Interviews med Kiyoka Yamazuki

From 1985 to 1987, I worked as an illustrator at a design office in Nagoya. He later became a freelance illustrator and continues to this day. He painted his first JR campaign poster in 1991. Mainly Nippon Paint Co., Ltd.: Hitachi Maxell Co., Ltd.: Calendar Aichi Prefecture PR magazine: Sony Corporation: PR magazine production.

He has also produced advertisements for a number of companies.

I really liked drawing since I was little. She was the kind of girl who drew pictures on the ground even when she was playing outside.

Also, I was a very passive child.

I graduated from a junior college design course for two years, but I couldn't get a design job right away. I wanted to draw more, so I was thinking about transferring to an art university in my fourth year. At that time, her older sister was a graphic designer in Osaka. The reason I became an illustrator was when she showed my illustration to her acquaintance, an illustrator (Shiro Nishiguchi). After that, she began to receive instruction in illustration. At that time, I was working as an employee at a calligraphy brush shop, but after work I was working hard on my illustrations. For about two years, I continued to draw illustrations whenever I found time.

When I saw the illustration by the illustrator (Shiro Nishiguchi) who taught me, I was surprised and moved. That excitement still drives me. It also taught me to never give up.

In the case of design, the first priority is to listen to what the client is looking for and what they are having trouble with, then come up with ideas, make proposals, and have discussions. Then go to design.

The illustrations used in the design also listen to the theme, come up with ideas, and if it is OK, I will produce it. There is a central theme, keystone, or specific aspect of design that integrates into every project. However, for art works, I find a theme in myself on a daily basis and create what I want to create and express. So it's a little different.

I'm an old-fashioned type of person, so I prefer manual work if possible, but I can't do that these days. We are reluctantly moving to digital. I use digital to digitize illustrations.

I feel the joy of design when people come up with ideas, inspire each other, generate ideas, and give form to products. And I'm really happy when it turns out to be a great product for clients, designers (me) and users.

I've been drawing since I was little, but I also did calligraphy. In fact, calligraphy is qualified as an instructor.

When I was worried about my own path, my calligraphy teacher told me that "There is nothing to waste in life" and "It's okay to go straight on your own path, but it's also good to take a detour."

After that, I worked at a calligraphy shop for about 5 years and experienced face-to-face sales with customers. After that, she worked at a design office for about two years and now works as a freelance illustrator.

I think that communication with the client was also cultivated at that time.

It means "nothing is wasted in life".

For me, my dreams for the future are still on the way. Rather than becoming an illustrator, my dream is to have many people know and see my paintings. (Not enough yet.)

In order to talk about dreams at this age (I don't have time), I have no choice but to act so that dreams don't end as dreams. But is the language barrier the biggest problem?

I want to design my own life.

Don't be afraid to fail and ask questions if you don't understand something.

Listen carefully to what people are saying and start with greetings. Greetings are basic. Stay in touch and learn more.

However, it also requires the judgment of wrong knowledge.

I'm still imperfect (as an illustrator).

But I can say that when I look at successful illustrators,

First of all, I will continue to draw illustrations. (Continuity is power, isn't it?) Please stay healthy again. (Keep your mind and body healthy) There are no shortcuts. Occasionally, road grass is also good. There may be new discoveries there.

My life is different than it was 10 years ago.

When I moved from the city to the countryside where my parents lived, my life changed, for better or worse.

A little far from business.

As a teacher, I attend a two-and-a-half-hour class (design school) once a week.

I have a chronic illness, so I try to go for a walk in the morning to keep my life as regular as possible. Because it is a land rich in nature, it can be difficult. (Heavy snow, village work, managing your own land, etc.)

It's the most fun to find the moment when the seasons change and the flowers bloom.

I never follow design trends.

We have a broad and shallow understanding of current trends. (It's shallow knowledge.) I think it's important to know trends. That's why I don't follow trends unless my clients ask me to. (often with bad results)

But that doesn't mean I'm obsessed with my designs.

Rather, I am inspired by things that have not changed since ancient times (Buddha statues, buildings, designs), fictional things, and more recently, shapes and structures that exist in nature.

I believe that the definition of good design should be good not only for those who design it, but also for those who seek it, users and clients.

However, I think that the design (product or project) should not destroy nature in the long term, and should not have a negative impact on the global environment.

Whether the product or project is well designed

Before you design, you need to have the courage to stop if it's inappropriate.

I am an illustrator.

I'm not a designer, so this may not be the correct answer.

Even if you can only design, it will not be completed.

Shouldn't we go back to the first meeting, think about what the client wants, discuss it, and make improvements?

Let's listen. Now let's complete another design. A project is a success if it's good for the people who use the product, the people who commission it, and others.

