Keiko's unique approach to ikebana, the Japanese art of flower arranging, combines traditional techniques with modern tastes. Her influences -- which range from sculpture to today's Western floral design -- come together to create one-of-a-kind arrangements that are authentic and eye-catching, simple and graceful, and possible for anyone to achieve.

This book presents step-by-step instructions for creating 20 stunning ikebana arrangements in a range of sizes and styles. Each of the flower arrangements can be completed in just three simple steps and uses easy-to-find floral materials and containers. The book also includes an introduction to the history of ikebana as it relates to Japan and Japanese culture, as well as a guide to the basic rules of ikebana design and floral techniques. Suggestions for finding and choosing materials and supplies make it easy to learn how to arrange flowers and gain a hands-on appreciation of the art of Japanese flower arranging.

About the Authors:

Keiko Kubo started taking ikebana classes as a teenager in Japan. After coming to the United States to pursue her art, she graduated from the School of Art Institute of Chicago with a master of fine arts degree, majoring in sculpture, and has also studied Western floral art. Keiko resides in Chicago, IL.
Erich Schrempp is a Chicago-based photographer specializing in illustrative images. His fine art and commissioned work can be viewed at www.schremppstudio.com.

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In 1868, Japan underwent a dramatic transformation following the overthrow of the shogun by supporters of Emperor Meiji, marking the end of feudal military rule and ushering in a new era of government that promoted modernizing the country and interacting with other nations.

Japanese print culture, which had flourished for more than a century with the production of color woodcuts (the so-called ukiyo-e, or “floating world” images), also changed course during the Meiji era (1868–1912), as societal changes and the once-isolationist country’s new global engagement provided a wealth of new subjects for artists to capture. Featuring selections from the renowned Achenbach Foundation for Graphic Arts’ permanent collection, Japanese Prints in Transition: From the Floating World to the Modern World documents the shift from delicately colored ukiyo-e depictions of actors, courtesans, and scenic views to brightly colored images of Western architecture, modern military warfare, technology (railroad trains, steam-powered ships, telegraph lines), and Victorian fashions and customs.

About the Authors:

Rhiannon Paget is the curator of Asian art at the John & Mabel Ringling Museum of Art in Sarasota, Florida. Karin Breuer is curator in charge of the Achenbach Foundation for Graphic Arts.

A crimson fish wrestles a man. A horned demon stares menacingly. 

These vivid scenes are tattoos, created in pain, incised in the flesh of the Yakuza, Japan's feared secret society of gangsters. They are the visions of the Irezumi, the legendary tattoo artists, who spend years creating living masterpieces. Photographer Sandi Fellman describes this strange and violent world both in her text and in her stunning, large 20 x 24 inch Polaroid photographs.

About the Author:

Sandi Fellman is a well-known photographer whose work has been featured in many one-person and group exhibitions in the United States, Europe, Japan, and Australia. Her photographs can be found in numerous private and public collections, including the Museum of Modern Art, The Metropolitan Museum of Art, Bibliotheque Nationale, and Center for Creative Photography. Her work has also been widely published over the past fifteen years.

From rugged Japanese firemen’s ceremonial robes and austere rural workwear to colourful, delicately-patterned cotton kimonos, this lavishly illustrated volume explores Japan’s rich tradition of textiles.

Textiles are an eloquent form of cultural expression and of great importance in the daily life of a people, as well as in their rituals and ceremonies. The traditional clothing and fabrics featured in this book were made and used in the islands of the Japanese archipelago between the late 18th and the mid-20th century. The Thomas Murray collection featured in this book includes daily dress, workwear, and festival garb and follows the Arts and Crafts philosophy of the Mingei Movement, which saw that modernization would leave behind traditional art forms such as the hand-made textiles used by country people, farmers, and fisherman. It presents subtly patterned cotton fabrics, often indigo dyed from the main islands of Honshu and Kyushu, along with garments of the more remote islands: the graphic bark cloth, nettle fiber, and fish skin robes of the aboriginal Ainu in Hokkaido and Sakhalin to the north, and the brilliantly coloured cotton kimonos of Okinawa to the far south. Numerous examples of these fabrics, photographed in exquisite detail, offer insight into Japan’s complex textile history as well as inspiration for today’s designers and artists. This volume explores the range and artistry of the country’s tradition of fiber arts and is an essential resource for anyone captivated by the Japanese aesthetic.

