Playbill Designs to the Stanislavsky Electrotheatre

The school of Japanese graphic design occupies one of the leading places in the world. Despite the globalization, the work of Japanese designers continues to stand out from the crowd. A key role in this is played by the unique Japanese typography. The purpose of my visual research was to study the technique of work of Japanese designers with the text in the poster. As a result, the following key techniques were revealed. 1 Text as an illustration. The origins of hieroglyphs originate from pictograms, and they have retained their illustrations. With their proper use, the metaphor is so brilliant that such posters leave a significant mark in the history of Japanese and world design. 2 The plasticity of the hieroglyphic sign. In Japanese, more than fifty thousand hieroglyphs, so designers are easier to draw the right symbols by hand than to develop a full-fledged font each time. So every Japanese poster contains its unique font. 3 Lack of negative space. Due to lack of territory, the desire for crowding also came in the poster. The Japanese are not afraid of text congestion and conflict of information, but on the contrary, believe that the more text, the more informative the poster. 4 The word as the center of composition. In Japanese posters, one can observe a trend towards a centric composition – the main word stands, vertically in the center of the poster, and additional information diverges from the center in different directions. 5 Text on the edges of the poster. In contrast to the previous method, designers also use the space conversely – placing text on the edges of the poster and leaving the center without text accents. 6 Mixing of languages. When working with typography in a poster, the Japanese often resort to using other languages ​​together with Japanese. First of all, for the purpose of greater informativeness, but also for additional piquancy of the poster. This technique dilutes the complex Japanese typography and adds the right air to the poster.