Kyushu University Academic Staff Educational and Research Activities Database
List of Papers
Ihara Hisayasu Last modified date:2022.04.06

Professor / Createve Design / Department of Media Design / Faculty of Design

1. Pictograms of the Tokyo Olympic Games in 1964 and Masaru Kastsumi‘s ‘the International relay of symbols‘.
2. Hisayasu Ihara, Environmental Control and Information Design: Development of the Flow Concept by Knud Lönberg-Holm in Collaboration with Ladislav Sutnar, The Journal of the Asian Conference of Design History and Theory, 3, 44-52, 2020.03.
3. Rachapoom Punsongserm, Shoji Sunaga, Hisayasu Ihara, Effectiveness of homologous Thai letterforms presented in parafoveal vision, Information Design Journal, 24, 2, 92-115, 2018.12.
4. Evaluation of the design of simplified road maps by use of eye tracking: Focusing on the difference among shape and boldness of paths.
5. Rachapoom PUNSONGSERM, Shoji SUNAGA, Hisayasu IHARA, Thai Typefaces (Part 2): Criticism Based on Legibility Test of Some Isolated Characters, Archives of Design Research, 30, 2, 23-44, 2017.05.
6. Rachapoom Punsongserm, Shoji Sunaga, Hisayasu Ihara, Thai Typefaces (Part 1): Assumption on Visibility and Legibility Problems, Archives of Design Research, 30, 1, 5-22, 2017.02.
7. Nao Nakatsuji, Hisayasu Ihara, Takeharu Seno, Hiroshi Ito, Visualizing Similarity of Appearance by Arrangement of Cards, Frontiers in Pschcology, 10.3389/fpsya.2016.00698, 7, 全7ページ, 2016.05.
8. Influence of Isotype on graphic design in Japan in the 1960s.
9. Iyad Al-Sabouni, Hisayasu Ihara, Character Design based on the Interpretations of Ambiguous Images, IASDR 2013, 2013.08, In this paper we aim at presenting new approach in character design, which involves employing visual interpretation instead of rough sketching as an initial drawing step. We are taking cue from the famous Rorschach Inkblot Test, with disregards to its psychological analysis, we shift the focus towards the implementation of its imaginative side by employing the interpretation of symmetrical abstract inkblots as a stimulus for ideas, where the artist relies only on the brain's visual experience to perceive an object, then use this perception to draw new character designs. In this paper we provide solution to the following problems: 1) What type of characters can we interpret in an inkblot? And what are the visual aspects that affect character interpretation? 2) How can we control the interpretation in order to get predetermined characters? We started by creating a set of ten inkblots following similar technique to that in the Rorschach test. Then we asked a number of participants to examine each inkblot, look for an image or a hint of a character and draw their interpretations. The traced drawings were collected to be scanned, reviewed and analyzed. We used our findings to create "figure-blot" an inkblot pattern that approximates the human body features and blends ambiguity of details with clear object identity. The "figure-blots" were installed in the form of character flip-book, where the viewer has the advantage to modify subject of interpretation in order to achieve desired character perception. We made an experiment involve asking participants with limited drawing skill abilities to use our "figure-blot flip-book" prototype in order to find an interesting perception of a character. The results have shown notable efficiency in terms of achieving fast character conceptualizing, however the flip-book prototype would require some refinements in order to cover wider range of character interpretation possibilities. We believe that our method is easy to use and has the potentials to aid character designers particularly in creative brain storming sessions..
10. Hisayasu Ihara, RUDOLF MODLEY’S CONTRIBUTION TO THE STANDARDIZATION OF GRAPHIC SYMBOLS, Proceedings of IASDR 2011, the 4th world conference on design research, 31 October – 4 November 2011, Delft, The Netherlands, 2011.10.
11. Design of the maps for Oguni-machi and the application to sign & guide-map for walking course, information leaflet & signs for tourists.
12. Hisayasu Ihara, 'Some contribution of ISOTYPE to Typography'.
13. Yung-Chun Lin, Hisayasu Ihara, The Visual Design of Science Picture Books, Proceedings of IASDR2009, CD-ROM, n.p., 2009.10.
14. Hisayasu Ihara, Rigor and Relevance in the International Picture Language Rudolf Modley’s Criticism against Otto Neurath and his Activity in the Context of the Rise of the “Americanization of Neurath method”, Proceedings of IASDR2009, CD-ROM, n.p., 2009.10.
15. Hisayasu Ihara, Otto Neurath's Atlas "Society and Economy": Design, Contents, and Context, Proceedings of IASDR2007, CD-ROM, 2007.11.
16. The Rise of Type Making by Chinese and its Factors in China between the 1910-1930s.
17. The Contribution of "Graphic Printer" to the Chinese Graphic Design Movement in the 1930s.
18. An Aspect of Reception of the International Typographic Style in Japan: Design Experiments of SD Magazine 1964-1985.
19. 'Herbert Bayer's book typography: the development of concept 'horizontal order' in the 1930s', design NET, 2006.9.
20. Hisayasu, Ihara, 'Formating Paper Media: Historical Study on the Project of Standardization for Paper Format in Germany 1903-28', TAKEO Prize 2004, pp.9-29.
21. Ryu HyunGuk, Ihara Hisayasu, Genda Etsuo, "A Study on the Historical Change of the Typeface of Han-Geul Typewriter through Its Development", Design Research, No.33, Dec. 2003, PP.86-93.
22. Hisayasu Ihara, 'Neurath and the Modern Design Movement', Design Issue of KID, 2001,No.4, pp.85-111.
23. Hisayasu Ihara, 'Physiognomic Elements of Isotype', Design Research, 1999,No.21, pp.29-34.