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

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The Daily Heller: Revisiting the Lighter Side of 1984

October 15

While digging and dumping my way through the legacy years I came across this invitation for an exhibition that I curated in Summer 1984. An auspicious year for George Orwell and his readers.

Heritage & nostalgia

Read at PRINT ↗

One letter a week, starting soon.

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The Daily Heller: Revisiting the Lighter Side of 1984

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Monuments historiques covers, 1980–1985 Fonts In Use

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The NYFF Filmmakers Lounge Hosted Janus Films’ 70th Anniversary Cocktail Surface

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