Jacques Dupin speaks of the influence that Japanese art had on Miró because he sees the lines as calligraphic gestures on patches of intense color.

As explained Pilar Cabañas in Universidad Complutense de Madrid, this influence was reciprocal, and came from far away.

The two artists met and expressed their desire to establish some sort of collaboration but due to personal problems and Takiguchi's precarious state of health, this collaboration did not materialize until 1967, just a year before the first work of the series The navigator's hope.

In contrast, other works of the series, corresponding to 1973, are much closer to the play La Chanson des voyelles,[14] painted in 1966, kept in MoMA in New York City.

In the latest works by increasing the number of thick lines, the black backgrounds are offset by large masses of color that gained prominence and the stroke is close to the Eastern calligraphy.