However, this exhibition only presents the appearance of Harahiro's early design career, and does not involve his subsequent 30 or 40 years of long design process. In fact, Harahiro's influence in the Japanese graphic design industry is extensive and far-reaching. As a designer, he spans the fields of posters, packaging, books, magazines, etc., and advocates that design is a service; as the initiator and leader of several graphic design organizations, he is the core figure of Nissenmi and Nippon Design Center; As a design educator, he taught at Musashino Art University for decades and trained countless juniors. Through design practice, design organization, and design education, he weaves a network that influences the process of Japanese graphic design, and can be regarded as a shaper of Japanese graphic design.

Poster "Cinema 1 May", 1927-1929

The Process That Shaped Japanese Graphic Design

Hiroshi Hara was born in Iida Town, Nagano Prefecture, and graduated from the Tokyo Prefectural School of Crafts in 1921 before starting his design career. During this period, Hiroshi Hara, as shown in this exhibition, was influenced by the emerging art movement in the late Taisho era. At the same time, he began to attract the attention of Japanese design circles with his packaging design for Kao soap.
Hiroshi Hara is not a graphic designer who builds car models behind closed doors, but actively participates in design organizations and gives full play to his professional skills in the organization, so as to have a greater impact on society.

Poster "The 3rd Snapshot Competition", 1935

In 1934, Harahiro and Kimura Ihei and others founded the Japanese foreign propaganda magazine "nippon". In 1941, he transferred to Oriental Society as the art director of "front" magazine. When he designed the layout of "front" magazine, The perspective drawing method of dividing the page into upper and lower parts is creatively used to express the war scene. Under the guidance of Hiroshi Hara, these magazines focus on the visual form and narrative exploration of the layout, creating a unique sense of form, and also in visual communication. A good social effect has been achieved.
In 1951, Hiroshi Hara and Yusaku Kamekura established the Japan Propaganda Art Association (referred to as Nissenmei), which was the first nationwide graphic designer organization in Japan after the war. The way of the exhibition, the discovery of many emerging designers, was soon known as the cradle of cultivating post-war designers.

Collection of Guangyuan Lithographic Designs, 1926

In 1955, "Graphic Design 55 Exhibition" was held at Takashimaya Department Store. This exhibition had a huge response and far-reaching influence. , Yoshio Hayakawa and other key members of Japan Sunmi, and specially invited American design master Paul Rand to participate in the exhibition. This exhibition does not have strict uniform specifications for the participating works, but fully respects the personal exploration of designers, and integrates photography, illustration, and typography. , printing and other modern design techniques at that time, but most of the works show the unique national culture and aesthetic style of Japan. Harahiro's works in the exhibition include "Complete Works of Modern Chinese Literature" and "World Cultural Geography System". The composition of photos and articles in his works follows his usual modern design techniques, with clear information, clear style and high degree of completion.
After that, Hiroshi Hara exhibited his own poster works in the 1957 "Japanese Sculpture Exhibition" and the 1959 "Text Typesetting Exhibition". Highlight the design aesthetics with Japanese characteristics.

"Japan Travel" Vol. 2 No. 4, 1936

In 1960, designers such as Hiroshi Hara and Yusaku Kamekura gathered the top players in the Japanese design field at that time and founded the Japanese Design Center, hoping to enhance the customer's business resources through the power of design and create new cultural values based on Japanese national aesthetics. Yusaku Hiroshi Kamekura is both the initiator, organizer and operator of the Nippon Design Center.
In order to enhance the country's status in the international community, Japan hosted the Tokyo Olympics in 1964. The overall design was in charge of the Olympic Design Forum organized by Katsumi Katsumi, including Hiroshi Hara, Takasi Kono, Ichiko Tanaka, Yusaku Kamekura, etc. He is a member of the symposium. They have systematically designed the logos, posters, invitations, awards, and promotional materials of the Tokyo Olympics. Among them, Hiroshi Hara is responsible for the design of fonts and public relations. The visual design of this Tokyo Olympics is based on the overall design. Consistency is the principle, forming a complete collaborative design system, creating a new model in the history of Olympic design.

"New Letterpress Studies" and the manuscript of the introduction to the book, 1931-1932

For decades, Yuanhong has been active in the forefront of commercial design, accepting different commissioned projects. The professional standard of keeping improving, combined with the service consciousness of empathy, has made him a senior and productive designer. His works cover all fields of graphic design, especially the binding of books and magazines. Sheng Jiansheng once commented on Hara Hiroshi. "The Emperor of Book Design", and he is also recognized as one of the most representative Japanese graphic designers by the Western design community.

Shaping a new era of design
Education As a design educator, Hiroshi Hara has taught at the Tokyo Prefectural School of Art and Musashino Art University. During his decades of design education, he has profoundly influenced the development of the Visual Communication Department of Musashino Art University.
Harahiro began to teach in the printing department of Tokyo Prefectural Polytechnic School in 1921. He actively introduced the modernist graphic design theory in Europe at that time, and in 1932, he translated "Research on New Typography", and he was also the first to type Western fonts ( typegraphy) theory was introduced to Japanese designers.

Issue 1-2 of FRONT Magazine, 1942

In 1947, Hiroshi Hara began to serve as a professor of the Department of Applied Art at the Academy of Fine Arts (the predecessor of Musashino Art University). In 1952, the Department of Commercial Art was formally established at Musashino Art University, with Hiroshi Hara serving as the director professor. In 1962, Musashino Art University was established In the major of commercial design, Hiroshi Yuan continued to serve as the director professor. Hiroshi Hara taught at Musashino Art University for many years, and built the curriculum content of the commercial design major. These courses were subsequently developed into the curriculum system of the Department of Visual Communication; Hara Hiroshi paid attention to the influence of the West, so he also introduced Western design theory into Musashino Art University. During his tenure in office, Japan’s society, culture and art had more opportunities to communicate with the world, and Musashino Art University also began to integrate with international standards. Due to his outstanding contributions to design education, in 1981, Musashino Art University appointed him as an honorary professor.

Japan Pictorial, 1973

Looking at Japanese graphic designers, in the era of Hiroshi Hara, there seemed to be no other designers who could, like Hiroshi Hara, not only keep improving in design practice, but also continue to push forward the design wave by participating in design organizations and social activities, and at the same time relying on design Education to disseminate design ideas... Hiroshi Hara promoted the process of Japanese graphic design through his all-round influence in the fields of creation, organization and education, and to some extent shaped the shape of modern Japanese graphic design. To commemorate Harahiro's outstanding contributions, the Tokyo Art Director Club Harahiro Award was specially established. Today's well-known designers Taku Sato and Atsushi Kikuchi are also among the winners of the Harahiro Award. Although Harahiro has passed away, his influence on Japanese graphic design continues to this day.

Article Source:艺术与设计

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