Postwar Japanese Poster vs Post-Modernism
戦後日本のポスターデザイン / ポスト・モダニズム
Postwar Japanese Poster comes from Regional Graphics and Post-Modernism from Avant-garde. Both are read here as style. They are reached for with some of the same intent, which is where they get confused.
Postwar Japanese Poster
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Photography, flat color, calligraphy and traditional motifs, recomposed differently by each designer.
Post-Modernism
Doubts the single right answer and mixes quotation, irony and ornament as play.
| Postwar Japanese Poster | Post-Modernism | |
|---|---|---|
| Era | 1950s–1990s | 1970s–1990s |
| Family | Regional Graphics | Avant-garde |
| Kind | Style | Style |
| Cues | Bold flatness / Photography and calligraphy / Personal symbols / Precise construction | Mixed styles / Irony / Ornament reclaimed / Unexpected color |
| Best used for | Announcing an exhibition or a cultural program with one image and little copy · Setting mixed Japanese and Latin text precisely so it reads as high grade | Planting intelligent humor · Escaping homogeneous category codes |
| Type | Tighten Japanese text into a block and divide roles between calligraphy and type | Mix two or three faces from different eras |
| Composition | Run a central axis, fix the margins, then cut down to a few elements | Show the grid, then deviate from part of it |
| Material | Flat printed color, photographic tone, the white of the paper, few inks laid heavily | Quoted images, patterns, vivid color; meaningful collisions |
| Caution | Placing traditional motifs is only borrowing. Do not flatten the work into one Japanese look, and check how construction differs by designer, decade and advertised subject. | Random is not plural. Mix only what you can justify aloud. |