The newest edition of Kit Hinrichs’ and my “Obsessions” book series is on the arts and crafts made by Japanese Americans held in U.S. concentration camps during World War II. All That Remains is a sequel to my 2005 book titled The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942–1946. While working on that book, I spent many hours reflecting on why people banished by their own country to barrack encampments fenced in by barbed wire and guarded by soldiers with rifles pointed at them would take up art with such a fervor that it became an obsession to them. They scrounged for scraps of paper, bits of lumber, empty bottles and cans, and cardboard packaging to use for their art projects and scoured the desert terrain for stones, driftwood and shrubs to carve into new forms. Art served a need far beyond the aesthetic. Although two-thirds of the 120,000 ethnic Japanese forced into camps were American citizens, the older immigrant generation especially, who were in their 50s and 60s, embraced the creation of art as a lifeline. Given less than 10 days notice to turn themselves in and told they could only bring what they could carry. the adults knew their businesses, homes and all their possessions would probably be gone when they were freed to return to the West Coast. In fact, that turned out to be true.
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From time to time, @Issue will run brief profiles of people you may know in design communications, asking them what attracted them to the profession and how they view their work and process. We thought we’d start with Delphine, @Issue’s editor, and then Kit, @Issue’s design director, before broadening our scope to others in the business.
Name: Delphine Hirasuna
Profession: Writer/ Editor of @issue
Home Base: San Francisco, CA
When did you know that you wanted to pursue the profession you did?
I think I was around 6. I was tiny for my age and lousy at playground sports; I hated recess, but I loved to read. Nancy Drew, The Bobbsey Twins, Eddie’s Red Wagon, etc. But the stories felt formulaic and I decided I could write better. My bedroom had a vanity with a frilly yellow chiffon skirt around it, and I’d crawl inside and write my stories in that private space. Even then, I was a realist. Afterall, I was 6 years old, and lived on a little farm in the middle of nowhere, and didn’t know how to contact a publisher, much less have an adult one take my writing seriously. But I didn’t give up. In grammar school and high school, I was the editor of the school paper, and by college, I was determined to be a journalist.
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Editor’s note: Packaging design presents its own unique set of challenges to graphic designers that differ from other kinds of print design. Here, we asked Brad Murdoch from Process, a premium packaging manufacturer based in Salt Lake City, to help us identify some common mistakes. Process handles custom packaging and fabrication through its network of overseas manufacturing facilities.
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At age 68 when Kit left his partnership at Pentagram after 23 years to set up his own independent studio, we discussed how it would give him the luxury of doing what he wanted to do simply because he wanted to do it. Since I’m not that far behind him in years, I understood the importance of the question, “if not now, when?” Speaking for myself, when I fantasized about becoming a writer in high school, I didn’t have corporate brochures and power point presentations in mind (not that I’m complaining). Our quasi-serious venture, Hirasuna + Hinrichs Special Projects – or as Kit calls it “Hinrichs + Hirasuna Special Projects” – was intended to set aside a small portion of our time and energy to focus on the topics we found of compelling personal interest, whether it was profitable or not. We promised to take turns choosing the topic, since the things that interest me don’t necessarily interest him, and vice versa. Our first project is “Obsessions,” a series of small perfect-bound books on things that fascinate us, even though others may find that inexplicably odd. Kit’s collection of alphabet postcards, an offshoot of his passion for typography, launches the series. We also agreed that the production value must live up to our high standards – i.e., nothing cheesy. This is why it was printed beautifully by Blanchette Press on Sappi McCoy Silk.
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Some of you know that seven years ago I wrote a book called “The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946,” published by Ten Speed Press/Random House. As usual, it was designed by Kit Hinrichs (Kit’s origami flag assemblage below) and photographed by Terry Heffernan. After more than 30 years as a corporate writer, I suddenly found myself propelled in another direction and immersed in a subject that I largely avoided my entire life. Although I had no thought that it would make a good art exhibition, I began receiving requests from museums across the U.S. and the array of objects made from scrap and found materials by people imprisoned in the camps were exhibited in some of the nation’s most prestigious institutions, including the Smithsonian American Art Museum’s Renwick Gallery in Washington D.C. and the International Folk Art Museum of Santa Fe. Today it opens at the University Art Museum (Geidai) in Tokyo to kick off a one-year tour of Japanese cities. If you are in Japan, I hope you’ll take the time to see it. I’ll be back in my San Francisco office next week with more new posts. — Delphine
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