In 日本 Tokyo with Sitoh Inc.

If you are a true graphic design connoisseur, there is no way you never have heard, or at least seen the exceptional work of Tokyo-based graphic design practice Sitoh Inc. Nikolas Type is beyond honored to name Sitoh as one of our very early clients, with outstanding in uses of Cosi Times and Grand Slang. Today, we want to not only present you selected pieces of work, but go beyond that to learn and share more about the mindset and way of thinking behind Sitoh Inc. Ladies and gentlemen, we hope you enjoy this in-depth conversation, and please welcome the founder Motoi Shito.

Dear Motoi, who is the team behind Sitoh Inc.?

Art Director Motoi Shito and Graphic Designer Johnny Hu are the two main members. Additionally, we also collaborate with partners on each project.

What moved you to become a designer?

When I was in high school, I became interested in graphic design after seeing a magazine featuring graphic designers. Although I studied business in college, I was unsure about becoming a designer. However, I decided to pursue it because creating was more enjoyable than anything else.

When I see your design, I can truly feel and see that you are blending in something entirely new and unseen in a very beautiful, refreshing and captivating, light way. Especially your eclectic use of type, is outstanding, a unique and unseen graphic design experience.

I perceive my design and typography as a fusion of global standard design styles and the logic of traditional Japanese aesthetics. Additionally, in considering an approach that firmly extracts the purpose rather than focusing solely on decorative authorship, the output tends towards a minimalist direction.

How did you come up with using Grand Slang for Ishida Coffee? This design, by the way, is like I mentioned so many times before „transcendental“ and beautifully unexpected. Coffee is a highly sensitive topic, with vast interpretations, so seeing Grand Slang for a Japanese coffee, was a very beautiful surprise. What moved you to this decision? 

The artwork for Ishida Coffee's package design was created with a motif of the moment when milk slowly mixes into a glass of coffee. The selection of Grand Slang is also linked to this concept. Each letter felt like it was creating a subtle wavering effect with curves from the typical axis of the font's form.

When combined as text, the beauty of each curve in the characters contributes to the elegance of the package. The final design resulted from the artwork and font complementing each other with a sense of inevitability.

Of what work are you most proud of?  

För ägg project allowed me to complete everything from the concept to the idea and final design within a consistent context. For me, för ägg project is one of the projects that has shaped my current design style.

Under what conditions do you work best? 

In any project, I believe that communication with clients is the most important aspect. Collaborating with the clients to consider the challenges and create the right design approach is the condition that produces the best performance.

What’s the best advice you ever received?

During a conversation with a partner company on a podcast, the advice was that even in today's more efficient and convenient age, consciously engaging in an old-fashioned way like meeting people and having conversations in person can lead to better communication, served as advice to reevaluate our communication approaches.

How willing are you to compromise? 

In client work, since creativity is a shared property, it is necessary to discuss a better landing point for both parties. If that point is established, I believe we can proceed towards a goal with a common understanding without compromising on the design.

Do you have rituals? 

I don't have anything specific in mind, but I make it a point to keep my desk, studio, and computer always organized and tidy.

Where do you find inspiration? 

Of course, I follow global design trends across various media daily, but I also find inspiration while walking or playing with LEGO with my child.

How do you clear your mind? 

Whether I am traveling or watching a movie, I believe that design problems can only be solved through doing design. The way to clearing my mind is best achieved by finding those solutions.

How would you describe the graphic design scene in Tokyo? How appreciative are people towards graphic design in general in Tokyo (or Japan) 

I believe the level of skill in Tokyo's graphic design is very high. However, there has been a long-standing trend of 'Galapagosization' with unique Japanese designs that are quite different from global trends. Additionally, the valuation of graphic design within Japan has been declining year by year. In Japan, there is still a gap between print and digital, and the perception that graphic design equals printing only persists. I believe that graphic design should cover a variety of areas.

Is it even possible to somehow describe a typical, traditional Japanese design? How would you describe „typical“ Japanese design to a stranger if even possible? (for example: Swiss design: clean, simplicity, less is more, Helvetica)

Traditionally, to represent Japanese design, one might consider the geometric designs of Ikko Tanaka and the symbolic designs of Yusaku Kamekura from the 1980s and 1990s. In contrast, contemporary design often appears fragmented from these earlier contexts, with many examples exhibiting complex and less structured information.

I do believe that the unique Japanese design universe that you have mentioned is exactly what so many non Japanese truly love. For non Japanese, it is new and exciting: glyphs that we cannot read or understand, and a visual world, that is strange, yet so irresistible and unique in its aesthetic. Many people that I know, find those Japanese aesthetics simply entrancing, mind-blowing and inspiring. 

That all said, would you say that this aesthetic might be for you boring or worn out? (Because you grew up in this world, and it is ubiquitous for you?)

I am the same, when I encounter unreadable characters or hieroglyphs I don’t understand, I often find their visual characteristics and design approaches fascinating. However, upon deeper examination, one must question whether that understanding is truly appropriate. For example, the typeface "Mandarin" used in America is often employed to represent Asia. However, I have never seen this typeface used in Japan. Similarly, using non-native alphabets merely for their visual appeal in design reflects a low level of cultural literacy as a designer.

Currently, in Japan, rather than a geometric design approach or a context of repetition in graphic design, the focus is predominantly on illustration-centered design. This is a uniquely Japanese, familiar form of expression that cannot be labeled as postmodern, but the prevalence of a singular approach makes it feel monotonous to me.

If I do get it right, there is also a sense of humor and quirkiness in Japanese design and advertising where things are exaggerated and presented even with a dance or song or similar. How do you feel about this? 

Domestically, since there is a balance between supply and demand, I don't think it's a problem. However, in a global era, if we don't find approaches that can meet universal standards, the future of Japanese design will be limited. Quirkiness should not be what represents "Japan." Instead, I believe we should convey Japanese uniqueness by combining our cultural and aesthetic traditions with modern design.

What do you love most about Tokyo? ( and can you tell us your favorite place? ) 

I don’t really have any favorite places particularly. But surprisingly, because Tokyo has many parks. On weekends, I spend time with my family at those parks.

Do you have a favorite park? Or some park that you can recommend for a stranger? 

The "Moerenuma Park" located in Hokkaido is designed by the sculptor Isamu Noguchi, where visitors can enjoy a blend of nature and geometric art.

Who is one of your favorite artists in music, and why?

It's hard to narrow down the list because I listen to a lot of music, but when I need to focus on design work, I often listen to Four Tet. Perhaps the experimental yet simple and unique aspects of his music complement my design process well.

Thank you so much for the Interview, dear Motoi!