISO

Typositor

CCA

JAAC 日本宣伝美術会

UCLA

Centre de Creation Industrielle

JACA

UIA

DiathequeJAGDA

WoDeCoCentre Georges Pompidou

JIDA

VU!

Centre National de

JIDPO 日本デザイン抜興会

Westinghouse

Documentation Pedagogique

JSSD 日本デザイン学会

アサディプール

Christian Dior

JTA 日本タイポグラフィ協会

アサヒグラフCooper-Hewitt Museum

LIFE

グッドデザイン (G Mark)

Cornell University New YorkMAGENTA

グラフィックデザイン誌

State College of Human

MoMA

ディド口の図解百科事典

EcologyMontreal Olympic Games

デザインの現場

D-D

1976

デザイン批評DNP

Munich Olympic Games 1972

ドイツ連邦

E.A.T.

NAAC 日本広告技術協議会にゅーせんちゅりー

Eames

NASA

伊奈製陶

FletcherForbesGill Ltd.

National Endowment for the

勝見勝賞

Fortune

Arts

フェーマス

Geigy

Olivetti

ペルソナ展 (Persona)

GK インタストリアル研究所

PAJ 日本印刷工業会

みずゑ

Grenoble Olympic Games

PIC

ゴールドショル社

HBJ 出版局

PIRELLI

サントリー

HemisFair USA EXPO 68

Ruiz, Shakespear and Fontana

シェル石油

HiltonSapporo Olympic Games

横浜市

HonFSIAD

Sarajevo Winter Olympic

沖縄国際海洋博覧会協会

IBM

Games 1984

屋外広告

ICA

SIAD London

金沢美術大学192

5 Archive Design for the Katzumie Masaru Collection

銀座松屋

日本インテリアデザイナー協会

九州芸術工科大学

日本サイン・デザイナー協会

桑沢学園

日本レイヨン株式会社

建築美術工業協会

日本出版学会

建築文化

日本図案家協会

工芸財団

日本天皇

講談社

日本万国博覧会協会

国際科学技術博覧会協会

黎明書房

国際デザイン交流会

美術評論家連盟

資生堂

富士急行

週刊サンケイ

武蔵野美術大学

美術出版社

服装審議会

色彩情報

文化庁

新幹線建設局

文部省

新建築

平凡社

世界デザイン会議

北京外文出版社

世界商業美術展

毎日グラフ

全国鉄道標識協会

毎日デザイン賞

草月アートセンター

毎日新聞社

多摩美術大学淡交会
竹久夢二
竹尾 TAKEO
中央美術学園通商産業研修所
東京 ADC東京高等学校同窓会
東京造形大学東京都知事
東京都庭園美術館
内閣総理大臣虹会
日本デザインコミッティー
日本パッケージデザイン協会

193

List of Storytelling Part

List of Back-number of“Graphic Design” Magazine(1) Design Concepts

No.1

No.37

No.82

Establish the Visual Culture

No.2

No.38

No.83

Magazine Dream Became True

No.3

No.39

No.84

Promote the state of Graphic Design

No.4

No.40

No.86

No.5

No.41

No.87

(2) Design Roles

No.6

No.42

No.88

Art Director

No.7

No.43

No.89

Jury of Design Awards

No.8

No.44

No.93

Editor in Chief

No.9

No.46

No.94

Design Educator

No.11

No.47

No.95

No.12

No.48

No.96

(3) Design Outcomes

No.13

No.52

No.97

Pictogram System

No.14

No.53

No.98

Design Policy

No.15

No.54

No.99

Symbol Mark

No.16

No.55

No.100Graphic Design Magazine

No.17

No.57

None

Social Education

No.18

No.58

UnclearSupport for Designer

No.19

No.60

No.20

No.63

No.21

No.64

No.22

No.65

No.23

No.66

No.24

No.68

No.25

No.69

No.26

No.70

No.27

No.71

No.28

No.72

No.29

No.73

No.30

No.74

No.31

No.76

No.32

No.77

No.33

No.79

No.35

No.80

No.36

No.81

194

5 Archive Design for the Katzumie Masaru Collection

List of Location
Survey Date / Box Theme
2017 07/07(1)2017 08/03(9)2017 07/07(2)2017 08/03(10)2017 07/07(3)2017 08/08(1)2017 07/07(4)2017 08/08(2)2017 07/14(1)2017 08/08(3)2017 07/14(2)2017 07/01 ( ネガ・カラースライド )2017 07/14(3)2017 07/01 ( ビエンナーレ )2017 07/14(4)2017 09/14 オリンピック関係資料

2017 07/14(5)2017 09/14 つくば科学博

2017 07/14(6)2017 09/21 サッポロ冬季オリンピック

2017 07/21(1)2017 09/21 タケオダイアリー2017 07/28(1)2017 09/21 沖縄国際海洋博

2017 07/28(2)2017 09/21 住所録

2017 07/28(3)2017 09/21 日本万博関係資料・オリンピック

2017 08/01(1)2017 10/05 資料・図面 (1)2017 08/01(2)2017 10/05 勝見勝オマージュ展

2017 08/01(3)2017 10/19 資料・図面 (2)2017 08/01(4)2017 10/19 風呂敷・スカーフ

2017 08/01(5)2017 10/19 名刺・他

2017 08/03(1)2017 10/26 うちわ・他

2017 08/03(2)2017 10/26 オリベッティーディスクダイアリー2017 08/03(3)2017 10/27 作品額入2017 08/03(4)

賞状・他

1/6

2017 08/03(5)2017 08/03(6)2017 08/03(7)2017 08/03(8)149

Cosetta G. Saba, “Media Art and the Digital Archive,” in Preserving andExhibiting Media Art, ed. Julia Noordegraaf et al. (Amsterdam: Amsterdam
University Press, 2013), 101–120.

150

Christopher J. Prom, “Reimagining Academic Archives,” in Hacking theAcademy, ed. Daniel J. Cohen and Tom Scheinfeldt (United States: Universityof Michigan Press, 2013), 146–149.

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Figure 5.36. Fuzzy Query Searching Ability of Keyword
Searching Function.

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5 Archive Design for the Katzumie Masaru Collection

5.3.5

Tag-Based Searching Method

Based on the successfully categorized tag system, users can obtain strong searching abilities to find the target archives in the
database. The strong searching abilities means to give several
possibilities to the researchers to find the right document. The
Tag System part is not only designed for searching documents
but also aiming to explain the property of the resource materials of the Katzumie Masaru Collection. In the Tag System Part,
there are two searching methods for finding documents: theKeyword Searching Function and the Tag searching Function.
1. Keyword Searching Function
The user can search the files in the way of typing a keyword
within a file’s title in the searching engine of the database. After the user inputs the keyword and clicks the “Search” botton,
the relevant data will immediately appear. If the user wants tosearch for another file, he can simply erase the previous information by clicking the “reset” button and put the new condition
to search.
Moreover, the fuzzy query searching ability provides the user
with much more possibilities to find a document. The user
needn’t input the exact phrase. One can only input a part of afile’s name, and all the relevant data in the searching condition
will appear. For example, when the user inputs the name “Katzumie Masaru” in the searching bar, all the files with the term
“Katzumie Masaru” in the file’s name will appear on the rightside (Figure 5.36).

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Figure 5.23. Categorizing System Page.

Figure 5.37. Tag-based Searching Progress.

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5 Archive Design for the Katzumie Masaru Collection

2. Tag Searching Function
The Katzumie Masaru Collection is categorized and organizedon the bar on the left of the interface. Once the user directly
clicks the bar and choose the relevant tag, the corresponding
data will appear as a list on the right side. When the user clicks
a document on the list, a new tab page will appear. From thistab page, a clear photo of the material with the detail information will be found. On the left side of the tab page, the waiting
list from the previous page will also appear. The user can easilybrowse the data in the same searching condition (Figure 5.37).
Based on the categorizing results, the essential categories ofKatzumie Masaru are applied for searching. The categories are
Reference code, Reference Photography with Reference Code,
Title, Primary-Category, Sub-Category, Name of Creator, Nameof Invent, Name of Country, Dates of Creation, The Relationshipwith Graphic Design Magazine, The Relationship with Katzumie
Masaru, Number of the Original Box (Figure 5.38). In addition,
the tags from the Storytelling Part, such as Katzumie Masaru’s
Outcome, Activity, and Concept, are also chosen in the Tagbased researching page for extending the searching ability andknowledge.
At the same time, the Tag-based Searching function also provides the Group Searching ability. Each tag of each category
can be selected once for a group search. It means that the resultof a group search is an integrated outcome of multiple conditions. When the user chooses a category, the content of the rest
categories is changing to fit the condition at the same time. For
example, when the user selects the “3D” tag in the “Primary
Category,” the tags in the “Sub Category” will only have “Trophy,” “Package,” and “Others” left. The relevant data will automatically change on the right side of the page (Figure 5.39).

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Figure 5.38. Categories of the Tag-

Figure 5.39. Example of the Group Searching between

based Searching function.

the Primary Categry and Sub-Category.

