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排版造型 白井敬尚——从国际风格到古典样式再到 idea Typographic Composition, Yoshihisa Shirai – from International Style to Classic Style and to idea

£39 ($49 / €45)

* 日本向けのご注文は、古書店 ATELIER(アトリエ)のサイトをご利用ください。アトリエで注文する商品は、独占の日本語訳冊子(制作:白井敬尚形成事務所、サインとシリアルナンバー入)付きます。

* READERS FROM JAPAN: please purchase through Japanese distributor Atelier bookstore and get an exclusive Japanese translation booklet produced by Shirai Design Studio.

When discussing Japanese designers’ practice of typography and grid systems, Yoshihisa Shirai is a name that cannot be avoided. He is widely known for his decade of art direction at the universally acclaimed design magazine idea. He has also been involved in the design of a plethora of books.

This book is the first extensive collection of Shirai’s design and writing. It is noteworthy that the book is not a translation, but the first edition curated and designed by Chinese typographers and researchers, with Shirai’s personal participation in the production.

The 280-page book showcases over 100 pieces of work, carefully illustrated with sketches and Shirai’s recount of design ideation and execution process. Substantial pictures are intertwined with Shira’s own essays on design theories and methodologies, as well as commentaries written by other accomplished designers and design historians like Lü Jingren and Shoji Usuda.

The content is organised chronologically and by category, dividing the works and essays into four chapters – (I) Typographic Composition, early works as well as designs and essays related to typography; (II) Grid Construction, essays on the history of the grid system and his tutorial of “The Flexible Use of the Grid System”; (III) A Decade at idea, selected designs for the magazine; (IV) Book Design Craftsmanship, selected works and essays of book design.

In addition to the title of the book, which is based on the namesake Japan exhibition, the subtitle “from international style to classical style to idea” was added to reflect the different stages of Shirai's work. His typographic practice was inspired by both Japanese designers like Etsushi Kiyohara and Swiss typographers like Josef Müller-Brockmann and Helmut Schmid. But instead of rigidly imitating the European grid system, he looks at various typographic elements based on a thorough analysis of the writing itself, creating a dynamic order in information architecture.


His designs have gained high praise for idea magazine. These comments are not as colonial as “orthodox Western typographic practice by Japanese”, but that he has helped this island, left behind by the globalisation process, to utter its voice of determination and inherence, a sparkling chapter in design history. – Kiyonori Muroga, Editor-in-Chief of idea magazine

In 1998, when the Internet became accessible on cell phones, … in the midst of all the Japanese book designs that were floating around, Shirai came forward and said, “The origin of the Cartesian coordinate system, O, is here!” The vertical and horizontal axes of the coordinates are the principles of the composition of Japanese and Western languages respectively, and can be the ultimate symbol of the chronic “language of words” and the synchronic “language of sound”, i.e., the symbol of history and present. – Jun-ichiro Khori, senior editor

The most important feature of this book is the comprehensive accounts of the design process of books and magazines – from conception to execution to a huge number of sketches, and to countless attempts and repeated communication. Each book is conceived with painstaking efforts and leaves traces of its journey to birth. The methods and, moreover, the work attitude of Mr. Shirai is impressive and deeply moving. – Lü Jingren, book designer

The editor, translator and production team, with their long-time practice and research in Western and Chinese typography, have been honing the writing and design details to perfection. The book introduces readers to a high standard of visual literacy, and is a manifest pursuit of excellence in Asian book design and publishing curation. – The Type, research support for the book

Yoshihisa Shirai

Graphic designer born in 1961 in Toyohashi, Aichi Prefecture. After working at Grace (1981-1987) and Seihokei (1987-1998), he established his own design office in 1998. From 1996 to 2011, he was involved in the branding of Ryobi Imagix’s fonts. For 10 years starting in 2005, he was in charge of art direction and design of idea magazine. He specializes primarily in typography design, engaging in book design, editorial design, exhibition publicity materials, etc.

Published by Hunan Art Publishing House
First edition, November 2021
ISBN: 978-7-5356-9635-9
Language: images of works with Chinese & English introduction, essays in Chinese.

Size: 230 × 310 mm
Pages: 280pp
Binding: Hardback
Color: full colour

Author: Yoshihisa Shirai
Editor: Zhang Midi
Translator: Eric Liu
Book design: Zhang Midi

* 日本读者请通过日本独家发行方 Atelier 书店购买本书(含白井工作室印制的日文对译册,仅在日本发行)

讨论日本设计师对字体排印、网格系统的实践时,白井敬尚是避不开的名字。他最为知名的是在长达十年的时间里为享誉全球的日本 idea 杂志担当艺术指导,并为大量书籍设计装帧。本书是第一本全面收录白井敬尚作品与文章精选集的书籍,其特别之处在于并非翻译引进,而是由中文字体排印研究者着手编辑设计制作,白井先生亲自参与监制。

本书收入了白井敬尚的一百余件作品,配有丰富的图片、设计理念说明和设计手稿;还有其本人撰写的包括序言、论文和设计思考在内的十篇文章,以及吕敬人、臼田捷治等人撰写的四篇评论文字。依照白井先生在 idea 杂志为扬·奇肖尔德、清原悦志制作特辑的思路,本书将作品按照时间顺序和类别进行了梳理,将其分为四个章节:

三、idea 的十年。收录部分 idea 杂志的设计;

书名除了参照日本展的名称「排版造型」以外,增加的副标题「从国际风格到古典样式再到 idea」,是为了体现白井先生不同阶段作品的风格。他的排版设计得到宫崎利一先生的启蒙,受益于清原悦志先生的熏陶,求索实践中与约瑟夫·米勒–布罗克曼、赫尔穆特·施密德的瑞士字体排印理论相遇,但并没有生搬硬套地模仿欧洲的网格系统,而是在充分分析原著的基础上思考由版面至字体排印细节的种种元素,进行既有秩序又富动态的信息构造设计。


他的设计帮助 idea 杂志获得了很高的评价。这些评价并不像「由日本人进行的正统西式字体排印实践」这样带有殖民倾向,而是因为他让全球化进程中所留下的孤岛确凿地发出了固有的音响,而这才是设计史上闪亮的一点。
——室贺清德,idea 杂志主编
在手机开始能接入互联网的 1998 年……在漂来即去的日文书籍设计中,是白井站出来指出:「直角坐标系的原点 O 是在这里!」坐标的纵轴横轴,就是日文和西文各自的构成原理,也可以是历时的「文字语言」与共时的「声音语言」,即「历史」与「现在」的一种终极性象征。
——The Type,本书研究支持


平面设计师,武藏野美术大学视觉传达设计专业教授。1961 年出生于日本爱知县丰桥市。在株式会社 Grace(宫崎利一团队)、株式会社正方形(清原悦志主理)工作之后,于 1988 年成立白井敬尚形成事务所,从事书籍设计、编辑设计、展会宣传等以字体排印为中心的设计工作。1996–2011 年,参与 Ryobi Imagix 字体部品牌设计;2005–2014 年,担任设计杂志 idea 的艺术总监。2017、2019 年分别在 ggg、ddd 画廊举办「排版造型白井敬尚」展览。

2021 年 11 月第一版
ISBN: 978-7-5356-9635-9

尺寸:230 × 310 mm