About the Authors:

Thomas Murray is a dealer of Asian and tribal art and has an extensive personal collection of Japanese and Indonesian textiles. He is a past president of the Antique Tribal Art Dealers Association (ATADA), and served on President Obama's Cultural Property Advisory Committee at the Department of State in Washington, DC. Virginia Soenksen is Associate Director of the Madison Art Collection at James Madison University in Virginia. Anna Jackson is Keeper of the Asian Department at The Victoria and Albert Museum in London, where she is responsible for the museum's collection of Japanese textiles and dresses.

Twentieth-century Japanese printmaking has come in for relatively little attention up to now. This publication sets out to change that. Shin hanga (new prints) are harmoniously balanced designs, printed on the highest-quality paper using the finest pigments and in small editions. They are the fruit of a traditional yet successful collaboration between artist, publisher, block cutter and printer. It is not so much in their subject matter as through their visual language that shin hanga prints set themselves apart from their traditional precursors.

This book presents a unique selection that lets us explore Japanese printmaking in the 20th century. The prints it reproduces are mostly drawn from two large private collections, supplemented by works from the Royal Museums of Art and History in Brussels and several exceptional items from the family collection of the publisher Watanabe, the person who started it all.

About the Authors:

Author Chris Uhlenbeck has curated several major exhibitions on Japanese art. He is assisted here by Jim Dwinger, an expert in Japanese art history and specialist in woodcuts, and Philo Ouweleen, a visual artist with a master’s degree in Japanese Studies.

Among the first titles published at Timber Press, and with more than 150,000 copies in print, "Japanese Maples" is a classic.

Japanese maples are unlike any other tree. They boast a remarkable diversity of color, form, and texture. As a result of hundreds of years of careful breeding, they take the center stage in any garden they are found. In the last decade, the number of Japanese maple cultivars available to gardeners has doubled and there is a pressing need for an up-to-date reference. This new fourth edition offers detailed descriptions of over 150 new introductions, updates to plant nomenclature, and new insights into established favorites. Gardeners will relish the practical advice that puts successful cultivation within everyone's grasp.

Accurate identification is made simple with over 600 easy-to-follow descriptions and 500 color photographs.

About the Authors:

J. D. Vertrees (1915-1993) was an entomologist, nurseryman, and educator who collected rare and unusual maples. At one time, his 1A -acre arboretum at Maplewood Nursery in Roseburg, Oregon, had the largest collection of Japanese maples in the United States. He amassed an impressive list of awards during his lifetime, including a Citation for Horticulture Research from the American Horticultural Society, a Special Achievement Award from the Oregon Association of Nurserymen, and the 1980 Thomas Roland Gold Medal from the Massachusetts Horticultural Society. In 1997, Japanese Maples was selected by the American Horticultural Society as one of the 75 Great American Garden Books. Peter Gregory, retired manager of the world-famous Westonbirt Arboretum in Gloucestershire, England, has researched maples and other trees for more than 40 years. He began a career in tree research with the Forestry Commission Research Division and conducted various projects for more than thirty years, including provenance studies, species trials, and experiments on various plant establishment techniques, especially on difficult areas such as exposed sand dunes, mountain slopes, peat bogs, and infertile soils. For five years he managed the Royal Forests of Yardley Chase and Salcey in Northamptonshire before being appointed as manager at the world-famous Westonbirt Arboretum, one of the largest collections of trees in the temperate world-especially famous for its wonderful variety of maples of all species, ages, shapes, and sizes. He has continued his studies of maples since his retirement, becoming Chairman of the international Maple Society, which he helped found in 1990, and Editor of the Society's quarterly journal. He is recognized internationally as one of the leading authorities in all aspects of maples. Peter lives in Cirencester, England, where - besides trees - he enjoys photography, climbing, tennis, and squash.

Drawing on images of women and men from the heyday of Japanese printmaking, this book explores the subtle iconography and complex symbols inherent in the tradition of ukiyo-e (traditional Japanese woodblock printing meaning 'Fleeting World'). The intriguing elements refer to Japanese history, literature, mythology, fashion, folklore and gossip of the Edo period and are at times difficult to discern, let alone grasp, without proper knowledge. Divided into classic printmaking themes such as beautiful women, heroes, actors and shunga (erotic prints), this lavishly illustrated book provides readers with the keys to understanding the hidden meanings in more than 100 top Japanese prints. 