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5 Archive Design for the Katzumie Masaru Collection

5.4

Technical Support

1. Database Management
A group of office software is used for recording and managing
the database of Katzumie Masaru Collection, such as Scrivener,
Mac’s Numbers, Microsoft Word, and Excel. “Numbers,” anordinary office software for Mac, is helpful to Categorize the archives of Katzumie Masaru Collection. The tables in “Numbers”
are beneficial to structure all the information. The essential hierarchical structure keeps information of each document in eachhorizontal line. Before creating an applicable database system,
the “Numbers” is very efficient to check the correctness of theinformation and evaluate the full structure of the database.
2. Php Environment
PhpStudy is a convenient and useful PHP debugging environment. The package integrates the latest Apache+PHP+MySQL+phpMyAdmin+Zend Optimizer. The PHP (Professional Hypertext Preprocessor) is an open-source server-side scripting
language. MySQL is the world’s most popular open-source database. It is used by many popular websites, such as Facebook,
Google, and YouTube, et cetera. Users can install PhpStudy at
one time and use it without configuration.
3. Interface Design
Adobe Muse and Dreamweaver are used for designing the website of Katzumie Masaru Collection. They are both the world
widely known web development tools of Adobe software. The
Dreamweaver is used for visualizing the database of the digitalarchive and operated the Interactive User Interface. Besides,
the interactive navigation map of Storytelling Part based on thelibrary of Arbor. Arbor is a graph visualization library built with
web workers and jQuery.

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202

Conclusion

203

Archiving Katzumie Masaru

The specific feature of this research is that it shares the methodology for designing the digital archive of a specific person
based on the theoretical research on him/her. In designing thedigital archive of Katzumie Masaru Collection, the theoretical research starts from investigating Katzumie Masaru’s characteristics and social activities to assume his design philosophy. Then,the philosophy becomes the reference knowledge to explain thehistory of his actual motivations and activities. At this time, thebackground of a vast amount of archival materials can be found,so that the database can be systematically organized. Therefore,
theoretical research is necessary because it provides the direction for researching the collection.
As a result, a digital archive of a specific person should have
two functions: the educational function and the research function. For the educational function, the database has to be possible to introduce a person’s life, achievement, and mind. For the
research function, the database has to be appropriately categorized and searched. Through this digital archive, users, nomatter researchers or students, are possible to know Katzumie
Masaru, including his personality, his concept, and his design
philosophy. Thus the database can further support educational
function rather than being a researching engine.
Based on Chapter 2, to become a design critic was the reaction
Katzumie Masaru gave to life. From climbing the mountains,
Katzumie Masaru realized the importance of life, tools, and humanity. Katzumie Masaru was a man who has a wide range ofinterests in the liberal art and relevant subjects. The education
and work experience allowed Katzumie Masaru to carry on his
interests in art, literature, poem, linguistics, and the freedomof living. Katzumie Masaru tried to combine all his concerns
together. Therefore, he found the magazine was the integrated
media, and design was such integrated knowledge. He made his204Conclusion

design critiques integrated the knowledge of art, craft, mountaineering, living, and life.
In Chapter 3, the research investigates Katzumie Masaru’s work
experiences and achievements. He was not only a critic but also
an activist. Based on the results of Chapter 2, Katzumie Masaru’s design activities were determined by his growing experience. He could adapt his interests, life thinking, and previous
experience as the guidance of his design critique. To Katzumie,
he could solve the problem in life through design.
In Chapter 4, this research proves that Katzumie Masaru’s philosophy is the foundation of the design thinking behind the design activities. The research on Katzumie Masaru on a full scalealso clarifies the relationship between the individual personality and the development of the design in society. It convinces
that to use a person’s philosophy to explain the relationshipbetween human characteristics and social activities could be apossible research method based on this research.
In the last chapter, based on the research in chapters 2, 3, and 4,
the digital archive for Katzumie Masaru Collection is technicallymade. From both the functional aspect and visual impression,
the archive design is based on the theory of Katzumie Masaru.
The theoretical research and practical research become to one.

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Designer’s Range of Work

The Archive Design for the Katzumie Masaru Collection,
including listing, categorizing, and constructing the database, is
not only a research process but also a design process. It realizes
the digitalization of the whole collection. It transforms the collection into an applicable database by designing the interactive
user interface design. The archive design, often known as design for researchers, has to be divided into three works in eachdifferent role. The first work is to research Katzumie Masaru
and the Katzumie Masaru Collection. This is a researcher’swork. This research has to provide the theoretical backgroundas the mission of the research. The second work is to digitalize
and construct the database for Katzumie Masaru Collection.
This is an archivist’s work. The third work is to create a visualsystem and UI for the public to use. This is obviously a designer’s work. Any single role cannot make a successful database,because the three different works need to be associated closely.
In other words, the range of designer’s work on archive design
is expended to the work of archivist and researcher (Figure c.1).
Design is a term that describes the professional practice ofconceiving and creating artifacts, services, and systems. However, design is also a more general term that describes a problem-solving or planning activity aimed at serving human needs.
Different from the artist, the designer’s target is always in society. A designer’s work is usually not a subjective creation but
under the objective direction. The objective direction means
theoretical guidance. That is why design theory is so importantfor designers. Such as Katzumie Masaru, who was not a designer with practical experience, but could successfully direct
the design policy and educate the design masters because of
his excellent knowledge in design theory. The design theory
provides directions and methods for designers to design. Seeing from the archive design of Katzumie Masaru Collection,
if there is no technique improvement, the Katzumie Masaru
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Conclusion

Collection may not be used by anyone. But only to design as adesigner cannot do a good archive. To make a digital archive
like the Katzumie Masaru Collection depends on the theoretical research foundation of Katzumie Masaru. The designer has
to own strong knowledge in order to understand the target ofthe researcher and archivist’s work. Without the knowledgeof Katzumie Masaru, the designer cannot make a proper functional digital archive. That is why we can only see very few ofthem towards hundreds of digital archives that can support the
research function. The knowledge value of archives cannot be
understood from the digital archive because the archive users
can only access the database through the interface.
Therefore, the theory is the medium for the whole research. The
archive can only be activated when designing, researching, andarchiving activity integrates into one. This is the reason why
theory is important for developing the digital archive. It is a theory that is based on a deep understanding of Katzumie Masaru.
It is a theory that gets theoretical research to the part of thedesign process. It is a theory which leads archivist to construct
the proper categories, tags for each item. It is a theory that
integrates designer, researcher, and archivist.

研究者

アーカイブ
デザイナー

アーキビストFigure c.1. The Relationship between Designer,
Researcher, and Archivist for Designing the Digital
Archive. Design: Wang Xiaofeng.

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Design is the Wish for the Ideal of Life

This research brings up Japanese modern design thinking,social acts through Katzumie Masaru’s characteristics, activities, and philosophy. The research on Katzumie Masaru can beone of the important resources to evaluate the design progressdifferently from theoretical research from the Western side.
Taking care of humanity and putting humanity to the center
position of design are the critical warnings we got from
Katzumie Masaru. Design should take care of humanity. Learn
from Katzumie Masaru, Katzumie Masaru’s life experience
directly came to his design philosophy. He could sum up his
understanding of himself and directed his career because of
his personality, interests, interdisciplinary knowledge, and thewill of a beautiful life. The “Quality of living” does not mean thedevelopment of designing production. “Quality” is related topeople’s life, human activity, society, and the nation. In short,the “quality” is the will of the human being. For Katzumie
Masaru, “design” was the quality of actualizing his value. For
the designer, design is the quality of serving the human being.
Moreover, the rising state of the designer’s profession could
never be possible without acceptance from society. Katzumie
Masaru wrote critiques for citizens. He took strongly concentrated on introducing the quality of modern lives because
these would remind the Japanese people of the importance ofdesign in their lives. For the design critic, design is the qualityof the communication to the public; For the nation, design isthe quality of reforming; For the citizen, design is the quality ofachieving a better living condition in society. As Ota Yukio emphasized after viewing this dissertation, “The quality of living isexactly Katzumie Masaru’s idea of design for a lifelong time. Design aims to raise the average level of living quality for the citizen.” This is why this research announced that Katzumie Masaru’s contribution was to provide a philosophy and methodology
208

Conclusion

to make Japanese people living in high-quality modern life withJapanese dignity. From each side of perspectives, Katzumie
Masaru was a unique figure in Japan’s design history. People
like Katzumie Masaru is needed in any era. To continuously
develop the graphic design field, the analysis of Katzumie
Masaru’s design direction in the heritage of modern design inJapan could be valuable material for proposal. Katzumie Masaru
had a new identification of modern design. This is very helpful
for other researches to build up their philosophy of design andhave a better understanding of modern design.
To compare today’s design circumstance with the historicalproblems might be a sufficient method to rethink the value of
Katzumie Masaru’s philosophy and design activities. The visualproperty of the traditional and contemporary realities are bothnecessary to be considered because they are representing thedesign phenomenon of contemporary Japan. People in the 21st
century are living in an environment with more diverse andhigher techniques. The perspective view of the designer’s rolein society is the server. It has the responsibility to involve thehigh-quality lifestyle in people’s daily life. Design is unlimited intechnical and economic fields, and it runs to the cultural area.
Notably, the design principles are essential to represent humanneeds beyond any single culture or technique. The technology
is absolutely important for design. In contrast, the technology
itself cannot teach people how to design, how to make design
serve the people, and how to raise people’s living quality. For
this reason, design provides the theoretical methodologies
for technology to work. The analysis of contemporary media
change also helps designers to contribute to the broader space.
At this historical point, graphic designers have to think about
how to keep the graphic design in demand of current society, orin which kind of forms could be used to suit the new generation.
Today we knew the mass production was the backbone of the209contemporary society. Whereas in Arts and Crafts movement,
the industrial progress was debated. The consequence of thebattle between handcraft and industrialization was unpredictable. History tells us, the designer must face the change of society and avoid the escapism again. The profession like the graphic
designer is always extending, shifting, or even transforming
its power to suit with the incessant developing world. Moreover, the design works should reflect the generation and beyond
time. Since the graphic design no longer exists only on paper,the designers should be aware of the rapidly changing of contemporary technologies. The designers can expand the capacityof creating the design in a broader multi-media circumstance.
To achieve this, the digital archive of Katzumie Masaru Collection is the media. Technically, constructing digital archives
implies to make various physical media such as notes, letters,
photographs, or other printed matters to be adapted to digitaltechnology. It also includes technologies to organize the innumerable items, for example, tagging. From this viewpoint, thedesigner’s range of works in archive design carries out fromthe present. The digital archive is Katzumie Masaru’s “Graphic
Design” Magazine in our time. According to Katzumie Masaru’s
philosophy, design is always making something open to the
public; thus design is essentially practical and actual. As a result, to build a digital archive of Katzumie Masaru Collection issuch an appropriate way to make good use of the collection andto spread its value back to society. The Katzumie Masaru Collection has its significant meaning for all people, designers, design critics, researchers, students, and the public. As Ota Yukio
said, “The value of Katzumie Masaru Collection belongs to thewhole world.”151
On the other hand, when techniques meet the human needs,
the time to review human values and standards will come.
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Because of the advancement of design, design often becomesthe anti-power against the previous generation. From thispoint of view, design belongs to the pioneers, and it is always
new. Currently, many popular design works can be with goodeffection of eye-catching but with no soul. Designers concern
less with philosophy, responsibility, and other human spirits
when they are designing. Designers are not so often to worry
about the existence of problems in society. That is why society
sometimes flights against design and designers often lose theirsocial positions.
In history, society often made progress after the torchlight ofdesign. Design brought hope to people that they can live inbetter conditions as they wished. However, when society develops faster than design and even goes beyond it, design will notwork. When design deals with multi-generations’ life, it will notbelong to the common designers, but the designers who sharethe ideal of life. Thus the designer is the pioneer who fight for abeautiful life for people. Design is the wish for the ideal of life.
The archives of Katzumie Masaru Collection show the activities
of how people share the ideal of life.

