JAPAN Design Resource Database

02

Database / I I I I

Design Resources: Digital Archive

  • MoMA Poster Calender  January 1984

Holdings Classification (Registered Name)

MoMA Poster Calender January 1984

MoMA Poster Calender January 1984

Category
  • #Graphic
Year of Production (First Edition)

1984

Release Year

1984

Designer

Takenobu Igarashi (Designer)

Manufacturer

Museum of Modern Art, New York

Distributor

Unclear

Dimensions

W1030 × H728 mm

Materials and Techniques

paper, offset printing

Design Registration Number

Unclear

Portrait and Publicity Rights Holder

Not Applicable

Copyright Registration Number

Unclear

Related Links
Inquiries

Kanazawa Institute of Technology. IGARASHI TAKENOBU Archive

Data Source

“Igarashi Takenobu”, Takeo Co., Ltd., 2016
Igarashi Takenobu, “From Design to Art: Igarashi Takenobu’s Perspective and Sensibility”, Kanazawa Institute of Technology Igarashi Takenobu Archive, 2023
Takeo Archives. “MoMA Poster Calendar”. TAKEO ARCHIVES. (Last accessed: 2024.09.30)
Igarashi Takenobu. “MoMA Poster Calendar”. Takenobu Igarashi. (Last accessed: 2024.09.30)

Huge three-dimensional numbers created by hand

Description

This is one of the poster calendars published by the Museum of Modern Art (MoMA) in New York from 1984 to 1988. From 1989 to 1991, it was published by Alphabet Gallery, which Igarashi was the director of (the 1991 edition is composed of past works). The 622 numbers used to indicate the 365 days were all designed differently according to the theme of each month, and as a result, 4,356 three-dimensional numbers using axonometric drawing were completed in seven years. When Igarashi began this work, he gave himself several conditions. These were that the two-dimensional shape of the numbers had to be the same, that a space grid of the XYZ axes in 5mm units had to be used, and that they had to be created by hand (only part of the original drawing for the 1987 edition was computer-generated). To achieve this enormous task, Igarashi also devised tools and processes, such as preparing a mount with the two-dimensional shapes printed on it and a compass opened in 5mm increments. This is Igarashi’s representative work, which moves lightly between two-dimensional and three-dimensional, from graphics to sculpture.