Abduzeedo

25 stories

AbduzeedoGraphic Design: SIPF by Foreign Policy Design

10.21

AbduzeedoVisual Identity: Montreal Jazz Festival Concept

10.21

AbduzeedoHow EVERLAND Reimagined Urban Kind Branding

10.20

AbduzeedoInside COLLINS’s Branding for Crane Stationery

10.20

AbduzeedoKössen Wayfinding: Inside Andrea Gassner's Stitched Sign System

10.20

AbduzeedoAddress 338 Architecture Studio Branding and Visual System

10.20

AbduzeedoTDC 43rd Annual — Editorial Design by Tereza Bettinardi

10.20

AbduzeedoAmbijus: Inside OlssønBarbieri Packaging Design

10.19

AbduzeedoInside the Craft of Peko-Peko branding by Manifiesto

10.19

AbduzeedoTypography: Server Mono by Blaze Type for INTDEV

10.19

AbduzeedoArt + Water: A Fluid Brand Identity by MacFadden & Thorpe

10.19

AbduzeedoPS1 Is Your Place: A Masterclass in Brand Design by Porto Rocha

10.19

AbduzeedoBrand Identity: Globe-Trotter by Ragged Edge

10.19

AbduzeedoPackaging: The Beemore Rebrand by Boundless

10.18

AbduzeedoBest of the Week: Custom Serifs, Fluted Glass, and Print

10.18

AbduzeedoInside Charline GROEN’s Branding for Galopain

10.17

AbduzeedoMolnár Péter’s Poster Design for PLAY 2 WIN Vol. 2

10.17

AbduzeedoHow Span Reimagined the Nature Museum Identity

10.17

AbduzeedoProduction Type Unveils the Ciel Typeface

10.17

AbduzeedoGoogle Go North: Editorial Design by Underline Studio

10.17

AbduzeedoFieldwork Facility Unveils V&A East Storehouse Wayfinding

10.17

AbduzeedoBastét: Inside Wedge's New Oral Care Branding

10.16

AbduzeedoProduct Design: MaPC your PC games on your Mac

10.16

AbduzeedoProperly Studio Unveils the Axi Rebrand

10.16

発見, hakken: a finding. This is a record of what one designer notices in a week.

I grew up beside the Arakawa, in Adachi, and spent five years in a Ginza studio drawing identities for companies you have used without once thinking about them. That work teaches you to read a city as a page. A vending machine is set type. A rice bag is a packaging problem somebody solved in the eighties and nobody has improved on since. A good deal of the best design in Japan is like that: already in the street, unsigned, waiting to be looked at properly.

So this magazine watches the street as well as the feed. Around fifty sources come in through the day, ten of them Japanese, and what the world's studios are arguing about is counted and plotted so you can watch it move. Every third day I write about one thing I actually stood in front of.

What you get for a story is a headline, a short excerpt, one picture and the way out to the people who reported it. Never the article itself, and never the photograph as though it were ours. A story written in Japanese stays in Japanese here, headline and excerpt both, because that is how its author set it down.

Everything is also published in Japanese at hakkenmag.com/ja/.

— Ren Arakawa, Tokyo