151

Ota Yukio, interview, November 12, 2019, Art Archives Center, TAU.

211

List of Figures
Figuresa.1. History of 20th Century Graphic Design. 2017. Design: Wang Xiaofeng.
a.2. Katzumie Masaru. Poster. 2018. Design: Wang Xiaofeng.
a.3. Takeo Poster Collection Best Selection 12. Tama Art University. 2018. Curator: Saga Ichiro,
Wang Xiaofeng. Photograph by Wang Xiaofeng.
1.1. Katzumie Masaru Chosakusyu, Kodansha, 1985.
1.5. The building of “Graphic Design” Magazine in Hiroo is abolished, 2018. Photograph by Wang
Xiaofeng.
1.6. The building of “Graphic Design” Magazine in Hiroo. From: Google Map, 2018.
1.7. Katzumie Masaru Plays Piano in the “Graphic Design” Magazine Office in Hiroo. From:
Katzumie Masaru Chosakusyu 5.
1.8. Cover. “Typography–A Manual of Design.” Japanese Ed. 2019.
1.9. Cover. “Grid System in Graphic Design.” Japanese Ed. 2019.
1.10. Cover. “Mein Leben: Spielerischer Ernst und ernsthaftes Spiel.” Japanese Ed. 2018.
1.11. Cover. “Digital Design Theory.” Japanese Ed. 2016.
1.12. Cover. “Is the Theory Needed for Design.” 2019
1.13. Cover. “Essence of Modern Design Theory.” 1966.
2.1. Katzumie Masaru and Grandparents. From: Katzumie Masaru Chosakusyu 5.
2.2. Katzumie Masaru’s Enlist Memory Photo. From: Katzumie Masaru Chosakusyu 5.
2.3. Cover. “Yamagoya” magazine 96, 1939.
2.4. Cover. “Yama he hiraku mado,” Tokyo: Hobundo, 1941.
2.5. “Sketch while climbing Mount Kobushi.” 1932.11.3. Painter: Katzumie Masaru. From:
Katzumie Masaru Chosakusyu 5.
2.6. Cover. “Female” Magazine. May 1923.
2.7. Cover. “Kuraku” Magazine. February 1924.
2.8. Poster. “Three subject of Tsukiji Theater.” 1925. Design: Murayama Tomoyoshi. From:
Murayama Tomoyoshi no Uchu.
2.9. Cover, “Arts et Métiers Graphiques” 1. September 1927.
2.10. Inner Page. “Arts et Métiers Graphiques” 19. September 1930.
2.11. Photocopy. “Poster about the Mountain” at “Living Art” 3 no.8, August, 1943.
2.12. Inner Page. “Industrial Art News” 11, no.10. October 1942.
2.13. Inner Page. “Te To Zokei.” 1944.
2.14. Cover. “Te To Zokei.” 1944.
2.15. Cover. “Te To Kikai.” 1944.
3.1. Cover. “Front” 1–2. Tohosha. 1942. Design: Hara Hiromu.

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3.2. Cover. “Nippon” 1. Nippon Kobo. 1934. Design: Yamana Ayao, Photo: Watanabe Yoshio.
3.3. Package Design for the “Peace.” 1952. Design: Raymond Loewy.
3.4. Poster. “Nikkor.” 1955. Design: Kamekura Yusaku. From: ggg books, 1993.
3.5. Poster. “Theater Performance.” 1957. Design: Tanaka Ikko. From: ggg books, 1993.
3.11. Cover. “Art and Design.” 1954.
3.12. Cover. “Designing for People.” 1959.
3.14. Cover. “Your Child and His Art.” 1956.
3.15. Mark. “JSSD.”
3.17. Photo. “WoDeCo.” From: Graphic Design Magazine no.94.
3.21. Photo. “JAAC Exhibition.” 1953. From: “Graphic Design” Magazine no.35.
3.22. Photo. “Anti-JAAC Joint Struggle Committee.” 1969. From: “Graphic Design” Magazine no.35.
3.24. Photo. “Designers at Persona Exhibition.” From: flyer of the ggg exhibition no.339.
3.25. Cover. the 1st issue of “Graphic Design” Magazine, 1959.
3.28. Game Symbols, Tokyo Olympic Games 1964. Copyright: IOC.
3.29. Life Symbols, Tokyo Olympic Games 1964. Copyright: IOC.
3.33. Photo. “Katzumie Masaru on the selecting meeting of the ICOGRADA World Student
Competition.” 1966. From: Katzumie Masaru Chosakusyu 3.
3.35. Poster. WoDeCo. Poster: Tanaka Ikko, WoDeCo Design: Kono Takashi. From: “Graphic
Design” Magazine no.3.
3.36. Print Matters. WoDeCo. From: “Graphic Design” Magazine no.3.
3.37. Poster. Tokyo Olympic Games 1964. Design: Kamekura Yusaku. Copyright: IOC.
3.38. Poster. Tokyo Olympic Games 1964. Design: Kamekura Yusaku. Copyright: IOC.
3.40. Cover. “Graphic Design” magazine no.3. 1960. Design: Tanaka Ikko.
3.41. Cover. “Graphic Design” magazine no.85. 1982.
3.43. Cover. “Graphic Design” magazine no.94. 1984. Design: Tanaka Ikko.
3.44. Cover. “Graphic Design” magazine no.100. 1986. Design: Kamekura Yusaku.
3.45. Inner Page. “Graphic Design” magazine no.76. 1979.
3.46. Inner Page. “Graphic Design Movement.” “Graphic Design” magazine no.100. 1984.
4.14. Mark. “G Mark.” Design: Kamekura Yusaku.
4.15. Cover. “Living Design” Magazine no.2. 1955.
4.16. Cover. “The History of Modern Design.” 1976.
4.22. Inner Page. “Graphic Design” Magazine no.43. 1971.
4.29. “Design Ah!” Exhibition. Miraikan. Tokyo. 2018. Photograph by Wang Xiaofeng.
4.30. “Design Ah!” Exhibition. Miraikan. Tokyo. 2018. Photograph by Wang Xiaofeng.

2135.1. Exhibition for Practice Work. Archive Design for the Katzumie Masaru Collection. 2019.
Design: Wang Xiaofeng.
5.2. Final Examination. Archive Design for the Katzumie Masaru Collection. 2019. Design: Wang
Xiaofeng.
5.3. User Manual. Design: Wang Xiaofeng.
5.4. List of “Graphic Design” magazine. Design: Wang Xiaofeng.
5.5. Academic Research Report Platform. Design: Wang Xiaofeng.
5.6. My dissertation. Design: Wang Xiaofeng.
5.7. Japanese Graphic Design History from 1909 to1983. Design: Wang Xiaofeng.
5.8. Comparative Timetable Between the Western and the Japanese Graphic Design. Design:
Wang Xiaofeng.
5.9. Katzumie Masaru’s Visiting Card and the Design Policy. Design: Wang Xiaofeng.
5.10. Layout Principle for different media, 2017. Design: Wang Xiaofeng.
5.11. Photo Documentation on Google Photos, 2017. Design: Wang Xiaofeng.
5.12. Survey and Photo Documentation of the Katzumie Masaru Collection, 2017. Design: Wang
Xiaofeng.
5.13. Grid for the Interface of the Katzumie Masaru Collection. 2018. Design: Wang Xiaofeng.
5.14. Pictogram is used on interface. Design: Wang Xiaofeng.
5.15. Process of Transforming the Navigation Structure from the Dissertation. Design: Wang Xiaofeng.
5.16. Three Visual Components. Design: Wang Xiaofeng.
5.17. Basic Mode of the Diagram-Based Visual Navigation. Design: Wang Xiaofeng.
5.18. Full Strucuture of the Diagram-Based Visual Navigation. Design: Wang Xiaofeng.
5.19. The Front Page of the Storytelling Part. Design: Wang Xiaofeng.
5.20. The Sub-Page of the Storytelling Part. Design: Wang Xiaofeng.
5.21. The Sub-Page of the Storytelling Part. Design: Wang Xiaofeng.
5.22. The Sub-Page of the Storytelling Part. Design: Wang Xiaofeng.
5.23. The Sub-Page of the Storytelling Part. Design: Wang Xiaofeng.
5.24. Database Page of the Storytelling Part. Design: Wang Xiaofeng.
5.25. Structure of the Database Page of the Storytelling Part. Design: Wang Xiaofeng.
5.26. Database of Archives of Katzumie Masaru Collection. Design: Wang Xiaofeng.
5.27. List of the Foujita Tsuguharu Archive Database. University Art Museum of the Tokyo
University of Arts.
5.28. Takeo Poster Collection Database. Design: Saga Ichiro.
5.29. Tag-Based System of Takeo Poster Collection. Design: Saga Ichiro.

