Typojanchi 2013
Seoul International Typography Biennale

August 30–October 11
10:00 am– 7:00 pm
Closed every Monday
Free admission

Culture Station Seoul 284
1 Tongil-ro, Jung-gu
Seoul 100-162, Korea
T. 82-2-3407-3500
F. 82-2-3407-3510


Hosted by
Ministry of Culture, Sports and Tourism

Organized by
Korea Craft & Design Foundation
Korean Society of Typography


Typojanchi 2013
Administration Office
Korea Craft & Design Foundation
5F, 53 Yulgok-no, Jongno-gu
Seoul 110-240, Korea
T. 82-2-398-7945
F. 82-2-398-7999
E. typojanchi@kcdf.kr

Typojanchi 2011







Mixed-media installation: plastic, wire, dermatograph
Dimensions variable

Ohara Daijiro
Born in 1978, Japan


Ohara Daijiro is a Tokyo-based designer and principal of Omomma, a studio focused on lettering, illustration, motion graphics and art direction. He graduated from Musashino Art University, Tokyo, and started working independently in 2003. Beside commissioned work for music videos, commercials, packaging and publications, he has also been actively engaged in self-initiated projects, searching for new perceptions of words and letters through exhibitions, workshops and fieldwork. Letter Collection, for example, is an attempt to find the ur-form of letters in landscapes; Letter Lottery is a wordplay based on chance operation; Omomma Stationery Shop presents objects and industrial debris as “writing tools”; and Riding Letters shows how the lettering on a skateboard may be altered by physical and environmental factors.

Ohara Daijiro’s installation Typogravity is an extension of the light mobile sculpture series Mojyuryoku (Letter-Gravity) he started in 2012. The series name is also a wordplay in Japanese: it is a compound of moji (letter) and jyuryoku (gravity), and it also sounds similar to mojyuru (module) as well as mujyuryoku (zero gravity). Composed of thin plastic strips attached on a wire and a drawing on the wall, a Typogravity piece is an abstract sculpture at most times, except when the combination of the physical strips, their shadows and the drawn strokes (“modules”) fleetingly create a form that is recognizable as a word.

Chance formation of meaningful signs is not unfamiliar in Ohara’s work. Even his more conventional letterings for book covers, for example, do not attempt to be faithful to existing letterform, typographic or calligraphic: rather, the characters are often so loosely constructed that their letter-like appearance feels almost accidental. Then again, it may be closer to the true nature of letters: after all, how much part of any letterform has actually been so consciously designed or inevitably determined?

© Typojanchi 2013