NEWS

We are pleased to welcome Mr. Shogo Kishino, a graphic designer (art director), as a judge of the KOKUYO DESIGN AWARD. He is active in a wide range of fields both 2D and 3D including package design, VI, signage planning and more. We asked Mr. Kishino, who is also in charge of the visuals for the KOKUYO DESIGN AWARD 2024, about the theme “primitive” and his expectations for the entries.

――  Could you tell us what led you to become a designer?

Rather than having a big reason or ambition, it’s more like I was doing it without even knowing it. Design is a world without answers, and it is very difficult, isn’t it? It was a career I chose by chance, but at first I was struggling to get good at it, worrying that there were so many things I couldn’t do. If you are involved in design, you will understand that you have to go through that at least once.

――  What did you find difficult?

For example, when creating a logo or package, where does the design start and where does the information start? I don’t know the turning point. When I was in charge of designing a beer can for the first time, I keenly felt how difficult it was. No matter how much “beer-like” information I put together, there is no atmosphere, and it was completely different from other standard canned beers. I compare and analyze in my own way to see what the differences are. As I don’t have the sense to create it all of a sudden, let’s just start with the details and get specific. After about 100 examples accumulated in my head, I will finally be able to make one. In this way, I feel like I have been working steadily all my life to make what I couldn’t do possible.

――  What work was the turning point for you?

It’s the signage planning. As for my identity, a graphic designer who does information design in 3D as well as 2D, is significant. While working on several signage projects, rather than a specific job, I learned what I am good at when I grasped the sense of how to place information in a space, or how to combine materials with information. There was a point in time when I thought, “This is what I should be doing,” and that may be called a turning point.

――  Is there anything you are conscious of in your work?

VI and signage planning are long projects. For example, it takes about two years for a total brand renewal, and five to six years for a large construction project. Signage planning often works in tandem with building design from the upstream of a project, so many things can happen, and it usually inevitable to be different from the original thoughts. I am conscious of how to maintain quality even in such a situation. An art director is somewhat like a “persuasion business.” The longer the period, the more important it is to stand between the members including the relationships involved, listen to them and go along. I believe it is the same for architects and product designers.

About the theme “primitive”

――  What is your view of the KOKUYO DESIGN AWARD?

Looking from the outside, there is an atmosphere of understanding that this is a product design award, but not a competition for so-called stationery or office furniture, isn’t there? Perhaps it appears so because the organizer KOKUYO is a company that operates in a variety of fields. I feel that it is easy for various people to participate, or that there is a wide range of people who think that they may be able to participate as well.
Since this is my first time participating in the judging, I would also like to see what criteria the other judges use to decide the award winner.

――  Please tell us about the theme “primitive.”

In particular, KOKUYO DESIGN AWARD in the past few years, there seems to be an emphasis on the work being in line with the theme. At the theme meeting held by the judges, it was very impressive that a Kokuyo person said, “The word should somehow make you want to create something when you hear it.” It is important that the theme itself has some inspiring, “Well, let’s do it” element.
The theme “primitive” was decided upon after various discussions, and it asks the question, “What is your true nature?” I think it is highly challenging and will be an opportunity for all applicants to question their own inner selves.

――  Is there any aspect of asking questions to society?

That’s right. I think it also includes things like continuing to remain because it is essential. For example, something that exists around us normally now, but should be preserved for the future because it actually contains a very important essence. Or it may be to propose something that does not exist here and now, as seen from the future. It can be interpreted in many different ways, and I’m looking forward to seeing your ideas.

“primitive” for Mr. Kishino

――  Are you aware of “primitive” in your work?

When you walk around the street, there are things that always catch your eyes. In my case something like “I’m curious about the combination of these materials.” I try to reproduce the essence of what moved me when I saw it. I become “primitive” to my senses, or that is “primitive” within me.
When I first started working in design, things didn’t go as planned, so I kept thinking about how I can make it possible. But no matter how much I think about it, understanding it in my head and acquiring it sensibly were two different things. When I can reproduce what I think is “good” from the bottom of my heart by successfully applying it to a subject or condition, not only myself but also the people around me appreciate it. It’s like breaking down the sensation with logic and bringing it back to the sensation again. I think that is replaced as “work” by technique, experience, and communication skills.

――  What should we do to find something that is thought to be “good”?

I think all designers are the same, but it is whether or not they are thinking about it all the time. While thinking about it 24 hours a day, whether you are awake or asleep, you can finally come across something that you think “this is it.” But if you think about it too much, it will be impossible, so you should keep it in a normal state.

――  This time, you are also in charge of the visuals for the KOKUYO DESIGN AWARD 2024.

Actually, right now, I’ve been thinking about the visuals all the time, and my head is completely “primitive.” (laughs) To tell the truth, it was decided that I would make the visuals, so I was a little worried when it was decided on this theme. I thought it was highly challenging. The theme is “primitive,” but it does not seek for primitive (primitive, ancient, unexplored) proposals. If I try to express it visually, it gives the viewer a sense of discomfort. “Even though the word “primitive” is written on it, isn’t the image different?” On the other hand, if I draw a primitive image that everyone thinks, it will mislead the applicants. It was way too difficult and I was very worried. Therefore, I decided to propose two proposals with completely different directions. Which one was decided upon will be clear by the time this article is published.

――  Finally, do you have a message for the applicants?

I would like you to apply what you really think is “good” to this theme “primitive” and submit it. I am very looking forward to it.