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5.32. Data Name with the Title “KM.” Design: Wang Xiaofeng.
5.33. List of the Katzumie Masaru Collection. Design: Wang Xiaofeng.
5.36. Fuzzy Query Searching Ability of Keyword Searching Function. Design: Wang Xiaofeng.
5.37. Tag-based Searching Progress. Design: Wang Xiaofeng.
5.38. Categories of the Tag-based Searching function. Design: Wang Xiaofeng.
5.39. Example of the Group Searching between the Primary Categry and Sub-Category. Design:
Wang Xiaofeng.

Archives of the Katzumie Masaru Collection
1.2. Letterpress. “The Certification of the 7th ‘Katzumie Masaru Award’.” 1994. Photograph by
Wang Xiaofeng.
1.3. Document. “The Exhibition of ‘Katzumie Masaru Award’.” Photograph by Wang Xiaofeng.
1.4. Document. Katzumie Masaru Collection. Photograph by Wang Xiaofeng.
1.14. Photo. Progress of Digitalizing the Document of Katzumie Masaru Collection. Photograph by
Wang Xiaofeng.
1.15. Document. Katzumie Masaru Collection. Photograph by Wang Xiaofeng.
1.16. Photo. Progress of Digitalizing the Document of Katzumie Masaru Collection. Photograph by
Wang Xiaofeng.
1.17. Document. Katzumie Masaru Collection. Photograph by Wang Xiaofeng.
1.18. Document. Katzumie Masaru Collection. Photograph by Wang Xiaofeng.
1.19. Document. Katzumie Masaru Collection. Photograph by Wang Xiaofeng.
2.16. Photocopy. Article about the Bauhaus in “Bijutsutecho” magazine. Katzumie Masaru. June
1954. Photograph by Wang Xiaofeng.
3.13. Manuscript. “The Target of Constructive Education at Tokyo Zokei University.” Design:
Katzumie Masaru. Photograph by Wang Xiaofeng.
3.16. Document. Reports from Design Committes. Photograph by Wang Xiaofeng.
3.18. Document. Report of WoDeCo 1. 1960. Photograph by Wang Xiaofeng.
3.26. Cover. The 1st issue of “Graphic Design” Magazine. 1959. Design: Ikko Tanaka. Photographby Wang Xiaofeng.
3.27. Manuscript. “Memorial Speech for Katzumie Masaru.” Tanaka Ikko. 1983. Photograph by
Wang Xiaofeng.
3.31. Photo. “Game Symbols for Tokyo Olympic Games and Sapporo Winter Olympic Games.”
Photograph by Wang Xiaofeng.

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3.32. Game Sign. “Munch Olympic Games 1972.” Design: Otl Aicher. Photograph by Wang Xiaofeng.
3.34. Sign. “Osaka Expo 1970.” Photograph by Wang Xiaofeng.
4.1. Manuscript. “The Memorial Speech for Katzumie Masaru.” Kamekura Yusaku. 1983.
Photograph by Wang Xiaofeng.
4.20. Certification. “In Appreciation of Katzumie Masaru for the Curation of the exhibtion of theClassical Performing Arts Friendship Mission of Japan.” The College of Fine Arts.
4.21. Match Package Design. 1964. Design: Sugiura Kohei.
3.42. Grid System. “Graphic Design” magazine. Photograph by Wang Xiaofeng.
4.24. Logotype. “Graphic Design” Magazine. Photograph by Wang Xiaofeng.

Archives of Takeo Poster Collection
3.19. Poster. “Musica Viva.” 1959. Design: Josef Müller-Brockmann.
3.20. Poster. “Polio Research.” 1948. Design: Herbert Bayer.
3.39. Poster. “World Commercial Design Exhibiton.” 1959. Design: Tanaka Ikko.
4.18. Poster. “Nihon buyo.” 1981. Design: Tanaka Ikko.
4.19. Poster. “Kyogen.” 1981. Design: Fukuda Shigeo.
4.26. Poster. “Takeo Paper Show.” 1982. Design: Sato Koichi.

Tables
1.20. Methodology of the Archive Research and Design. Design: Wang Xiaofeng.
1.21. Roles of Researcher’s Design. Design: Wang Xiaofeng.
2.17. Map of the Chapter 2. Design: Wang Xiaofeng.
3.6. Conceptual Map of Promoting Industrial Design. Design: Katzumie Masaru. 1952. From:
Industrial Art News 20, no.11.
3.7. Conceptual Map of Promoting Industrial Design. Design: Katzumie Masaru. 1952. From:
Katzumie Masaru Chosakushu 2.
3.8. Timetable of Katzumie Masaru’s Design Activities. Design: Wang Xiaofeng.
3.9. The relationship between Art and Society. Design: Katzumie Masaru. 1955. From: Katzumie
Masaru Chosakushu 1.
3.10. The relationship between Art and Society. Design: Katzumie Masaru. 1955. From: Katzumie
Masaru Chosakushu 1.
3.23. Katzumie Masaru’s concept for the design committee. Design: Wang Xiaofeng.

216

3.47. Map of the Chapter 3. Design: Wang Xiaofeng.
4.2. Katzumie Masaru’s Concept of “Designer.” Design: Wang Xiaofeng.
4.3. Katzumie Masaru’s Concept of the relationship between Art, Design, and Architecture.
Design: Wang Xiaofeng.
4.4. The Relationship between Industrial Design, Commercial Design, and Architecture Design.
Design: Katzumie Masaru. From: Katzumie Masaru Chosakushu 2.
4.5. Different Consideration About Design Fields, Concepts Between Walter Gropius, Katzumie
Masaru, and Koike Shinji. Design: Wang Xiaofeng.
4.6. The Relationship between Fine Art, Craft, and Design. Design: Katzumie Masaru. From:
Katzumie Masaru Chosakushu 2.
4.7. Functional Beauty in Craft. Design: Katzumie Masaru. From: Katzumie Masaru Chosakushu 2.
4.8. Katzumie Masaru’s Concept of Design Activity. Design: Wang Xiaofeng.
4.9. The Method to Carry Modernity into Design. Design: Wang Xiaofeng.
4.10. The Constructivism Way of Constructing Society. Design: Wang Xiaofeng.
4.11. Katzumie Masaru’s Concept to Construct Modern Living from Designers’ Aspect. Design:
Wang Xiaofeng.
4.12. The Relationship of Art, Design, and Society. Design: Wang Xiaofeng.
4.13. The relationship between Designer and Modern Living. Design: Wang Xiaofeng.
4.17. Katzumie Masaru’s Concept of Living Design. Design: Wang Xiaofeng.
4.23. Katzumie Masaru’s Concept of the Relationship between Japanese Culture, JapaneseModern Living, and Japanese Design. Design: Wang Xiaofeng.
4.25. Design as the Social Activity for Civil Life. Design: Wang Xiaofeng.
4.27. The Structure of the thesis, including Chapter 2, 3, 4. Design: Wang Xiaofeng.
4.28. Katzumie Masaru’s Philosophy and His Social Activity. Design: Wang Xiaofeng.
5.30. Website. “Takeo Poster Collection Database.” Design: Saga Ichiro.
5.31. The Art–Design History Concept for grouping the Collections at Tama Art University. Design:
Saga Ichiro.
5.34. Method of the Categorizing Practise of the Katzumie Masaru Collection. Design: Wang Xiaofeng.
5.35. Relationship between Primary Category and Sub-Cateogy. Design: Wang Xiaofeng.
c.1. The Relationship between Designer, Researcher, and Archivist for Designing the Digital
Archive. Design: Wang Xiaofeng.

217

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Frascara, Jorge. “Graphic Design: Fine Art or Social Science?” Design Issues 5, no.1 (Fall 1988):
18–29.

Fujii Tadasu. Tenrankai hokoku: Katzumie Masaru, Morisawa Yoko, Sato Churyo. Journal of Tokyo
Zokei University 19 (2018): 100–118.

Izuhara Eichi. “Mr. Katzumie Masaru and his achievements.” Bulletin of JSSD, no.51 (1985): 3–5.

Katzumie Masaru. “Internationalization of pictogram.” Asahi Journal 7, no.41 (October 3, 1965): 6–10.

Katzumie Masaru. “Pictogram on international events.” Asahi Journal 10, no.17 (April 28,1968): 11–14.

Katzumie Masaru. “Jisen to tomoni aru dezain — Katzumie Masaru ni ukagau.” Bulletin of JSSD,
no42 (1983): 54–58.

Katzumie Masaru. “Industrial Designer as a Profession.” Industrial Art News 20, no.11 (December
5, 1952): 5–7.

Katzumie Masaru. “Dezain he no kitai.” Bulletin of JSSD, no.2 (1960): 2.

Katzumie Masaru. “Dezaina no ishiki nitsuite.” Industrial Art News 19, no.2 (1951): 18.

Katzumie Masaru. “To celebrate the Foundation of the Japan Industrial Designer’s Association(JIDA).” Industrial Art News 20, no.11 (1952): 5–7.

Kida Takuya. “Katzumie Masaru no mezashita mono.” Journal of the Japan Society of Design 65(2014): 110–111.

