Abduzeedo

24 stories

AbduzeedoBest of the Week: Mirrored Type, Foil Slipcases, and Print

11.01

AbduzeedoInside Fritz-Kola: Global Branding by Robot Food

10.31

AbduzeedoBranding: Sundance Film Festival identity by Porto Rocha

10.31

Abduzeedo1. Filmfestival Radolfzell: F_YOU_TURE Poster Design

10.31

AbduzeedoPentagram Unveils LenLen Branding

10.31

AbduzeedoBook Design: Archive/Recollection by Underline Studio

10.31

AbduzeedoWeb Design: The Geist Font Specimen by Vercel

10.31

AbduzeedoAKT London: Inside Two Times Elliott’s Visual Identity

10.30

AbduzeedoCuberto Unveils Wickret UI/UX Design & Mobile Banking System

10.30

AbduzeedoPackaging Design: Kocktail Reusable Glass on Dieline

10.30

AbduzeedoTypography: Sausage Regular Display Serif by JFFF

10.30

AbduzeedoCepa Studio’s Motion Design for TIF Be Bold

10.30

AbduzeedoBrand Identity: WING’IN by Brandegree

10.30

AbduzeedoTypography: PP Altera Variable Typeface by Pangram Pangram

10.29

AbduzeedoInside Omlet: Brand Identity by Ragged Edge

10.29

AbduzeedoHow Matúš Hnát Crafted Book Design for Lucky Star 3rd Ed.

10.29

AbduzeedoThe Web Design of Assembly Coffee London

10.29

AbduzeedoOslo Tennisklubb: Brand Identity by Garcy Studio

10.29

AbduzeedoIsmael Branco Crafts Relentlessly Brand Identity

10.29

AbduzeedoTypography: Gregory Grotesk by Jakob Runge & TypeMates

10.29

AbduzeedoAira: Inside Kurppa Hosk's Clean Energy Visual Identity

10.28

AbduzeedoDriessen Architectuur: Minimalist Web Design & Grid Craft

10.28

AbduzeedoGraphic Design: Théâtre La Licorne by Caserne

10.28

AbduzeedoBallet National de Marseille: Kinetic Web Design & CSS Type

10.27

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