SHARE: Takenobu Igarashi; The Power of Play

Jun 22

Takenobu Igarashi; The Power of Play

Edited by Emi Chun

Preface

In January of 2021, I was given the opportunity to help brainstorm experimental visual assets for Ecco Leather’s upcoming “Hotshop” event. To assist in my process, my colleague, Sofie Spindler, lent me a copy of “Igarashi Space Graphics”. The book is a large culmination of multiple works by Takenobu Igarashi. This moment created a chain reaction of research and personal development. I found myself in a deep dive of communication, type design and visual identity. The end result is the article below, and the newfound appreciation for the relentless work ethic of Takenobu Igarashi. Thank you Sofie.

“The driving force behind my indulgence was play, not work”

Graphic Designer, Writer, Editor, Sculptor; all can be used as descriptors of Takenobu Igarashi’s extensive career skillset. From his foundation of axonometric drawing through drafting, to his attention to detail and rapid process variation, Igarashi’s work challenges viewers to question how language and visual communication coexist in various environments.

As a student, Igarashi was introduced to design from various professors through his schooling. Originally studying graphic design under the guidance of Professor Aiko Kanda at Tama Art University, Igarashi was introduced to western design powerhouses Max Bill and Herbert Bayer. Following his undergrad degree of Tama Art University, Igarashi studied abroad at UCLA where he met Professor Mitsuru Kataoka. Kataoka was pivotal both to Igarashi and UCLA due to his push for the integration of expanding technologies and design practice, introducing digital media criteria within his curriculum. Igarashi described Kataoka’s encouragement.

“He as an idealist who said ‘Always talk to the top person, because you have nothing to lose. Just try,’ or ‘ The broader your base, the higher the pyramid built on top.’”

These combinations of educational influences led to Igarashi combining axonometric with digital design. Upon returning from California, Igarashi started his own design company. However, work was slow, so Igarashi began submitting articles to magazines and editing books.

“There are around 170,000 designers in Tokyo alone. Several thousand more graduate from colleges every year. With odds like that, there’s no way you can do what you want and still eat, so I created my own opportunities.”

An example of these “opportunities” is Igarashi’s 1976 Jazz 15 series. The Jazz 15 Series showcases 15 axonometric iterations of the word jazz. White lines highlight multiple planes in numerous ways. The series would later be an integral influence in Igarashi’s Summer Jazz Festival Posters, produced between 1976 and 1984. Igarashi’s drive to learn though experimental exploration though play is what eventually led him to explore new territories like sculpture. Currently, Igarashi runs Kazenobi, an atelier / gallery built from a former elementary school in Hokkaido. For more information on Takenobu Igarashi and his work, check out his website at (www.takenobuigarashi.jp). I also highly recommend his book, “Takenobu Igarashi A - Z”. I hope this little article brought something different into your life. Til next time.

Sincerely,

Little Bit of Everything

Research Sources:

Takenobu Igarashi A-Z (Book)

Igarashi Space Graphics (Book)