Kougei Sido-Syo Tyosaka ed., “Modan ribingu to indasutoriaru dezain wo kataru,” Industrial Art
News 20, no.1, (January 1951): 37–42.

Kristof van Gansen. “‘Plaidoyer pour le graphiste’ Arts et métiers graphiques and the French
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University, no.47 (1998): 67–78.

Son Dae Woong, Miyazaki Kiyoshi, and Higuchi Takayuki. “Shinji Koike’s Activities in the 1920’s
and 1930’s — The encouragement of Modern design in Japan in the prewar periods.” Bulletin of
JSSD 54, no.6 (2008): 1–10.

Son Dae Woong, Miyazaki Kiyoshi, and Higuchi Takayuki. “Shinji Koike’s Activities in the 1950’s —Making to science of Design and Cross-fertilization.” Bulletin of JSSD 57, no.1 (2010): 17–26.

Sugiyama Naoki. “Characteristic and elements of ‘Gestaltung’ studies-on the perscription and thesystematize by Masato Takahashi.” Special Issue of JSSD 10, no.3 (2003): 30–39.

Traganou, Jilly. “Olympic Design and National History: The Cases of Tokyo 1964 and Beijing
2008.” Hitotsubashi Journal of Arts and Sciences 50, no.1 (2009): 65–79.

Tsunami Mikiko. “Kuwasawa Design School in the Design Movement in Japan.” Bulletin of JSSD
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Tsunami Mikiko. “Kousei as Basic Design Education at Kuwasawa Design School.” Bulletin of
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Katzumie Masaru. Yamagoya, no. 96, 1939.

Katzumie Masaru. “Behind the scenes.” Graphic Design, no.83, September 1981.

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Katzumie Masaru. “Behind the scenes.” Graphic Design, no.85, March 1982.

Katzumie Masaru. “Behind the scenes.” Graphic Design, no.34, June 1969.

Katzumie Masaru. “Round-talk on Aspen.” Graphic Design, no 76, December 1979.

Kuromai Syo. “Behind the scenes.” Graphic Design, no.83, September 1981.

Müller-Brockmann, Josef. “Japanese Industrial Design.” New Graphic Design 17/18, February 1965.

Oka Hideyuki. “Traditional Japanese Packaging.” Graphic Design, no.16, July 1964.

Shirakura Keihiko. “Behind the scenes.” Graphic Design, no.95, September 1984.

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226

Papers
Ihara Hisayasu. “From Isotype to pictogram (1925-1976): a study on Otto Neurath’s Isotype andits effect on Rudolf Modley’s contribution to graphic symbol standardisation.” PhD diss., Kyushu
University, Fukuoka, 2014. Kyushu University Institutional Repository.

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Interviews and Personal Communications
Formal Interview Mr. Ota Yukio. November 12, 2019, Location: Art Archives Center, Tama Art
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Email between Mr. Ota Yukio and Wang Xiaofeng, 2020.1.10, 1.11, 1.22.

227

Attachments
Katzumie Masaru
1909

Born in Tokyo

1916

Hikone Higashihirotsu Primary School (now Hikone Joto Primary School)

1922

Ichioka Middle School (now Osaka Prefectural High School)

1924

Kyoto Prefectural No.3 Middle School (now Metropolitan Ryogoku High School)

1926

Tokyo Senior High School (German language)

1927

Mountaineering and Alpine author

1929

Department of Aesthetics and Art History, Tokyo Imperial University

1931“Yamagoya” magazine

1932

Graduate School, Tokyo Imperial University

1934

Professor at Yokohama Specialized School

1941

Editor in Chief of the official magazine“Kougei Nyusu” of the Ministry of Commerce andIndustry’s Craft Guide Institution (Pre-war and post-war)

1944

Consultant of the “Atelier” Publisher

1950

Jury of the Mainichi Industrial Design Award

1952

Consultant of JAAC (Japanese Advertising Artist Club)1952

Tokyo Ad Art Directors Club (renamed to Tokyo Art Directors Club in 1961)

1952

Consultant of JIDA (Japan Industrial Designers Association)

1953

Founder of JSSD (Japan Society for the Science of Design)

1954

Lecturer Kuwasawa Design School, Editor in Chief of “Living Design” magazine

1955

Consultant in the Founding of the Zokei Education Center

1957

Lecturer at Tokyo University of Education (Design Theory)

1957

Lecturer at the University of Tokyo (Department H, Architecture, Industrial Design)

1957

Member of the Industrial Design Award Committee of the Ministry of International Tradeand Industry (G Mark)

1958

Lecturer, Faculty of Education, Kanazawa University

1959

Editorial Advisor of the “Design” Magazine

1959

Editor in Chief of the “Graphic Design” Magazine

1961

President of the Japan Design Committee

1962

Director of the Kuwasawa Gakuen Educational Foundation

1962

President of JSSD (Japan Society for the Science of Design)

1963

Member of the Tokyo Olympic Design Liaison Council

1964

Chair of the Tokyo Olympic Design Committee

1965

Member of the Yokohama Urban Beauty Council

1966

Chair of the Symbol Mark Selection Committee of the Japan World Exposition Association

228

1966

Chairman of JSSD (Japan Society for the Science of Design)

1966

Co-Founder of Tokyo Zokei University, Professor of Department of Design)

1966

Japan Liaison Member of ICOGRADA

1966

Jury of the International Graphic Symbol World Student Competition sponsored by
ICOGRADA

1966

Chairman of the Mark Design Committee of the Sapporo Olympic Winter Games

1966

Chair of the Jury of the Symbol Selection of the Meiji Centennial Ceremony sponsoredby the Prime Minister’s Office

1968

Member of the Japan Society of Publishing Studies

1969

Director of the Japan Society of Publishing Studies

1969

National Jury of the World Expo Unification Symbol

1970

Design Consultant of the World Expo (Design Policy Adjustment and International
Graphic Symbol Setting)1970

Jury of the Art Selection Award of the Japan Agency for Cultural Affairs

1971Founder and Director of the Pictorial Institute1972

Chair of the Design Specialized Committee of the Sapporo Olympic Winter Games

1972

Chairman of Symbol Mark Selection Committee of the Okinawa Ocean Expo

1973

Director of the Crafts Foundation and the member of the Kitaro Kunii Industrial Crafts
Award Selection Committee

1974

Consultant of the Okinawa Ocean Expo Government Building

1974

Judge of the Symbol Mark Nomination Competition of the Japan Sports Association

1974

Editorial Consultant of the book “World Graphic Design” of Kodansha

1974

Deputy Chairman of the 6th Brno International Graphic Biennale

1975

Chairman of the Jury of the Montreal Olympics Commemorative Silver Coin

1976

Judge of Art Department of the 27th Art Selection Award

1976

Vice-Chair of Jury of the 6th Warsaw International Poster Biennale

1979

Jury of the Symbol Mark of the Japan Tobacco and Salt Public Corporation

1979

Consultant of the Japan Graphic Designers Association (JAGDA)

1980

Chair of Jury of the ’80 Asia Type Olympiad

229

230

13

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・大正と改元

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滋賀県

1909

デザイン役割

勝見勝の

著書

年代

01

02

10

11

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13

03

・犬上郡彦根町生まれ

地域

勝見勝関係

0

勝見勝年齢

1909

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・原弘著「新活版術研究」

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登山

東京帝国大学26 東京高等学校高等科（独語）27 28 29 30 31
32

東京府立第三中学校（現都立両国高等学校）

25

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同大学院

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・Katzumie というドイツ語の名前をもらう

18

市岡中学校（現大阪府立高等学校）

彦根東尋常高等小学校（現彦根城東小学校）

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・「LIFE」雑誌創刊

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教授

「山小屋」雑誌

横浜専門学校

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神奈川県

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・長女まり子誕生

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東京

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・石原百子と結婚

・離婚

鎌倉

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日本出版学会会員

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・ 東海道新幹線開業

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講談社「世界のグラフィックデザイン」編集顧問

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日本専売公社シンボルマーク審査員

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77 78 79 80 81 82 83 84 85 86
第六回ワルシャワ国際ポスター・ビエンナーレ審査副議長

第二十七回芸術選奨美術部門選考審査員

モントリオール五輪記念銀貨の審査委員長

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・Macintosh 発売

第六回ブルノ国際グラフィック・ビエンナーレの副審査委員長
・ 札幌オリンピック開催

・ 日本万国博覧会開催

・ミュンヘン・オリンピック
日本体育協会シンボルマーク指名コンペ審査員

財団法人工芸財団理事、国井喜太郎産業工芸賞選考委員
・バウハウス展、ショツットガルト、ロンドンなど巡回
沖縄海洋博政府館顧問

・西ドイツ ADC 設立

沖縄海洋博覧会シンボルマーク選考委員会委員長

札幌オリンピック冬季大会のデザイン専門委員会委員長

Pictorial Institute を成立、所長・中国で毛沢東が文化大革命
文化庁芸術選奨選考審査員

66

日本出版学会理事
69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84
万国博統一シンボルマーク国内審査員
・米軍のベトナム北爆開始
万国博デザイン顧問（デザインポリシーの調整と国際グラフィックシンボルの設定）
・ アポロ
11 号の月面着陸