There are two illustration jobs that turned out to be a big turning point for me.

One was the first job I received from JR (a tourism campaign for Tottori and Shimane).

The other is a poster for the Nagoya Festival that I made from among many designs. Rather than a festival scenery, this illustration expresses a fun "festival sound".

The results were well received. It became a poster for the Nagoya Festival.

For this project, I am planning to hold a group exhibition here (in my gallery) for the first time with two illustrators who have been indebted to me for many years. I am really looking forward to it. make it a success.

I haven't met many designers, so I don't know.

As for clothes, I liked designer Issey Miyake's clothes. To a lesser extent, I also bought some clothes.

I also found the design concept interesting. There are so many wonderful people in the world that I just don't know. Maybe I've already met a lot of people without even realizing it. I would like to ask famous designers for their "secrets of success". It's a pity that I can't speak to him.

However, I think that I was most influenced by the illustrators who were close to me and kindly taught me.

If I had to name them here, they would be illustrators Shiro Nishiguchi and Kunio Sato.

About 10 years ago, I moved to the countryside to care for my parents.

When I was little, I was a child who never played outside. Now I do farm work, mow grass, and participate in village work.

And I feel like I'm getting away from "culture" except for going to design school once a week to teach design.

However, recently I have become accustomed to such a life, and I am interested in how efficiently I can get used to living in the countryside, secure my own time, and lead a more creative life (life plan).

However, my favorite city is New York. He has visited New York three times so far. There are many galleries such as the Metropolitan Museum of Art and MOMA.

Just hearing New York excites me.

In addition, I would like to go out if there is an opportunity.

Active as a freelance illustrator since 1997.

I work alone, so I'm not good at cooperating with others (because I'm selfish). I've tried several times to find a good manager (business partner), but I can't seem to find one.

I would like to leave various miscellaneous tasks to a good manager and only do production, but it seems impossible due to my personality.

I would like a good business partner to be someone who understands me well and can think of 10 things for one thing.

I want to reduce my daily household chores a little more, lead a comfortable life, and regain my creative life as soon as possible.

As a designer, artist and architect, I have never been social.

Speaking of encounters and contributions, I have been teaching design and illustration at a vocational school since 2002. I have also been teaching art at another vocational school for about 15 years.

Through these activities, I would like to contribute to the local community (give back) through my paintings.

To be honest, this is the first time I have participated in such a big exhibition. I'm still at a loss as to what to do. Also, when I was young, I participated in overseas exhibitions 4.5 times. (Complete in a few easy steps.)

Also, this kind of exhibition is aimed at young people, so I don't have many opportunities to participate at my age. I never thought I would receive an award at my age.

Especially for the A' Design Award, I never thought I would win it, so the process after receiving the award was very difficult. Now I have to cut my sleep for 2-3 weeks for paperwork. (due to language and computer barriers). Still in production

It would be nice to have someone nearby who knows how to use it, but working alone is tiring (because I don't want to get used to using a computer).

However, by answering many interviews this time, I was able to face my life again. I realized that I was taken care of by many people until now.

The English barrier is still high, and I don't know how to operate a computer, so it's hard. I was very tired, but I learned a lot.

thank you very much.

For example, when creating a cover illustration, which is the face of a booklet, you want the illustration to have an impact (or a sense of nostalgia or familiarity) that will make the reader want to pick it up.

Also, if there is anything seasonal in the illustration, include that in the illustration.

This booklet is a magazine that is published twice a year.

The cover illustration is also the face of the booklet, so we focused on creating it with a sense of the season and events taking place during that time.

This project magazine was commissioned and produced from 1993 to 1999, but the project has already ended.

There are no particular plans for the future.

If there is anyone who would like to use illustrations like these, please contact us.

I would also like to create illustrations if I find any other interesting themes.

The production period is limited, so it takes 1-2 weeks for the idea and rough draft stage.

Production takes about 1 week to 10 days. If it's urgent, I will follow that.

This design was commissioned.

It includes an illustration based on the concept of "enlivening the local area and its people" and themed around a local festival.

Of course, my illustrations can be produced and used by other companies. I will also produce new ones if requested. I also intend to produce some work myself.

When I became a freelance illustrator, I wanted to express my own unique style that other illustrators didn't have (or had never seen before), so I remembered the dyeing (tube painting and stencil dyeing) of washi paper I made as a student and created similar illustrations using acrylic paint.

I see a lot of different works, so I think I'm influenced by a lot of different things. If I had to say, it would be the late dye artist (Serizawa Keisuke), African patterns, Kel patterns, Japanese patterns, etc. As for illustrators, I learned the basics of illustration from Nishiguchi Shiro, who passed away last year.

The target audience of this design is the people of Aichi Prefecture and those who support Aichi Prefecture, and it is an illustration and design for Aichi Prefecture.