Beautiful women – including ladies from Edo's famous Yoshiwara brothel district – take up much of the book. Heroes and villains illustrate Japan's rich mythological and pseudo-historical past. The popular pastimes of kabuki and sumo are also covered: famous actors play their best-known roles as brave men or delicate geisha. These colourful masterpieces demonstrate the economy of line and powerful expression of the woodblock medium. Each print is explored in the finest detail in order to explain the many riddles of ukiyo-e – that intriguing and captivating mode of visual expression that had such a profound influence on Western art.

About the Authors:

Chris Uhlenbeck has been a dealer in Japanese prints for 40 years. He acted as curator of many exhibitions in the field of Japanese art, starting with the major retrospective exhibition on 20th-century Japanese prints from the Robert O. Muller collection in 1992 for the National Museum of Ethnology in Leiden, The Fondation L'Hermitage in Lausanne and the Musée Marmottan in Paris. From 2007, he fulfilled the role of curator of the Nihon no Hanga museum in Amsterdam for 10 years. Between 2011 and 2021 he created various exhibitions in the Japan Museum SieboldHuis in Leiden: on Hiroshige (2011), Yoshitoshi (2012) Kuniyoshi (2013), Kunisada (2015) and recently on Gekko (2020). He is co-author of the recent Ludion publication Shin Hanga: The New Prints of Japan 1900–1960 (2022).

Josephine Smit is a scholar and lecturer who obtained her master's degree in Japanese Studies from Leiden University, The Netherlands. Specialising in Japanese politics and international relations, she wrote her master's thesis on the evolution of post-disaster mental health care responses in Japan after conducting research for a year at Kobe University, Japan. As a freelancer, Smit lectures on kimono culture. Smit is currently employed as a Japanologist at both Japan Museum SieboldHuis and Hotei Japanese Prints in Leiden doing Ukiyo-e related research and exhibition management.

Jim Dwinger is a scholar of Japanese art history with a specialization in woodblock prints. He is co-author of the recent Ludion publication Shin Hanga: The New Prints of Japan 1900–1960 (2022) and is currently involved in preparing an upcoming catalogue of prints by Utagawa Hiroshige. He is also a member of the editorial board of Andon, Journal of the Society for Japanese Art.

A Japanese designer offers a compelling alternative way to engage with our possessions, our history, our environment, and each other. 

The Japanese phrase "hodo-hodo" originates in ancient times. When contemporary designer Taku Satoh applies it to his work, it means "just enough." Hodo-hodo design deliberately holds back, leaving room for individuals to engage with objects according to their unique sensibilities. In the midst of a consumerist age, Satoh has built an illustrious design career around this philosophy, creating iconic work in fashion, food, and architecture. His ideas speak not just to professional designers, but to anyone who wishes to move more thoughtfully through the world. Within this slim but powerful volume, Satoh explains his philosophy through tangible examples — from the aesthetic of a timeworn ramen shop to a rooftop playground inspired by onomatopoeia. Urging readers to appreciate everyday objects and spaces and to question the lure of convenience, he delivers a message rooted in the past yet perfectly suited to our times.

TIMELY TOPIC: As more people begin to question the structures of consumerism, this thoughtful book offers a different way of seeing the world. Satoh's philosophy aligns perfectly with sustainable lifestyles.

UNIQUE INSIGHTS INTO JAPANESE CULTURE: Japan is a huge cultural exporter and a booming travel destination. Many Japanese ideas and traditions — such as ikigai, forest bathing, and wabi-sabi — are being widely celebrated as pathways to a more fulfilling life. This book presents hodo-hodo, a concept not yet widely exported. Learning about hodo-hodo will enrich readers' understanding of Japan, as well as inspire designers and other creatives in their work.

AUTHORITATIVE VOICE: Taku Satoh has over four decades of design experience. His work is renowned in Japan, and he's worked with major brands and museums and won many awards. Here, he shares wisdom drawn from his design expertise and his deep love for his culture.