65

・Icograda（国際グラフィックデザイン団体協議会）設立

・ベルリンに壁・世界デザイン会議・東京タワー完成

58

63

・日米安保条約改定

60

・Helvetica, Univers 配布

57
47

・「アイデア」誌創刊

・次男スバル誕生 ・父行蔵逝く

東京

40

50

58

・第一回 AGI（国際グラフィックデザイン連盟）会議パリで開催

ウルム造形大学57

総理府明治百年記念式典シンボル審査委員長

札幌オリンピック冬季大会のマーク制定委員会委員長

ICOGRADA 主催の国際グラフィックシンボル世界学生コンペ審査員

ICOGRADA 日本通信会員

東京造形大学の設立、教授（造形学部デザイン学科）

日本万国博覧会協会シンボルマーク選考委員会委員長

横浜市都市美審議会委員

東京オリンピックデザイン専門委員会委員長

東京オリンピックデザイン連絡協議会

桑沢学園理事

日本デザインコミッティー理事長

グラフィックデザイン雑誌「デザイン」編集顧問

金沢大学教育学部講師「近代造形思想史」

通産省産業意匠奨励審議会委員（G マーク）

東京大学講師（工科・建築・工業意匠について）

会長

88

88

88

90

89

89

90

90

・ バブル経済の崩壊

・ ベルリンの壁開放

・ 平成と改元

89

・第十回国井喜太郎産業工芸賞特別賞

・勲四等旭日小綬章・日本インダストリアルデザイナー協会功労賞

・東京アートディレクターズクラブ功労賞

アトリエ社顧問

・「手・道具・機械 人間進化の跡」 ・「子どもの絵 両親と先生への手引」訳

・「百万人のデザイン」訳

・「宣伝 + デザイン」訳

・「グッド・デザイン」共著

・「ポール・クレー 造形芸術論 作品と生涯」訳

理事長

会長

横浜市都市美審議会委員

東京オリンピックデザイン専門委員会委員長

東京オリンピックデザイン連絡協議会

桑沢学園理事

日本デザインコミッティー理事長

グラフィックデザイン雑誌「デザイン」編集顧問

金沢大学教育学部講師「近代造形思想史」

通産省産業意匠奨励審議会委員（G マーク）

東京大学講師（工科・建築・工業意匠について）

東京教育大学講師（意匠論）、東京芸術大学講師

造形教育センターの創設に参画、顧問

桑沢デザイン研究所開校、講師

日本デザイン学会創立

・「デザイン大系 第 1 巻 ポスター」原弘、河野鷹思共著
日本インダストリアルデザイナー協会顧問

・日宣美評議員「山の千一夜」
・「ABC の歴史」
東京アド・アートディレクターズクラブ（1961
年に東京アートディレクターズクラブ）顧問
・「登山の話」

・「手の進化 人間進化の跡」
毎日産業デザイン賞審査員
・「山と私たち」

・「装飾家具意匠集成」共著

・「音の観察 私たちをめぐる音の世界」

工業技術院産業工芸試験所編「工芸ニュース」編集顧問
商工省工芸指導所調査課長（「工芸ニュース」編集顧問）
・「マノン・レスコオ」訳
・「インダストリアル・デザイン」訳

・「タイの造形文化」訳

・半世紀に渡るデザイン評論活動によって命日デザイン賞特別賞
・「商業デザイン全集」の編集委員（イヴニングスター社、ダヴィド社）・「グラフィックデザイン」のエディターシップ対して毎日産業デザイン賞
・「銀座・和光のヴィンドーディスプレー」
・「レオナルド・ダ・ヴィンチ」
・「工業デザイン 理論と実際」訳
・SIAD 名誉会友の表彰状
・第一回日宣美展評を毎日新聞に執筆
・東京オリンピックのアートディレクションに対して東京アートディレクターズクラブ特別賞
・「勝見勝著作集」
・「現代デザイン入門」
・「美術の世界」
・第十回ブルノ・ビエンナーレ名誉賞
・紫綬褒章
・「グロピウスとバウハウス展」国立近代美術館
・「現代のデザイン」共著
・竹尾の『desk diary 1985』
・世界デザイン会議
・東京アートディレクターズクラブ功労賞
・「暮しの知恵と美しさ」共著
・「アルプスの風の中に」訳「勝見勝――手をつかわずにデザインしたひと」
・日本インダストリアルデザイナー協会功労賞
・「工業デザインの手引」共著
・「自然科学者としてのゲェテ」訳
・「手と造形」
・勲四等旭日小綬章
応召
・「生活の色彩」共著
・「悪魔伯夫人」訳
・「手と機械」訳
・第十回国井喜太郎産業工芸賞特別賞
・「大空への道」正樹克己訳 ・「セクストラヴァガンツァ愛慾合戦」訳 ・「世界の商業デザイナー 80」共著

