安西水丸の「INTERIOR」、河村要助の「ABC Book」、矢吹申彦の「鳥獣戯画」、湯村輝彦の「へたうまULTRA-SUPER-Deluxe」をタイトルとする2色刷のそれぞれに手彩色のページを含む4冊をシュリンクパックにして展示。壁面は、この新作描き下しの小冊子をパネルアップし、約120点を展示。また、その他の新作やオリジナル原画などを紹介。

Feature were newly created books, Mizumaru Anzai's "Interior," Yosuke Kawamura's "ABC Book," Nobuhiko Yabuki's "Pictures of "Birds, Beasts and Fish" and Teruhiko Yumura's "Bad Painting Ultra-Super-Deluxe." They were printed in 2 colors. Despite the approximately 1,000 volumes that were available, iach included one page which was not printed but was manually colored. The four books were made available to the public in combined, shrink-packed packages which were displayed in the center of the room.  The pages of each of four books were placed on panels and exhibited on the walls. There were a total of approximately 120 pages or sketched to be appreciated. In addition, many works newly created by the artist as well as actual originals.

イラストレーター

Illustrator

東京生まれ。日本大学芸術学部卒業後、電通、ADAC、平凡社を経てフリーとなる。朝日広告賞、毎日広告賞、1987年日本グラフィック展年間作家優秀賞受賞。著書に『アマリリス』、『手のひらのトークン』、『エンピツ画の風景』など。

Born in Tokyo. After graduating from the Art Department of Nihon University, he worked for Dentsu Inc., ADAC aんdHeibonsha before freelancing. He has won the Asahi Advertising Award, the Mainichi Advertising Award and the 1987 Japan Graphics Exhibition Annual Artists Honors Award. Books: ”Amaryllis," "To Graphics Exhibition Annual Artists Honors Award. Books: ”Amaryllis," "Token 

東京生まれ。東京藝術大学美術学部卒業後、Kデザイン・スタジオを経て1971年フリーとなる。川崎市民ミュージアムに作品多数収蔵。雑誌『Bad News』取締役。著書に『サルサ天国』、『Jungle Book』ほか。

Born in Tokyo. After graduating from the art department of Tokyo National University of Fine Arts and Music, he worked for K Design Studio and began freelancing in 1971. Many of his works are in the Kawasaki Museum. He is a director of the magazine, "Bad News." Books: "Salsa Heaven" and "Jungle Book" among others.

デザイナー、イラストレーター

Designer, Illustrator

東京生まれ。1965年桑沢デザイン研究所に2年間在籍。1967年フリーのデザイナー、イラストレータとなる。1971年「100％スタジオ展」参加。1981~1990年『潮』誌の表紙絵担当。著書に『矢吹申彦風景図研』、『愉快な情景』など。

Born in Tokyo. He spent 2 years at the Kuwasawa Design Institute from 1965. He became a freelance designer and illustrator in 1967, participated in the "100% Studio Exhibition" in 1971 and handed the cover of the magazine, "Tide," from 1981 to 1990. Books: "Nobuhiko Yabuki Landscapes" and "Happy Scenes" among others.

イラストレーター、アートディレクター

Illustrator, Art Director

東京生まれ。多摩美術大学卒業。フラミンゴスタジオ代表。イラストレーター兼AD。著書に『Terry 100％・湯村輝彦ヒットパレード』、『へたうま略図・図案辞典』など。

Born in Tokyo. He graduated from Tama Art University, represented Flamingo Studio and is an illustrator  as well as an art director. Books: "Goodbye Penguin," "Terry 100% - The Teruhiko Yumura Hit Parade" and "Bad and Good Sketch and Design Dictionary" among other.

<p>グラフィックデザインの展覧会の主役と言えば、今も昔も変わらず紙のポスター。デザイン教育機関でも、未だポスターは中心的な課題のひとつです。しかし、現在の仕事において紙のポスターをデザインする機会は大幅に減ってしまいました。街の広告物の主役は、デジタルサイネージ（＝ムービングポスター）。このような状況のなか、展覧会で紙のポスターをどう扱うかは大きな課題でした。そもそも美術展における絵画の代替物のように扱われるポスターには違和感を持ち続けてきたので、これまで企画した展覧会でもいわゆるポスター展の見え方にはならないように注意してきました。しかし、私たちの生活の中心にインターネットが位置する今、あらためて過去のポスターを見ると、それらが持つ物質性や印刷加工の迫力に素直にワクワクさせられます。アナログレコードやカセットテープが再評価されるように、今や街で見る機会が少なくなった紙のポスターが持つ、画面では味わえない触覚的／視覚的テクスチャーを評価基準にしてセレクトしました。</p>

<p>Physical paper posters remain, to this day, a principal part of graphic design exhibitions. They also remain central to assignments handed out at design schools. In the design field however, there has been a substantial reduction in opportunities to design for paper posters. The streets are now full of digital signage (i.e. moving posters). One of the biggest challenges we face today is how to deal with paper posters in exhibitions. I still feel uncomfortable about posters being treated like substitutes for paintings in art exhibitions; that’s why I have always been careful that the exhibitions I organize don't end up appearing as poster exhibitions. Even with the internet fixed front and center in our modern lives, it’s honestly exciting looking back at old posters again; they each harbor a very impressive materiality and printing process. Society is rediscovering analogue records and cassette tapes—though we may have fewer chances to see them on the streets anymore, in selecting paper posters I thought we could rediscover the tactile and visual textures they hold, which cannot be felt in digital images.</p>

1994 イラストレーション4展

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