我们遗忘的大师——粟津洁
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黄永玉说，年轻人是时常错过老人的。不得不承认，我们又错过了一个大师。粟津洁 Kiyoshi Awazu是一个相当精彩的设计大师，他涉及了很多方面，海报（电影<纱之女>等）、平面、书籍，甚至电影（貌似在<薔薇の葬列>里当演员？求证！貌似还有做编剧）
关于kiyo的资料并不完善，假如你有资料请告诉我！一起让这个被遗忘的老人的设计精神更加鲜活的存货下来！！
思考的眼睛 ——粟津洁
我认为观看的意义为创造即是观看。
有时，观看比创作更难。我们面对创作的困难等同于我们面对当我们无法看到事物的困难。观看，是在我们尝试去创造的思维过程中，开始有能力通过事物去看和观看。批评家认为观看是创造，而我认为创作是观看。草图速写和制作模型也是观看的动作，除了我认为观看还有广义的含义。
在日常生活里，我们看到很多事物。仅仅看和有动机的注视是不同的。因为观看是一种感性的行为，我们时常在不知不觉中观看事物，而它们会逐渐成为个性表达的某种形态基础。
一个空的可口可乐瓶子可以彻底改变人类的艺术，平常之物可以承载不可思议的重要信息。我们表达了我们所看到的。我尝试去表达的是基于我尝试去看到的。我们无法从观看的行动记忆中逃离。艺术只通过观看的经验而存在。与此同时，我们试图去看那个未知的世界以远离观看的记忆。
但是，即使我们设法去发现那个未知的世界，我们的记忆既会在那个未知的世界浮现，也会如同比喻般保留。创造是在观看某物的企图。如果我们不能观看事物，我们就无法创造事物。当创造意味着观看是一种艺术的感觉，那创作和观看之间就不再有界限。差别只是在个别观察者中间存在。这源于它的手段和方法，创作和观看之间会存在着差别。虽然观看和创作是有着某些基本的不同点，但它们之间是有关联的。
我感觉观看总是先与创造。也许有人会看他已经完成的创作，或者在观看和创作某种保持的平衡之间有着直接的关系。然而，我毫不怀疑地感觉到观看总是在先。我相信，观看、有能力看、以及通过事物观看为创造提供了一个起点。这是“观看的意义”。不能把观看和创作截然分开为两个完全不同的概念。我们应当停止表达，直到我们看到某种事物的时候。当我们双眼和我们的精神去尝试观看事物，期待意味着假期。
The Meaning of Seeing I think that creating is seeing.
Sometimes seeing is harder than creating. The difficulty that we face in creation equals the difficulty we face when we are not able to see things. Seeing, becoming able to see and seeing through things are the mind processes used when we try to create. Criticism relies on seeing as does creation. I think that creating is seeing. Sketching and taking photographs are also acts of seeing but what I mean by seeing is broader. In everyday life we see a lot of things. Just seeing is different from looking with an intention. Since seeing is a sensuous action, we sometimes see things unconsciously and they can become the basis of some types of personal expression. An empty bottle of Coca Cola can greatly change the quality of one's art. Ordinary matters can bear extremely important messages. What we express is what we see. What I try to express is based on what I try to see. We cannot escape from our memory of the act of seeing. Art exists only through the experience of seeing. At the same time, we try to see the unknown world to escape from the memory of seeing. But even if we try to discover the unknown world, our memory either continues to float in the unknown world or remains as an analogy. Creation is an attempt at seeing something. If we cannot see things, we cannot create things. If creation means seeing in an artistic sense, there cannot be a border between creating and seeing. Only differences among individual observers exist. It is certain that there are differences between creating and seeing in terms of its measure and method. Although seeing and creating have some basic differences, they are basically related. I feel that seeing always preceedes creation. There might be cases in which one would look at what he has already created, and cases in which the direct relationship between seeing and creating maintains a sort of balance. However, I cannot helpe feeling that seeing comes first. I believe that seeing, becoming able to see, and seeing through things provide a starting point for creation. This is "the 'meaning of seeing'." It is impossible to separate seeing and creating clearly as two different concepts. But to see, and to continue to see, in course of time, becomes creation. Until we see something, we ought to stop expressing. Expectation means a holiday for our eyes and our spirits which are trying to see things.
---- Kiyoshi Awazu
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粟津先生1929年出生于日本东京，自学绘画与设计，1955年获得日本广告艺人奖俱乐部在日本画展广告，1958年获得世界电影海报大奖赛。在他的职业生涯中，他曾从事着各种各样的活动，包括都市设计、展览设计及制作，与艺术领域涵盖从建筑、音乐、文学电影。1997-98年,他的作品在波兰等四个国家的四个城市美术馆展览。后来，他注重视觉传播、艺术设计。
从60年代开始，粟津先生和龟仓雄策、田中一光、杉浦康平、横尾忠则等被称为日本平面设计的先锋代表，由于他们的带领，日本设计才走向了世界；因为他们的坚持和推动，日本设计才有了后浪推前浪的今天。
看到有人说，栗津洁是想在自己的作品里以自己特有的色彩和力度来引发观者的共鸣。
2009年4月28日，Kiyoshi Awazu 粟津洁去世，享年80岁。很可惜，我们又错过了一位老人。（让我想起了巴金的去世）
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