45

・美術評論家として独立

44

51

・ 朝鮮戦争・興亜造形文化聯盟評議員
・「山岳描写史」が焼失
・教育美術振興会顧問
・「航海民族誌」訳
・「工芸と社会」訳

43

49
39

・長男胡桃誕生46

・家と蔵書二万冊焼失

東京

35

45

・長女つぐみ誕生

横浜

34

44

47

・「Graphis」雑誌創刊

・大熊芳子と結婚

33

・「山へ開く窓」

41

応召

40

共同創刊

・「山小屋」創刊同人

36

31

43

50

理事長

東京教育大学講師（意匠論）、東京芸術大学講師

造形教育センターの創設に参画、顧問

桑沢デザイン研究所開校、講師

日本デザイン学会創立

日本インダストリアルデザイナー協会顧問

東京アド・アートディレクターズクラブ（1961 年に東京アートディレクターズクラブ）顧問

日宣美評議員

毎日産業デザイン賞審査員

・大日本帝国憲法の改正手続を経て、日本国憲法公布
・広島・長崎に原子爆弾投下

・「FRONT」対外宣伝雑誌

42

49

・世界デザイン会議

工業技術院産業工芸試験所編「工芸ニュース」編集顧問

・ 昭和天皇の「人間宣言」

47

・東京大空襲45

・日本山岳会員、登録ナンバー 1903 番
・「山岳描写史」が焼失

41
31

・立正学園講師、帝國教育会嘱託

35

44

アトリエ社顧問

・モホリ＝ナギ、J・アルバース、H・バイヤーなど相次いでアメリカへ移る

・正樹克己の筆名を使用

35
25

40

・チヒョルト「Typographische Gestaltung」著す

・R・ローウィはデザイン事務所を開設

・S・モリスン、Times 書体設計監修

・「USSR」誌創刊

・チヒョルト「Die Neue Typographie」著す

39

応召

商工省工芸指導所調査課長（「工芸ニュース」編集顧問）

41

応召
共同創刊

第二次世界大戦

38

・ナチス第一党となり政権成立

33

・満州事変 ・上海事変

・世界経済恐慌

29

・ワーナーブラザーズ映画会社が初のトーキー映画上映

・昭和と改元

26

34

14

24

・E・ジョンストンはロンドン地下鉄のための書体設計

・イギリス産業デザイン協会（DIA）設立

・Ｃ・マレヴィッチはシュブレマティズムを提唱

13

23

・ソヴィエト連邦成立

22

・アインシュタイン、一般相対性理論を発表

・ドイツ工作連盟年鑑創刊

12

19

年代

11

18

・ロシア革命

第一次世界大戦

15

・ミュンヘンで表現主義の青騎士展開催

11

・「Nippon」対外宣伝雑誌

10

10

（日本）

デザイン関係（西洋）

デザイン関係

1909

教授「山小屋」雑誌

横浜専門学校

Katzumie Masaru’s Career

一般事項

年代

デザイン役割

勝見勝の

登山

Timetable

231

デザイン関係

著書

年代

1909

デザイン役割

勝見勝の

11

01

12

02

10

11

12

13

13

03

14

14

04

15

15

05

16

16

06

18

08

19

09

20

10

21

11

22

12

23

24

14

大阪

13

17

18

19

20

21

22

26

16

東京

25

15

28

18

23

24

29

19

30
20

31
21

32
22

26

27

登山

28

29

30

31

東京帝国大学

東京高等学校高等科（独語）32

東京府立第三中学校（現都立両国高等学校）

25

33
23

34
24

33

34

同大学院

36
26

37
27

38
28

29

39

・「LIFE」雑誌創刊

40
30

35

教授

37

38

39

40

45

・長女つぐみ誕生

47

48
38

神奈川県

37

応召

・教育美術振興会顧問

50
40

42

44

46

48

43

53
44

54

58

60
50

61

東京

51

・長女まり子誕生

・長男順誕生59
49

・石原百子と結婚

鎌倉

48

・離婚

57
47

62
52

63
53

工業技術院産業工芸試験所編「工芸ニュース」編集顧問

54

64
55

66
56

67
57

68
58

69
59

70
60

71
61

62

72
63

73
64

74
65

75
66

52

・「自然科学者としてのゲェテ」訳

53

54

57

58

59

60

61

・「生活の色彩」共著

・「工業デザインの手引」共著

・「暮しの知恵と美しさ」共著

・「現代のデザイン」共著

・「美術の世界」

56

・「マノン・レスコオ」訳

会長

63

64

・「インダストリアル・デザイン」訳

77

78
68

79
69

80
70

66

67

68

69

・「現代デザイン入門」

65

84
74

70

71

72

73

74

75

76

77

78

79

80

83

84

85

89

87

88

89

90

90

「勝見勝――手をつかわずにデザインしたひと」

・竹尾の『desk diary 1985』

・「勝見勝著作集」

86

・「銀座・和光のヴィンドーディスプレー」

81

82

日本専売公社シンボルマーク審査員

第六回ワルシャワ国際ポスター・ビエンナーレ審査副議長

第二十七回芸術選奨美術部門選考審査員

モントリオール五輪記念銀貨の審査委員長

JAGDA 顧問

88

・第十回国井喜太郎産業工芸賞特別賞

・勲四等旭日小綬章

第六回ブルノ国際グラフィック・ビエンナーレの副審査委員長

講談社「世界のグラフィックデザイン」編集顧問

日本体育協会シンボルマーク指名コンペ審査員

沖縄海洋博政府館顧問

87

・第十回ブルノ・ビエンナーレ名誉賞

財団法人工芸財団理事、国井喜太郎産業工芸賞選考委員

沖縄海洋博覧会シンボルマーク選考委員会委員長

86

・SIAD 名誉会友の表彰状

・日本インダストリアルデザイナー協会功労賞

札幌オリンピック冬季大会のデザイン専門委員会委員長

Pictorial Institute を成立、所長

文化庁芸術選奨選考審査員

85

・十一月十日午前三時頃急逝

83
73

・半世紀に渡るデザイン評論活動によって命日デザイン賞特別賞

82
72

万国博デザイン顧問（デザインポリシーの調整と国際グラフィックシンボルの設定）

万国博統一シンボルマーク国内審査員

日本出版学会理事

日本出版学会会員

総理府明治百年記念式典シンボル審査委員長

札幌オリンピック冬季大会のマーク制定委員会委員長

81
71

・Macintosh 発売

・東京アートディレクターズクラブ功労賞

ICOGRADA 主催の国際グラフィックシンボル世界学生コンペ審査員

ICOGRADA 日本通信会員

東京造形大学の設立、教授（造形学部デザイン学科）

・「工業デザイン 理論と実際」訳

62

・紫綬褒章

日本万国博覧会協会シンボルマーク選考委員会委員長

横浜市都市美審議会委員

東京オリンピックデザイン専門委員会委員長

東京オリンピックデザイン連絡協議会

桑沢学園理事

日本デザインコミッティー理事長

グラフィックデザイン雑誌「デザイン」編集顧問

金沢大学教育学部講師「近代造形思想史」

通産省産業意匠奨励審議会委員（G マーク）

東京大学講師（工科・建築・工業意匠について）

・「レオナルド・ダ・ヴィンチ」

55

理事長

東京教育大学講師（意匠論）、東京芸術大学講師

造形教育センターの創設に参画、顧問

桑沢デザイン研究所開校、講師

日本デザイン学会創立

日本インダストリアルデザイナー協会顧問

76

・ 札幌オリンピック開催

67

・ミュンヘン・オリンピック

・ 日本万国博覧会開催

・東京オリンピックのアートディレクションに対して東京アートディレクターズクラブ特別賞

65・ 東海道新幹線開業

東京アド・アートディレクターズクラブ（1961 年に東京アートディレクターズクラブ）顧問

日宣美評議員

・「アルプスの風の中に」訳

51

・「悪魔伯夫人」訳

・世界デザイン会議

・「グロピウスとバウハウス展」国立近代美術館

・第一回日宣美展評を毎日新聞に執筆

毎日産業デザイン賞審査員

50

56
46

・世界デザイン会議

・ 東京オリンピック開催

・バウハウス展、ショツットガルト、ロンドンなど巡回

・西ドイツ ADC 設立

・Icograda（国際グラフィックデザイン団体協議会）設立

・「商業デザイン全集」の編集委員（イヴニングスター社、ダヴィド社）・「グラフィックデザイン」のエディターシップ対して毎日産業デザイン賞

45

55

・「アイデア」誌創刊

・東京タワー完成

・Helvetica, Univers 配布

・「大空への道」正樹克己訳 ・「セクストラヴァガンツァ愛慾合戦」訳 ・「世界の商業デザイナー 80」共著
・「手・道具・機械 人間進化の跡」 ・「子どもの絵 両親と先生への手引」訳
・「タイの造形文化」訳

・「手と機械」訳

・「手と造形」

49

・「工芸と社会」訳

47

・「山岳描写史」が焼失

45

・「航海民族誌」訳

43

・「山へ開く窓」

アトリエ社顧問

42

52

日宣美

51
41

ウルム造形大学
・第一回 AGI（国際グラフィックデザイン連盟）会議パリで開催

・次男スバル誕生 ・父行蔵逝く

東京・興亜造形文化聯盟評議員

・美術評論家として独立

49
39

・長男胡桃誕生46
36

・家と蔵書二万冊焼失

東京

35

商工省工芸指導所調査課長（「工芸ニュース」編集顧問）

41

応召
共同創刊

・「山小屋」創刊同人

36「山小屋」雑誌

横浜専門学校

44
34

横浜

43
33

・大熊芳子と結婚

42
31

・「Graphis」雑誌創刊
・「FRONT」対外宣伝雑誌

・日本山岳会員、登録ナンバー 1903 番
・「山岳描写史」が焼失

41
31

・立正学園講師、帝國教育会嘱託

・正樹克己の筆名を使用

35
25

・広島・長崎に原子爆弾投下

・モホリ＝ナギ、J・アルバース、H・バイヤーなど相次いでアメリカへ移る

・「Nippon」対外宣伝雑誌

・原弘著「新活版術研究」

・チヒョルト「Typographische Gestaltung」著す

・R・ローウィはデザイン事務所を開設

・S・モリスン、Times 書体設計監修

・「USSR」誌創刊

・Katzumie というドイツ語の名前をもらう

27

17・満州事変 ・上海事変

・チヒョルト「Die Neue Typographie」著す・ワーナーブラザーズ映画会社が初のトーキー映画上映

市岡中学校（現大阪府立高等学校）

彦根東尋常高等小学校（現彦根城東小学校）

07

17

・De Stijl 誌創刊

・E・ジョンストンはロンドン地下鉄のための書体設計

・イギリス産業デザイン協会（DIA）設立

・Ｃ・マレヴィッチはシュブレマティズムを提唱

バウハウス

・アインシュタイン、一般相対性理論を発表

・ドイツ工作連盟年鑑創刊

・ミュンヘンで表現主義の青騎士展開催

・犬上郡彦根町生まれ

滋賀県

勝見勝関係

地域

10

0

1909

勝見勝年齢

年代

（日本）

デザイン関係（西洋）

Katzumie Masaru’s Articles on “Graphic Design” magazine
Total: 172, 4 articles in pan name Masaki Katsumi (MK)1

Alvin Lustig (USA). A pure singer of design [No.1] (1959.11)

2

Design policy of Olivetti [No.2] (1960.4)

3

Max Huber (Switzerland) [No.3] (1960.9)

4

Jazz [No.3] (1960.9)

5

Saul Bass, after the vision in motion (USA) [No.4] (1961.2)

6

Selected works of J. Muller-Brockmann (Switzerland) [No.5] (1961.10)

7

New wave in graphic design [No.6] (1962.1)

8

New Wave in graphic design II [No.7] (1962.4)

9

Design Policy of IBM [No.7] (1962.4)

10

New Wave in graphic design III [No.8] (1962.7)

11

Selected works of Ohashi Tadashi (Japan) [No.8] (1962.7)

12

New wave in graphic design IV [No.9] (1962.10)

13

Selected works of Carlo L. Vivarelli (Switzerland) [No.9] (1962.10)

14

Recent works of Camille Louis Graeser (Switzerland) [No.10] (1963.1)

15

Calendars past and present [No.11] (1963.4)

16

Display for gasoline station, a mall scale design policy 2 [No.11] (1963.4)

17

New wave in graphic design VI [No.11] (1963.4)

18

Selected works of Alexandre Alexeieff (France) [No.12] (1963.7)

19

Louis Dorfsman and CBS (USA) [No.12] (1963.7)

20“Parata Luci” Milano design policy of Geigy [No.12] (1963.7)

21

new wave in graphic design VII [No.12] (1963.7)

22

Design policy of Westinghouse (USA) [No.13] (1963.10)

23

New wave in graphic design VIII [No.13] (1963.10)

24Teamworks of Gerstner + Kutter (Switzerland) [No.13] (1963.10)

25Lester Beall and the New York Hilton [No.14] (1964.1)

26

Studio Boggeri, old yet new [No.14] (1964.1)

27

Photo-design by Yanome Koh (Japan) [No.14] (1964.1)

28

New wave in graphic design IX [No.14] (1964.1)

29

Winds from everywhere [No.15] (1964.4)

30

New wave in graphic design X [No.15] (1964.4)

31

George Lenox: a book designer of the United States [No.16] (1964.7)

32

Winds from everywhere [No.16] (1964.7)

33

Match-box collector’s paradise: Japan 1 [No.16] (1964.7)

34

Design puzzles [No.16] (1964.7)

232

35

Design policy of the Tokyo Olympic 1 [No.17] (1964.10)

36

Design policy of the Tokyo Olympics 2 [No.18] (1965.1)

37

Match-box collectors, paradise: Japan 2 [No.18] (1965.1)

38

Photo-design by Tokuda Shunzo (Japan) [No.19] (1965.4)

39

Paper relics of Japanese tea house [No.19] (1965.4)

40

Editorial design in Europe and America [No.19] (1965.4)

41

New Wave in graphic design XII [No.19] (1965.4)

42Graphic films by Goldsholls (USA) [No.19] (1965.4)

43

French posters, from their beginnings to the present [No.20] (1965.7)

44

Winds from everywhere [No.21] (1965.10)45

Selected works of Nelly Rudin-Loewensberg (Switzerland) [No.23] (1966.4)

46

Mead IC Annual Reports Exhibition in New York [No.23] (1966.4)

47

New wave in graphic design XIII [No.23] (1966.4)

48

Dr. Hans Jenny’s “Schwingende Welt” (Switzerland) [No.24] (1966.7)

49

Selected Works of Siegfried Odermatt (Switzerland) [No.24] (1966.7)

50

Versatility of Pieter Brueghel d.A [No.25] (1966.10)

51

Selected works of Fanco Maria Ricci (Italy) [No.25] (1966.10)

52

Creativity in “Braun Style” [No.25] (1966.10)

53

Stenciled graphics by Inagaki Nenjiro (Japan) [No.26] (1967.1)

54

Eugenio Carmi, a basic designer (Italy) [No.26] (1967.1)

