Tadanori Yokoo printed against the grain of the Swiss-style modernism that Japanese design schools had adopted wholesale. His sheets flood corner to corner in silkscreen black, then carry Day-Glo-class inks that no CMYK press can reproduce — fluorescent pink over hinomaru red over two golds.

The engine is almost always the same: a rayed rising sun, an open mouth, a single blue eye, vertical kanji columns cutting across the ray fan. The halftones were cut by hand and the separations slip, so misregistration is not a filter applied afterwards — it is what the printing looked like.