Hello, I am Takahiro Yasuda, the designer for this year’s Typeface Calendar. I’ve been in charge of its design since this series’ redesign three years ago. This calendar is a simple one; it makes the best use of the beauty and unique characteristics of the typeface itself. Each year, I select a typeface and use that to compose the calendar.

There are a few things that I’ve kept in mind since the series’ redesign. The first is not only selecting well-known typefaces – I try to choose one that is suitable for a calendar and one that will make the calendar more beautiful. The other is choosing the background for the typeface – it should have an interesting context. Much weight is given to these two things in the selection process.

061The typeface chosen for the 2016 calendar is “Akzidenz-Grotesk” which was created in 1896 by the H. Berthold typefoundry in Berlin, Germany. Akzidenz-Grotesk became widely known after it was effectively used in institutions such as the Bauhaus University in Weimar and in modern avant-garde schools in the early twentieth century. It is a classic typeface with a history – it is said to be the origin of Helvetica which was created later on.

I chose this typeface because of Bauhaus and Berlin, Germany, both of which cannot be excluded in the context of design. The beginnings of interesting changes are occurring in Berlin today, and these, coupled with their links to history, prompted me to choose a typeface born in Berlin. I thought that it was most appropriate to choose Akzidenz-Grotesk which is said to be the origin of “Helvetica,” most likely the most well-known typeface in the world and widely used in everyday life.

Previously, we’ve only offered a wall type calendar but this year we made 3 types: wall, desktop, and poster. Regarding design, I’ve come up with a few points for coherence. The first is that all types should have a basic design before anything else, hoping that this basic design will be a small good thing in your daily life. From this way of thinking, I decided to remove all unnecessary things from the desktop type up until the utmost limit. This is why I designed a new configuration wherein the metal stand would show the calendar as if it were standing by itself; and I used the same thick paper that is also used in the wall type. I tried to make the desktop type give the impression that the cards stand on their own.

D0601_0060-1024x683D0601_0162-1024x683Regarding the poster type, there are no major changes in the body but because of the calendar’s large size, I designed the body in a way that the it wouldn’t be too stifling in that large piece of paper, nor too removed. Because it is a poster, the paper used differs from the two other types but I was careful to choose a texture and color that isn’t very apart in terms of style and design.

D0526_0105-1024x683As for printing, I created an airy orange color that will bring out some lightness and a feel-good feeling to a universal typeface. The poster is silk-screened so that it feels even more tangible. The strong impression created by the original color and the silk-screen printing is matched to the offset printing of both the wall type and the desktop type.

Takahiro Yasuda was born in 1985 in Nagoya, Japan. After majoring in graphic design and graduating from the Faculty of Art and Design of Tama Art University, he joined DRAFT Inc. in 2010. His wide-ranging work includes graphic design, video, and digital design. He left the company in 2015 to strike it out on his own. He is presently involved in creative work with a graphic base in a wide range of genres.

 

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