Emperor is a versatile and unisex skate brand aimed at young teenagers based on different subcultures and cultures (Grunge, Gothic & Emo). This is also reflected in the style that is used in the merchandise and branding itself. The merchandise will include skateboard decks, clothing (jumpers, hoodies, shorts and shirts) and shoes.
Because skateboarding isn’t really affected by the seasons, the merchandise can be used all year around.
The general colour palette of Emperor products will be predominantly black, grey and white with a few other colours mixed in here and there to add depth and give feeling to the merchandise. E.g. White, black & a dark blue. This in turn will also cause the brand’s merchandise to be cost effective as there isn’t an overload of colour that would otherwise make it expensive to produce.
Some of the symbols that will be used in the merchandise include skulls, robed figures, poison/gads masks. So generally dark things that tie in with the subcultures and cultures that the brand is based on.
The Emperor brand will also promote reaching out to others and raising awareness of depression in young teenagers, as it is a problem that is more common than most people think.
As a young boy, Fukuda became interested in and enjoyed making origami (the Japanese art of paper folding). When he entered his teen years he became intensely influenced by the philosophy of “The International Style”, or “The Swiss Style”; which was a reflection of the modernist and constructivist ideals. Fukuda was interested in the styles’ authentic pursuit of simplicity, and the idea that the beauty is inherent in the foundation of a purpose, and the purpose of art was appealing to him. In other words, he followed “The International Style’s” keen attention to detail, precision, craft skills, and supported a system of graphic design education and technical training that would aim at a higher standard of craftsmanship and art in design and printing as well as a clear refined and inventive lettering and typography.
Fukuda graduated from the “Tokyo National University of Fine Arts and Music” in 1956. In 1966, Fukuda’s work gained prominence at a Czechoslovakian graphic design competition, and in the subsequent year his posters for Montreal’s “Expo ’67” brought him the fame. His reputation began to snowball when Paul Rand noticed his work in an issue of Japanese Graphic Design Magazine. In 1997, Fukuda had his own personal exhibition “An artist of visual wit” at “The National Museum of Modern Art, Tokyo”. And in 1999, the Japan Foundation in Toronto presented the show “Visual Prankster: Shigeo Fukuda.”
“I believe that in design, 30% dignity, 20% beauty and 50% absurdity are necessary. Rather than catering to the design sensitivity of the general public, there is advancement in design if people are left to feel satisfied with their own superiority, by entrapping them with visual illusion.”
In 1957, Michael Bierut was born in Cleveland, Ohio, and as a young adult, this is where he grew up with a love of fine art, music and drawing, which ultimately took the form of album covers. This in turn led him to the only two books in the library at the time on design, “The Graphic Design Manual” by Armin Hofman and “Milton Glaser: Graphic Design”. In 1980 he graduated from the University of Cincinnati’s College of Design, Architecture, Art and Planning, and shortly after graduating, he started working for Vignelli Associates in New York and continued to do so for the next 10 years. In 1990, he joined the Pentagram as a partner in the firm’s New York office, where he worked for numerous clients such as; The New York Times, Saks Fifth Avenue, The Council of Fashion Designers of America, Harley-Davidson and many more.
Michael Bierut has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art Michael Bierut served as president of the New York Chapter of the American Institute of Graphic Arts He also serves as on the boards of the Architectural League of New York and New Yorkers for Parks. Michael was elected to the Alliance Graphique Internationale in 1989, to the Art Directors Club Hall of Fame in 2003, and was awarded the profession’s highest honor, the AIGA Medal, in 2006. In 2008, he was named winner in the Design Mind category of the Cooper-Hewitt National Design Awards.
Michael is now Senior Critic in Graphic Design at the Yale School of Art, and a Senior Faculty Fellow at the Yale School of Management. He writes frequently about design and is the co-editor of the five-volume series Looking Closer: Critical Writings on Graphic Design published by Allworth Press. His commentaries about graphic design in everyday life have been heard nationally on the Public Radio International program “Studio 360” and his appearance in “Helvetica”.
“Part of maturing as a designer is discovering what you’re good at.”
“Graphic design is the purposeful combination of words, pictures and other visual elements to support the communication of an explicit or implicit message.”