Category Archives: review

Reading Takashi Hiraide──Anthony Barnett

Reading Takashi Hiraide
Anthony Barnett
Tears in the Fence Festival 2014 にて、イギリスの詩人 Anthony Barnett が、英訳本で平出隆を、『猫の客』『胡桃の戦意のために』『葉書でドナルド・エヴァンズに』の順に発見していった流れについて語り、数節を朗読。

released to YouTube on Apr.17.2015

白を追う──菊地信義

白を追う
菊地信義

── 平出隆の装幀『伊良子清白全集』(岩波書店)への菊地信義による批評文。2016年秋、«TAKASHI HIRAIDE—-AIRPOST POETRY» 展(国際交流基金トロント日本文化センター)で展示。

白を基調とした装幀が書店に溢れているが、これほど大胆かつ繊細に白をあやなした装幀をついぞ見たことがない。

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白という色の印象におもねることなく、白という色の見え方を巧妙に巧んだ装幀。函から表紙、見返しから扉へ、その白を追う。

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函は麦藁の繊維の細片を漉き込んだラフな風合いの紙張り。全面明るい灰色でベタ刷り。

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タイトルは光の角度で金とも銀とも取れる(色を感じさせない)メタリックの箔押し。

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それにルビのように添えた欧文は白の箔。ラフな紙へ圧をきかせた押しで、文字から箔がはみ出し、滲んだ白。

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その下へカット風にあしらわれた船舶のスクリューとおぼしき写真。灰色の地へ黒の抜き合わせ。スクリューのハイライト部分が微妙な白みをかもし出す。

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背は平と同じタイトル、下に巻数と篇名が黒で記されているのだが、その間を仕切る細く短い横罫が白抜き。そこにだけ生かされた紙の白。それは同時に閉じ込められてある紙の白をイメージさせもする。

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函に付された帯は青黒い紙に文字がオペークインクのくぐもった白。

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そんな異なる白の間合いに逸(はぐ)れた心を函から覗く本の白い背が惹き付ける。

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継ぎ表紙の背が微細な革しぼ感の純白のクロス。

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タイトルと巻数字だけがメタリック箔、他のすべての文字は空押し。滲んだ白も、くぐもった白も失せ、クロスのあっけらかんとした白が強調される。

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表紙(平は紗のような布で1巻は青、2巻が茶)を開くと、見返しは縦に細かな毛布目の走るファンシーペーパー、

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色はクロスと同じ純白。

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函や帯の屈折した白の有り様を無化するような白の放逸。

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扉から口絵へ、上質紙や塗工紙と紙質や触感は変わっても変わらぬ白。

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追った白に追われるように目が留まったのは、詩歌篇とだけ記されたクリーム色の本文一頁目。

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八百頁の束を崖の際から大海を見る、そんな思いで見つめたものだ。

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船影は見えぬが近づく音がある。

 

『装幀思案』(角川学芸出版 2009年刊)より
©Nobuyoshi Kikuchi

Chasing the Tones of White ── Nobuyoshi Kikuchi

Chasing the Tones of White
by Nobuyoshi Kikuchi

—review by a prominent book designer of Japan for Takashi Hiraide’s book-design of Irako Seihaku Gesammelte Werke (Iwanami Shoten) 
as an exhibit at the exhibition «TAKASHI HIRAIDE—-AIRPOST POETRY» at The Japan Foundation Toronto in the autumn of 2016

Of all the book designs based on white colour tones seen at bookstores, I have never seen a book design where white tones are used as boldly and delicately as this.

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This design doesn’t pander to the general impressions of white – instead, it cleverly exploits the ways white tones are perceived by us. Opening this book is like chasing the different tones of white from the box to the cover to the flyleaf to the first title page.

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The box is covered with rough-textured paper, into which flecks of straw fibre are mixed. The entire surface is printed with a solid coat of bright gray ink.

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The title is foil stamping, which can look like gold or silver – you don’t feel the presence of colour – depending on the angle of the light.

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The German text is white foil stamping, placed to the side as if it indicated the reading of the Japanese title. The white foil, imprinted onto the rough-textured paper, bleeds off the edges of the letters, making for a slightly blurred white tone.

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Under that lies a clipart-like photo that looks like a ship propeller – a black knockout on a background of gray. The highlights on the propeller create a subtle white.

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On the spine, the same title, volume number, and title of the compilation from the front panel are printed in black, and between the volume number and the compilation title is a thin and short white line, which is the original colour of the paper used. It is the only place where the colour of the paper comes to life. This, at the same time, evokes an image of the colour of white paper that is confined.

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The obi, or the strip of paper wrapped around the box, is of bluish black paper on which letters are printed in a muted white tone, using opaque ink.

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And when your mind is at a loss among all the different whites, the white spine of the book within the box catches your attention.

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The overrun spine is of pure white cloth, which has a feel of wrinkled delicate leather.

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Metallic foil is used only for the title and the volume number and all other letters are blind-embossed. The bleeding white and the muted white fade away, and the blunt white of the cloth is emphasized.

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When you open the book cover (of cloth-like gauze; the first volume is blue and the second volume is brown), you find the end sheet, which uses special paper with thin vertical felt marks.

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The colour is also pure white like the cloth.

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This self-assertion of white seems to nullify the previous distorted whites of the box and the strip.

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From the first title page to the frontispiece, the same white continues unchanged while the quality and texture of the paper changes with the type of paper, such as wood-free paper and pigment-coated paper.

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I’ve been chasing whites – but I now feel chased by them as I lay my eyes on the creamy white of the first page, which only says Poems.

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I gaze at the bulk of the next 800 pages as if I were seeing the ocean from the edge of a cliff.

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Although I have yet to see the ship, I hear the sound of it approaching.

from Sotei-Shian, Kadokawa-gakugei Shuppan, 2009
©Nobuyoshi Kikuchi