ACCESSIBLE CONTENT: The handy paperback format is perfect for a book that you will want to read and re-read. Satoh proposes fascinating and pertinent ideas in an unintimidating way.

About the Author:

Taku Satoh has created designs for prominent Japanese brands including Issey Miyake. He has been awarded honors by, among others, the New York Art Directors Club and the emperor of Japan. He resides in Tokyo.

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An inner journey into the beauty of simplicity through the masterpieces of one of the largest and best-known collections of Japanese art outside Japan Among the many ways one can approach a distant country there are study, travel, and a special sensitivity that allow a person to distinctly interpret the reasons behind a culture.

In the case of Jeffrey Montgomery and his splendid collection all three of these elements interact in a surprisingly harmonious way. The works he has collected during his lifetime lead to the very heart of Japanese art, accompanying us on a fascinating journey to discover the aesthetic ideals of a civilization that goes back millennia.

Published on the occasion of the exhibition in Lugano, the volume presents one hundred and seventy works from the period between the 12th and 20th centuries – including textiles, furniture, paintings, religious and everyday-objects – carefully selected from the over one thousand objects collected over a lifetime by Jeffrey Montgomery. Renowned worldwide, the Montgomery Collection displays an extraordinary richness and a very singular substance: it is a collection of “oriental art”, and at the same time it expressed a “folk culture” reinterpreted in very elevated aesthetic terms by the elegant and refined choices made by the collector who had dedicated his entire life to it.

Edited by Francesco Paolo Campione, in collaboration with Moira Luraschi, Japan Arts and Life contains the essays by Francesco Paolo Campione (An Impermanent Journey between Art and Life); Matthi Forrer (Collecting Japanese Art Objects); Rossella Menegazzo (The Other Side of Japan. The Jeffrey Montgomery Collection between Art, Crafts, and Folklore); Giorgio Amitrano (Japan, the Beautiful, and Ourselves); Imogen Heitmann (The Museographical Display as a Creative ‘Meta-work’). The volume presents also the catalogue and the entries of the works, edited by Moira Luraschi and divided into thematic sections (Paintings; Woven objects; Hooks and counterweights; Ceramics; Fabrics; Lanterns; Masks; Furniture; Signs; Kettles and pourers; Sculptures; Lacquers).
Paolo Campione teaches Cultural Anthropology at the University of Insubria and he is the Director of the MUSEC Museo delle Culture, Lugano. Moira Luraschi, anthropologist, is curator of the Japanese collections and the photographic collection of the Yokohama School at MUSEC, Lugano.

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Among the many ways one can approach a distant country, there are studies, travel, and a special sensitivity that allow a person to distinctly interpret the reasons behind a culture. In the case of Jeffrey Montgomery and his splendid collection all three of these elements interact in a surprisingly harmonious way. The works he has collected during his lifetime lead to the very heart of Japanese art, accompanying us on a fascinating journey to discover the aesthetic ideals of a civilization that goes back millennia.

About the Authors:

Francesco Paolo Campione teaches Cultural Anthropology at the University of Insubria and he is the Director of the MUSEC Museo delle Culture, Lugano.
Moira Luraschi, anthropologist, is curator of the Japanese collections and the photographic collection of the Yokohama School at MUSEC, Lugan.

In love with all things Japan or looking to absorb a little Japanese wisdom into your daily life?

From the philosophies of ikigai and wabi sabi to kitsch karaoke nights and futuristic robot restaurants; traditional tea ceremonies and tranquil onsen dwellings to cosplay culture and J-Pop megastars; Japan is full of intriguing contradictions.

Though renowned for its ultramodern capital Tokyo - a sprawling neon-lit metropolis straight from the pages of a science fiction novel - Japan is still deeply rooted in ancient tradition. And while the country runs with clockwork precision, the cultural life of the inhabitants is transformed with the changing of the seasons, a testament to the enduring power of nature's rhythms.

With each page alive with facts, history and inspiration, Be More Japan unlocks the secrets behind modern Japanese living - whether you're eating sushi in London or enjoying the cherry blossoms in San Francisco. And if you're dreaming of a future trip to Japan, this book will get you closer to your destination before you've even departed.

