Onchi Kōshirō Book Design

恩地孝四郎の装幀 / 1910s–1950s / Style / Publishing and Editing

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.

Onchi Kōshirō Book Design — Kobayashi Takiji, Kani kōsen (The Crab Cannery Ship), Senkisha edition cover, 1929 — Wikimedia Commons / CC0
Kobayashi Takiji, Kani kōsen (The Crab Cannery Ship), Senkisha edition cover, 1929 — Wikimedia Commons / CC0 · CC0

At a glance

Visual 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

Best used for

  • 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

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Dictionary entry

Type
Title lettering drawn by hand instead of set in type, on the same surface and at the same weight as the image
Composition
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
Caution
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.
Further study
Onchi Kōshirō's Shosō / Takehisa Yumeji's bindings / contemporary designers like Kikuchi Nobuyoshi

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