55

A Teamwork in new wave: Ruiz, Shakespear and Fontana, Argentina [No.26] (1967.1)

56

CBC Milano [No.27] (1967.4)

57

Design in the air [No.27] (1967.4)

58

Franco Grignani and his experimental graphics (Italy) [No.28] (1967.7)

59

Fukuda’s one-man show in New York “Toys and Things Japanese” (Japan) [No.28] (1967.7)

60

The world of Floris Michael Neususs, Kassel (West Germany) [No.29] (1967.10)

61

Robert Delpire — art editor, art director, photographer (France) [No.29] (1967.10)

62

Poster design in West Germany [No.30] (1968.6)

63

3 women designers: Rosmarie Tissi (Switzerland) [No.30] (1968.6)

64

Design for the Winter Olympics: Grenoble and Sapporo [No.30] (1968.6)

65

One designer for 178 covers — Ito Kenji (Japan) [No.31] (1968.9)

66

Activist designer: Ralph Prins (Netherlands) [No.31] (1968.9)

67Picture maps by Hermann Bollman (Germany) [No.32] (1968.12)

68

Selected works of Jean Michel Folon (Belgium) [No.33] (1969.3)

233

69

The Robot and Computopia? [No.33] (1969.3)

70Garments of Uesugi Kenshin, a 16th century warlord [No.34] (1969.6)

71

The “Illu-sion” of Sugiura Kohei (Japan) [No.34] (1969.6)

72

Leading figures in 20th century graphic design 1 [No.34] (1969.6)

73

Leading figures in w0th century graphic design 2 [No.35] (1969.9)

74

A full-length portrait of Gerard Ifert (Switzerland) [No.35] (1969.9)

75

World Exposition 1: history of the World Expositions [No.36] (1969.12)

76

Questioning the social mission of the Japan Advertising Artists Club [No.36] (1969.12)

77

A Diderot Pictorial Encyclopedia of Trades and Industry in two volumes [No.37] (1970.3)

78

From the bottom of my tiny purse 1, dedicated to Mr. Aaron Burns [No.37] (1970.3)

79

Stechaks, or Yugoslavic design offered to the Departed [No.38] (1970.6)

80

Recent work by Jay Maisel, New York [No.39] (1970.9)

81World Expositions 4: the Japanese World Exposition [No.39] (1970.9)

82

Collected works of Wolfgang Walther (West Germany) [No.40] (1970.12)

83“Tentation de Saint Antoine” by Odilon Redon graphic design in Belgium [No.41] (1971.3)

84

Towards an international symbology: Tokyo, Osaka, Sapporo [No.42] (1971.6)

85

Giulio Confalonieri and Esso Standard Italiana (Italy) [No.43] (1971.9)

86

The re-designing of the Air France timetable [No.44] (1971.12)

87

Design policy for Sapporo Winter Olympic Games 1 [No.45] (1972.3)

88“Munchen” [No.47] (1972.9)

89

Design Policy for Munich Olympic Games 1972 [No.47] (1972.9)

90Best posters of DDR [No.47] (1972.9)

91

Official symbol mark for EXPO’75, results of the nomination competition [No.48] (1972.12)

92“Global eye ’72” exhibition, designs and crafts from East Europe [No.48] (1972.12)

93

Saito Shinichi’s “echigo goze nikki,” Japan’s insite art [No.49] (1973.3)

94

Living for design unto death, Tom Lee (USA) [No.49] (1973.3)

95

Graphic design by Katayama Toshihiro 1963-1973 (Japan) [No.50] (1973.6)

96

Thomas Bayrle, and engineer in illusions (West Germany) [No.50] (1973.6)

97

10: EUROPA 9 [No.50] (1973.6)

98

Sudarshan Dheer, and art director of Bombay, India [No.50] (1973.6)

99

Graphic eye in Spain [No.51] (1973.9)

100

ICSID ’73 Kyoto [No. 52] (1974.2)

101

Architectural alphabet, and achievement in the Baroque age [No. 52] (1974.2)

102

Fifteen Signs by Sandberg (Netherlands) [No.54] (1974.7)

103

Hanc Horam: EXPO ’75 Okinawa and International Parks [No.55] (1974.10)

234

104

Design Journey 1: Brno Biennale [No.55] (1974.10)

105

Hanc Horam: Fukuda Shigeo [No. 56] (1974.12)

106“Ubiquitous Signs” Exhibition [No. 56] (1974.12)

107

Design Journey 2: Warsaw Biennale [No.57] (1975.3)

108

Symbols and marks in Czechoslovakia [No.57] (1975.3)

109

Aaron Marcus and his symbolic constructions (USA) [No.57] (1975.3)

110

Waves, variations on water — mise en page (Japan) [No.58] (1975.5)

111Paul Davis and automobiles (USA) [No.58] (1975.5)

112

Hanc Horam: two international design biennales [No.58] (1975.5)

113

Signs and symbols in the landscape: towards symbolism of the landmark [No.59] (1975.9)

114

On Roland Topor, word-painter / image - poet (France) [No.59] (1975.9)

115

From ”Graphic Design from Great Britain” exhibition [No. 60] (1975.12)

116

Design for Olympic Coin Program: international competition [No.61] (1976.3)

117

A fairy making and making boxes — Kitagawa Yoshiko (Japan) [No.61] (1976.3)

118

Paprika, paprika, paprika [No.61] (1976.3)

119

Picture maps of Edo: Edo’s urbanity [No.62] (1976.6)

120

Special Feature: circuses / poster and circuses [No.62] (1976.6)

121

Special feature: grass roots of America [No.63] (1976.9)

122

6th International Poster Biennale Warsaw 1976 [No.64] (1976.12)

123

Nakagaki Nobuo’s recent works: panel discussion [No.64] (1976.12)

124

Gotoh Hide’s graphic art (Japan) [No.64] (1976.12)

125

Watching my name go by, the faith of graffiti designer Urano Roy in Hawaii [No.65] (1977.3)

126

Koizumi Takashi’s illustrations (Japan) [No.65] (1977.3)

127

Klaus Moritz and European scenes (West Germany) [No.66] (1977.6)

128

Emilio Ambasz and his surrealist obsession (USA) [No.69] (1978.3)

129

Cannan project started [No.70] (1978.6)

130

The world of Kamijo Takahisa (Japan) [No.70] (1978.6)

131

Global new waves in 70s: a graphic design in Finland [No.70] (1978.6)

132

Cattaccattaccattac [No.71] (1978.9)

133

ICOGRADA ’78: round tabletalk in ICOGRADA Chicago Congress [No.72] (1978.12)

134Construction of sound=Endo Susumu (Japan) [No.72] (1978.12)

135Best top 100 Japanese designs 1: symbol marks [No.73] (1979.3)

136

Computer “trees” by Izuhara Eiichi (Japan) [No.74] (1979.6)

137

Wooden assembly toys by Oguro Saburo (Japan) [No.75] (1979.9)

138

Best top 100 Japanese design 2: posters [No.75] (1979.9)

235

139

Tanaka Ikko’s poster kingdom (Japan) [No.76] (1979.12)

140

Special feature: round-talk on Aspen [No.76] (1979.12)

141“Caricatures and Self-Portrait Series” by America Sanchez (Spain) [No.76] (1979.12)

142

Drama of abstraction: Nagai Kazumasa (Japan) [No.77] (1980.3)

143

Nara Ehon, the roots of Japanese picture books [No.78] (1980.6)

144

Design ’79 Hong Kong Japan Design Exhibition [No.78] (1980.6)

145

Japan Style Exhibition: Japan Style in London [No.79] (1980.9)

146

Costumes for “Casta Diva,” Miyake meets Bejart [No.79] (1980.9)

147

Marzena Kawalerowicz, Warsaw [No.79] (1980.9)

148

Yanagi Sori’s Milan exhibit / symbol of good design in Japan [No.80] (1980.12)149

For the International Year of Disabled persons [No.80] (1980.12)

150

Massimo and Lella Vignelli, New York / husband-wife team from Milan [No.80] (1980.12)

151Charles Goslin who speaks with style (USA) [No.81] (1981.3)

152

Talks on pictograms [No. 82] (1981.6)

153

Hely Lima’s 3-D graphics (Brasil / USA) [No. 82] (1981.6)

154“Alice in Wonderland” comes from Poland [No. 82] (1981.6)

155Jean Larcher’s “lettering-cards” (France) [No. 82] (1981.6)

156

12 posters arching the Pacific [No.83] (1981.9)

157

4 Box-er — exhibition by 4 package designers [No.83] (1981.9)

158

A montage of Mickiewicz’ poems [No.83] (1981.9)

159

Carto-graphisme Exhibition at the Centre Georges Pompidou

160

Design’81 in Helsinki [No.84] (1981.12)

161

A.M. Cassandra / talks on A.M. Cassandra (France) [No.85] (1982.3)

162

Disarmament posters, U.N. [No.86] (1982.6)

163

Computer graphics generation [No.87] (1982.9)

164

Roger Bezombes’ poster series for Air France [No.88] (1982.12)

165

On Hon. F. SIAD [No.89] (1983.3)

166

Human hymns, poster of Cuba [No.89] (1983.3)

167

15 official posters for the 1984 Olympics, Los Angeles [No.91] (1983.9)

168

Design east & west: Yamana Ayao / Shigenari Motoy (Japan) [No.91] (1983.9)

169 MK EI Lissitzky, a pioneer of modern graphic design (USSR) [No.6] (1962.1)
170 MK Selected works of Matthew Leibowitz (USA) [No.7] (1962.4)
171 MK Design policy of the Steendrukkerij de Jong (Netherlands) [No.8] (1962.7)
172 MK Cookies and breads, the baker’s art [No.23] (1966.4)

236