Style combination · Pairs well
Japanese Postwar Modernism × Ukiyo-e Woodblock Prints
Reduce ukiyo-e motifs to flat emblems on a strict grid to get the postwar Japanese blend of tradition and modernism.
Mix them and make something Japanese Postwar Modernism Ukiyo-e Woodblock Prints
01
What each style brings
Each part of the design comes from the style with the stronger say in it, and each style gives at least two.
Japanese Postwar Modernism Ukiyo-e Woodblock Prints
- Type from Ukiyo-e Woodblock Prints
- Colour from Japanese Postwar Modernism
- Form from Japanese Postwar Modernism
- Composition from Japanese Postwar Modernism
- Surface from Ukiyo-e Woodblock Prints
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Display · Ukiyo-e Woodblock Prints
Tide
Shippori Mincho, standing in for Brush-written kana and kanji titles (gyōsho and sōsho hands)
Text · Japanese Postwar Modernism
Building on the New Typography that Hiromu Hara and the Nippon Kobo circle had absorbed in the 1930s, Japan's postwar graphic designers fused the grid, sans-serif and objective photography of European modernism with indigenous traditions of family crests (kamon), asymmetry and charged emptiness (ma). From the Graphic '55 exhibition and the Nippon Design Center to Yusaku Kamekura's Tokyo 1964 Olympic posters, it produced bold emblematic symbols, luminous flat colour fields and photography of startling precision.
Zen Kaku Gothic New; Japanese Postwar Modernism used Gothic and Mincho
03
The colours
The ground and leading colours come from Japanese Postwar Modernism, with a counter-accent from Ukiyo-e Woodblock Prints. The ink reads on the ground at 4.5:1 or more.
Japanese Postwar Modernism Ukiyo-e Woodblock Prints
-
#f4f1eaground · 36% -
#111111ink · 14% -
#d7261eaccent · 18% -
#c8a24aaccent · 14% -
#1d3c78accent · 10% -
#d98c8caccent · 8%
As CSS
:root {
--ground: #f4f1ea;
--ink: #111111;
--accent-1: #d7261e;
--accent-2: #c8a24a;
--accent-3: #1d3c78;
--accent-4: #d98c8c;
--font-display: "Shippori Mincho", serif;
--font-text: "Zen Kaku Gothic New", sans-serif;
}
04
The two styles
05
More combinations
With Japanese Postwar Modernism
- Angura Theatre Poster Contrasts · Tadanori Yokoo's angura theatre posters broke with this school; set one beside a Kamekura poster to calibrate restraint against overload.
- Kawaii Design Contrasts · Kawaii shows the soft, crowded face of Japanese visual culture; use the contrast to tune a brand between gravitas and charm.
- Minimalist Graphic Design Pairs well · Muji-era minimalism grew from this school; enlarge the empty field further and reduce the emblem to a whisper.
- International Typographic Style Pairs well · Graft a single emblematic disc or crest onto a Swiss grid to add focus and warmth without breaking its order.
- Hong Kong East–West Graphic Modernism Pairs well · Take its single emblem on an empty field, then add a bilingual Chinese–English lockup and one ink stroke to move the poster from Tokyo to Hong Kong.
- Finnish Bold Print (Marimekko Modernism) Pairs well · Japanese postwar emblematic colour fields share the reduction of nature to a few flat silhouettes, and two of Marimekko's leading designers, Katsuji Wakisaka and Fujiwo Ishimoto, came from Japan; pair one Japanese-style emblem with a Marimekko-scale repeat for a calm, nature-led identity.
- Yuru-chara (Japanese Local Mascot Design) Contrasts · Postwar Japanese identities give institutions abstract, grid-built marks; a yuru-chara gives a prefecture a face, a name and a body that walks into festivals and shakes hands.
- Taishō Roman & Lyrical Illustration Contrasts · Postwar modernism replaced this sentimental figure with emblems and empty fields; set one against the other to calibrate warmth against austerity.
With Ukiyo-e Woodblock Prints
- Japonisme Pairs well · Its direct European heir: combine ukiyo-e cropping and flat colour with Western display lettering for a Japonisme poster.
- Belle Époque Lithographic Poster Pairs well · Use the flat silhouette and keyline of ukiyo-e inside a lithographic poster, as Toulouse-Lautrec did, to read at a distance.
- Renaissance Book Typography Contrasts · Set an off-centre, edge-cropped print against a symmetric classical text block to stage East-West contrast deliberately.
- Kamon (Japanese Family Crests) Pairs well · Kabuki actors had their own mon, and actor prints show them on the costume, as on the sleeve of Ichikawa Yaozō III in a print of 1796; pair a flat crest with ukiyo-e figures to identify characters without captions.
- Serizawa Katazome and Mingei Stencil-Dye Graphics Contrasts · Ukiyo-e is carved line, urban pleasure and diagonal drama; Serizawa is a stencil edge, rural work and calm panel grids.
- Taishō Roman & Lyrical Illustration Pairs well · Yumeji's beauties continue the bijin-ga print; pair a woodblock-printed pattern ground with a lyrical modern figure.
- Kinngait (Cape Dorset) Inuit Printmaking Contrasts · Houston studied with the sōsaku-hanga printmaker Un'ichi Hiratsuka in 1958–59, and Kinngait shares ukiyo-e's hand-rubbed relief, Japanese paper, margin seals and a split between designer, cutter and printer (which sōsaku hanga itself rejected); but ukiyo-e fills a cropped scene inside a carved keyline with cartouche text, while Kinngait usually floats a few silhouettes on open paper, so use ukiyo-e for a full scene and Kinngait for a lone presence.
- Cel-Shaded Game Graphics (Toon-Shaded Real-Time 3D) Pairs well · Borrow woodblock outline, flat colour and paper tone to push the bands towards the painted register of Okami.