JAPAN Design Resource Database

02

Database / I I I I

Design Resources: Digital Archive

  • Karon Institute of Western Art, Student Recruitment

Holdings Classification (Registered Name)

Karon Institute of Western Art, Student Recruitment

Karon Institute of Western Art, Student Recruitment

Category
  • #Graphic
Year of Production (First Edition)

1951

Designer

Yoshio Hayakawa (Design)

Dimensions

H757 × W526 mm

Materials and Techniques

Printed on paper

Design Registration Number

Unclear

Portrait and Publicity Rights Holder

Unclear

Copyright Registration Number

Unclear

Inquiries

Nakanoshima Museum of Art, Osaka

Data Source

Yoshio Hayakawa, Yoshio Hayakawa’s Work and Surroundings (1999, Rikuyosha)|Yoshio Hayakawa (Kisorou Yahagi, Planning and Composition), Approval at the Dawn of Japanese Design: Yoshio Hayakawa (2006, DNP Graphic Design Archive)

Before the war, Hayakawa studied at the Osaka Municipal Kogei School (now Osaka Municipal Kogei High School) in the design department and was influenced by Yamaguchi Masashiro, who was experimenting with Bauhaus educational theory. As the only designer in the Advertising Department, he was in charge of a wide variety of advertisements, including posters and newspaper advertisements, and also designed printed materials other than those for Kintetsu Department Store, such as those for the Caron Institute of Western Clothing.

Description

Yoshio Hayakawa, who along with Yusaku Kamekura, who began working in Tokyo after the war to establish the profession of graphic designer and improve its social status, had a major influence on the rise of graphic design in Osaka. Caron was created in 1951, the year the Japan Advertising Artists Society was founded and the Democrat Artists Association was formed. Poster for the Kalon Institute of Western Clothing and Kintetsu Corporation. The series of posters for the Kalon Institute and the “Shusaikai” kimono event at the Kintetsu Department Store are highly regarded as representative of Yoshio Hayakawa’s work from the postwar Osaka period and as a symbol of Osaka’s originality, which was distinct from Tokyo’s graphic design trends.