About the Author:

Experience the world with DK Eyewitness.
DK Eyewitness' highly visual guides show you what others only tell you, with easy-to-read maps, tips and tours to inform and enrich your trip.
Our travel writers report on what to see, eat, drink and do around the world, while the very best photographs and illustrations bring cities, regions and countries to life. We publish guides to more than 200 destinations around the world, from handy pocket-sized city guides to comprehensive country guides.
DK is the world's leading illustrated reference publisher, producing beautifully designed books for adults and children in over 120 countries

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From Japan is a collection of work from some of the most talented agencies in Japan, such as Nendo, MR Design, Grand Deluxe, Daikoku Design Institute, The Simple Society and many more.

This book contains examples of graphic design from a country that can lay claim to being something of a power house in that discipline. There is perhaps a national identity that is in part forged by a certain spareness of design coupled with the intrinsic graphic qualities of the written language.

The examples of graphic design herein feature the work of contemporary design studios working in Japan across everything from branding to book design to poster and exhibition design.

Inspiring stuff for anyone interested in graphic design and the Japanese Style.

Logos from Japan contains a selection of symbols and logos from this beguiling country. The logos have been carefully selected by Counter-Print to help convey the richness, variety and vitality of Japan’s graphic landscape.

The most complete volume on the subject in any language Japanese graphic design has been researched and published in Italy up to the first decade of the new millennium, but there is a gap from then to today.
edited by Gian Carlo Calza with Elisabetta Scantamburlo

This research aims at filling that gap considering the first two decades of the new millennium, covering on one side the past, in the names of important recognized masters, and on the other side exploring new names and trends. The volume includes 85 graphic designers and 756 posters. It is the most complete volume on the subject in any language.

Japanese contemporary posters are considered to have started in the mid 50’s, after the Second World War and following a period of depression, post-militarism, and post-autarchy. The new expressive mode was fuelled by stimuli coming from abroad, but it was also a chance to reinterpret traditional themes and colours, bringing them into modernity in refreshing and successful ways.

Since the post-war period, Japan has seen a rapid evolution in the arts: painting, architecture, sculpture, graphics, theatre, music, and cinema. Influences, assimilations, denials, transformations, new creative processes gave rise to a vast quantity of cultural and artistic movements. In this maze of expressive forms, graphic design is a precious tool for tracing and following the thread of national creativity and the more or less intense permanence of traditional aesthetic sensibility in the new forms taken.

Over half a century after the inception of graphics and with the coming Olympic Games taking place now in 2021, this volume aims at taking a wide view at the trends and aesthetic shifts that can be traced in the development of graphic design in Japan.

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This book brings together the best of Japanese graphic design in the posters that accompanied Japan from the 1964 Tokyo Olympics to the creation of the Issey Miyake logo, and from the Osaka Expo to the official poster for the Pan-Pacific Design Congress. Ken’ya Hara was born in the province of Okyama in 1958. After graduating from the Department of Design at Musashino Art University in 1981 and obtaining his M.A. in 1983, he joined the Nippon Design Center where he established the Hara Design Institute in 1992.

Yusaku Kamekura was born in Kanbara in 1915. He is considered to be the figure who contributed most to the spread of Japanese graphic design in the post-WWII period. He graduated with a degree in architecture and industrial arts in 1933; in 1940, he became the director of Nippon Kobo and in 1949 he was appointed artistic director of the magazine Commerce Japan. His most important designs, including the posters for the 1964 Olympic Games, the 1970 Osaka Expo, the Hiroshima Appeals, and the logo for the Nippon Telegraph and Telephone Corporation, all made a significant contribution to increasing his fame.

Shin Matsunaga was born in 1940 in Tokyo. After graduating in 1964 from the department of design at Tokyo National University of Fine Arts and Music, he joined the advertising division at Shiseido. He designed the PEACE ’86 poster and curated all the graphic design for the Sezon Museum of Modern Art. He also designed the symbol and official poster for the 1989 Pan-Pacific Design Congress, the human rights poster commemorating the 200th anniversary of the French Revolution, the medal for Mint’s 120th anniversary, the logo for Issey Miyake and RHIGA Royal Hotels, and the package design for the French cigarette brand Gitanes Blondes (1995).

