{"id":"onchi-book-design","no":408,"name":"Onchi Kōshirō Book Design","ja":"恩地孝四郎の装幀","era":"1910s–1950s","family":"出版と編集","kind":"スタイル","collection":"Dictionary expansion 22","addedAt":"2026-08-18","source":{"title":"東京国立近代美術館「恩地孝四郎展」（2016）","url":"https://www.momat.go.jp/exhibitions/513"},"reference":{"status":"verified","pageUrl":"https://www.momat.go.jp/exhibitions/513","credit":"東京国立近代美術館「恩地孝四郎展」（2016）","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Among%20the%20Rocks%20by%20Onchi%20K%C5%8Dshir%C5%8D%2C%201929%2C%20woodblock%20printHonolulu%20Museum%20of%20Art.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Among%20the%20Rocks%20by%20Onchi%20K%C5%8Dshir%C5%8D%2C%201929%2C%20woodblock%20printHonolulu%20Museum%20of%20Art.jpg","credit":"恩地孝四郎の版画 1929 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Rest%20by%20Onchi%20K%C5%8Dshir%C5%8D%2C%201928%2C%20woodblock%20print%2C%20Honolulu%20Museum%20of%20Art.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Rest%20by%20Onchi%20K%C5%8Dshir%C5%8D%2C%201928%2C%20woodblock%20print%2C%20Honolulu%20Museum%20of%20Art.jpg","credit":"恩地孝四郎『休息』1928 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Kanikosen-cover192909.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Kanikosen-cover192909.jpg","credit":"小林多喜二『蟹工船』戦旗社版 表紙 1929 — Wikimedia Commons / CC0"}]},"essence":"表紙を絵の入る枠ではなく一枚の版画として扱う装幀。具象の挿画を置かず、抽象の形と色面を刷り、題名の文字もその面の一部として置く。","cues":["具象の挿画を置かず、抽象の形と色面だけで表紙を組む","題名の文字を活字ではなく手で描き、図と同じ面に置く","色数を絞り、輪郭線を引かずに面の重なりで形を作る","紙の地の色を塗り残し、そこへ図を直接載せる"],"intents":["高級","親密","静けさ"],"works":["詩集や作品集の表紙を、絵を収める枠ではなく一枚の版画として作るとき","色数の少ない刷りで、題名の文字まで図の一部として置きたいとき"],"recipe":{"type":"題名は活字を組まず手で描き、図と同じ面に、同じ太さで置く","layout":"表紙を絵と文字に分けず、一枚の面として構図を決める","material":"色数を絞り、輪郭線を使わず面の重なりで形を作る。紙の地の色は塗り残し、そのまま一色に数える"},"avoid":"具象の絵を額のように枠へ収めると、表紙は絵を入れる場所へ戻り、一枚の版画としての面が消える。","colors":["#f4e2cc","#cc7c26","#0e0e0c"],"motif":"graphic","pair":["private-press","shin-hanga"],"study":["恩地孝四郎『書窓』","竹久夢二の装丁","現代の装丁家（菊地信義ら）"],"en":{"essence":"Book design that treats the cover as a print in its own right rather than as a frame for a picture. Representational illustration gives way to abstract shapes and flat colour, and the title lettering sits inside that surface as one of its parts.","cues":["Covers built only from abstract shapes and flat colour, with no representational illustration","Title lettering drawn by hand rather than set in type, sitting on the same surface as the image","Few colours, with form made by overlapping planes instead of outlines","The bare colour of the paper left showing, with the image laid straight onto it"],"works":["Covers for poetry and collected works made as a print rather than as a holder for a picture","Few color printing where even the title lettering belongs to the image surface"],"recipe":{"type":"Title lettering drawn by hand instead of set in type, on the same surface and at the same weight as the image","layout":"The cover composed as one surface rather than as a picture with lettering added to it","material":"Few colors and no outlines, form made by overlapping planes, the bare paper left showing and counted as one of the colors"},"avoid":"Setting a representational picture into a frame turns the cover back into a place to put a picture, and the surface stops being a print.","study":["Onchi Kōshirō's Shosō","Takehisa Yumeji's bindings","contemporary designers like Kikuchi Nobuyoshi"]}}