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

twitter@typojanchi
facebook.com/typojanchi2013

Hosted by
Ministry of Culture, Sports and Tourism

Organized by
Korea Craft & Design Foundation
Korean Society of Typography

Credits

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

Seikaisha Shinsho
 
2011–ongoing
Offset lithography, cut and glued, cover, jacket, outsert
10.8 x 17.2 cm each, thickness and extent vary
Tokyo: Kodansha

Yoshioka Hidenori
Born in 1976, Japan

Yoshioka Hidenori is a graphic designer working in Tokyo. With his small studio called September Cowboy, he has been focused on designing books for publishers including Seikaisha, Shogakukan, Kodansha, Fukuinkan Shoten, East Press, Forest Publishing, Asahi Press and Lixil Press.

The Seikaisha Shinsho series was started with an aim of distributing intellectual “weapons” to help youths open the way to the future for themselves, not only to fulfill their own curiosity. A design strategy was implemented to speak to the younger readers. The elements on the covers are kept to a minimum, with the titles clearly standing out. The vivid belly bands create strong contrast against the simple covers, with their eye-catching colors and playful typography. Sometimes images—roughly screened photographs or manga clips—are also deployed. Overall, this approach marks a clear departure from the conservative design of the past Shinsho books.

As exemplified by Seikaisha Shinsho, an obi (Japanese word for belly band outsert) tends to play an important role in Japanese—and Korean, to a lesser extent—book design. It is a type of dust jacket that covers only a portion of a book: even a book with a dust jacket may have an additional obi. It usually carries blurbs and other more promotional elements, allowing covers to concentrate on more editorial aspects. This duality reflects the two, often conflicting goals of book cover design. In the marketplace, a book’s cover works primarily as an advertising, not unlike a commercial poster; on the other hand, as part of an integrated object, it is also expected to respect its content—with all the dignity of the work it covers. Assigning different roles to cover and obi is a solution: a book can maintain its integrity as a serious work by relegating less “honorable” jobs to obi, which is essentially a throwaway. The relationship between the two parts, however, can be a subject of experimentation, as some designers have recognized.


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© Typojanchi 2013