Film director and art director Nagi Noda was born in Tokyo and made a name for herself as one of the most important young Japanese designers. She first achieved fame as an art director, designing publicity for the print media and graphics for publishing and the music industry, before working for bigger clients such as Nike and the Laforet Harajuku department stores. Ikko Tanaka was born in 1930 in Nara. In 1950, at just 19 years old, he graduated from the Kyoto City School of Fine Arts (now the Kyoto University of Arts) and immediately afterwards started working for companies such as the Kanegafuchi textiles company and the Sankei Shinbun daily newspaper. He designed the signage and medals for the 1964 Tokyo Olympics and the pavilion dedicated to Japanese history at the 1970 Osaka Expo.

Whether it be Cosplay, Rockabilly, HipHop or Gothic: when the Japanese immerse in a subculture, they do it like no other.

The otaku’s passion is all-consuming. Whether it be cosplay, gothic, or rockabilly, when the Japanese embrace a subculture, they do it like no other. From Lolita fashion and latex couture to neon-drenched big-rigs, anime-plastered vans, and chrome-heavy hot rods, subcultures in Japan are as varied as they are fascinating.

Delving into these worlds, The Obsessed reveals the extraordinary passion devotees have for their hobbies and lifestyles. With dazzling photography, on-the-ground interviews, and cultural essays, this book showcases a kaleidoscope of scenes and individuals drawn from Japan’s many countercultural groups.

About the Author:

Irwin Wong is an editorial and commercial photographer based in Tokyo. Originally from Melbourne, Australia, he moved to Japan in 2005. He was Co-editor of gestalten’s Handmade in Japan, published in 2020.

The first comprehensive, career-spanning monograph of NUNO, one of Japan’s most innovative and respected textile design studios

Named with a simple word meaning ‘cloth’, NUNO is one of Japan’s most important textile-design companies. Founded in 1984 by the legendary Junichi Arai and the company’s current director, Reiko Sudo, it is recognized as one of the world’s most innovative textile producers. Known for weaving together tradition and cutting-edge technology, NUNO designers are inspired by the past, present and future, integrating unexpected elements, such as paper or feathers or aluminium, with industrial methods, such as spatter-plating and chemical etching. All NUNO textiles – more than 2,500 have been created – are produced in Japan and are usually the handiwork of an individual craftsperson. Each bolt of cloth has a story to tell.

Though their textiles appear regularly in books, textile exhibitions and museum collections, a comprehensive NUNO monograph has not existed - until now. Featuring the most outstanding, influential or experimental fabrics, the book is organized into seven chapters, each based on a theme deriving from the onomatopoeic coupling in Japanese that defines a family of fabrics. For example, ‘Shima Shima’, meaning ‘striped’, presents striped designs ranging from bold and contrasting like zebra to subtly variegated like a tabby cat. Based on interviews, archival research and factory visits, the texts are illustrated with specially commissioned photos and drawings. Interspersed are essays by a wide range of contributors, from writer Haruki Murakami and architect Toyo Ito to curator Anna Jackson.

Bringing all the threads together in a beautifully designed package, NUNO is a document of exceptional beauty and a rare glimpse into the essence of Japanese design.

Contents List:

Foreword
Introduction
1. FUWA FUWA: Fuwa Fuwa by Haruki Murakami; Portrait of a Textile: Threadstray
2. SHIWA SHIWA: Shiwa Shiwa by Kenya Hara; Portrait of a Textile: Paper Rolls
3. SHIMA SHIMA: Stripes of All Colours by Brooke Hodge; Portrait of a Textile: Origami Weave
4. KIRA KIRA: Shining Within by Akane Teshigawara; Portrait of a Textile: Amate
5. SUKE SUKE: Three Transparencies by Toyo Ito; Portrait of a Textile: Turkish Wall
6. ZAWA ZAWA: Poems by Arto Lindsay; Portrait of a Textile: Jellyfish
7. BORO BORO: Essay by Anna Jackson; Portrait of a Textile: Colourplate On Colours
Chronology of Textiles
Acknowledgements
Biographies
Picture Credits

About the Authors:

Reiko Sudo is one of Japan’s most influential contemporary textile designers and managing director of NUNO. In recent years, she has become known as an advocate for textile artisans in Japan, creating designs that are technologically forward without diminishing the value of handicraft. Naomi Pollock is a design writer who lived and worked in Japan for over 30 years. Her most recent publication is Japanese Design Since 1945 (2020), also published by Thames & Hudson.