In 1953, the Nissenbi (Japan Advertising Artists Club) Poster Competition set the entry format size as B1 (103 cm × 72.8 cm). This format quickly became the standard for posters in Japan. However, for special occasions, Japanese graphic designers took advantage of the larger horizon of the B-Zero size (103 cm × 145.6 cm). Designing in the B-Zero format is the most challenging and rewarding task for graphic designers. Exactly double the size of B1, these expanded posters are designed to dazzle commuters at train and subway stations.
In addition to its function in advertising, B-Zero is also used for artistic purposes, with original posters created for display in exhibitions. At solo exhibitions of renowned designers, B-Zero works are always the core attraction.
B-Zero masterpieces from the collection of The Japan Foundation, Toronto, by such creators as Ikko Tanaka and Shin Matsunaga, will occupy our walls, with poster series by Kazumasa Nagai, Tadanori Yokoo, and Shigeo Fukuda joining this celebration of Japanese graphic design.