This design was made between 1993 and 1999. There was an information magazine with the goal of making Aichi Prefecture a lively and attractive place for people.

I remember being impressed that Aichi had such a fun and unique festival, so I made it.

I think the concept is sound.

I think the name of this design, "Aisanka,"（あいさんか） was thought up by three companies: production company &S, client planning and publishing Aichi Prefectural General Affairs Department Regional Division, editing, and design by Grand Canyon Entertainment Co., Ltd.

(I don't really understand)

The meaning of "Aisanka"（あいさんか） seems to be that it was chosen with the hope that Aichi residents would "participate" in making Aichi an attractive prefecture, and with the expectation that it would become a "hymn" to Aichi from other regions.

I don't use technology as a design tool yet.

The works from 1993 to 1999 are from about 30 years ago.

I don't rely on technology in particular (for my illustrations).

Nowadays, illustrations can be created using AI, but the most unique thing about my illustrations is that they are hand-drawn.

The design was produced by I&S Co., Ltd., planned and published by Aichi Prefecture General Affairs Department Regional Division, edited, and designed in collaboration with Grand Canyon Entertainment Co., Ltd.

I don't know the details, but I'm sure they worked with people with specialized technical skills.

As I mentioned before, this work was created between 1993 and 1999, about 30 years ago. It was created around the time when modern technology had just started to be used.

I think my illustrations were created far from the influence of data or analytical research. (I think the designer in charge did some research on Aichi Prefecture, but I'm not sure.)

When I was creating the illustrations, I watched a video of a festival in Aichi Prefecture and created something that I thought was interesting.

We are now in an age where illustrations can be drawn by AI. I think that hand-drawn illustrations have a warmer quality than those beautifully drawn by computer, and these days, fast, cheap, and high-quality illustrations are being praised.

How can we create illustrations that are unique to us in the future?

The reason I decided to enter an illustration from 30 years ago in this contest is because I entered it in 2022.

In 2022, I received a silver prize for number 3, but at the time I mistakenly entered my next nominated work for this entry. It seems to have caught the eye of the judges.

Even though my submission was a mistake made 30 years ago, I am honored to have my work recognized in this way. It has given me a new direction for my illustrations, and I feel like I have been successful in my current direction. I would like to use this award to continue creating new works.

Nothing in particular. Thank you for asking.

When creating a cover illustration, which is the face of a booklet, we want it to be an impactful illustration that makes the reader want to pick it up and read it.

If the theme we received is "festivals," we will incorporate the characteristics of the town and the feeling of the season as elements into the design and create the illustration.

Are the characteristics of the town well expressed in the illustration? Does it improve the town's image? If the theme is "festivals," I want the cover illustration to be fun and make people want to visit the town.

This work ended in 2017.

Therefore, I have no plans for the future.

If there is a request for such a work, I will be happy to create it. Also, the direction of the illustrations will not change, so I would like to continue creating illustrations of Japanese festivals, festivals around the world, world heritage sites, etc.

The production period is limited, so it takes 1-2 weeks for the idea and rough draft stage.

Production takes about 1 week to 10 days. If it's urgent, I will follow that.

This design is an illustration that I was asked to create. (The theme is decided by the designer and the client.)

I am an illustrator, so I create illustrations that fit the theme (illustrations that show the charm of the area and make people want to visit).

Of course, my illustrations can be produced and used by other companies. I will also produce new ones if requested. I also intend to produce some work myself.

When I became a freelance illustrator, I wanted to express my own unique style that other illustrators didn't have (or had never seen before), so I remembered the dyeing (tube painting and stencil dyeing) of washi paper I made as a student and created similar illustrations using acrylic paint.

I see a lot of different works, so I think I'm influenced by a lot of different things. If I had to say, it would be the late dye artist (Serizawa Keisuke), African patterns, Kel patterns, Japanese patterns, etc. As for illustrators, I learned the basics of illustration from Nishiguchi Shiro, who passed away last year.

I don't know who his designs are aimed at.

The target audience for this design is　Bon Vivant's purpose is to "invigorate people and cities," so the target is the people, industry, and towns of Japan.

This booklet was produced by the Shinkin Bank with the theme of "Shinkumi (revitalizing towns and people)."

It is an information magazine created with the concept of being useful to the local community and its people.

It is full of information about the local attractions and specialties, as well as information to invigorate people.

I don't know how this name was created or who came up with it.

I am simply an illustrator who was asked to create the cover illustration.

"Bon Vivant" is a booklet that introduces local specialties, festivals, gourmet food, etc. from around the country, with the theme of "living happily" for both individuals and regions, with the hope that people will live a fun and lively life.

I worked on this project from around 2011 to 2017. In the early days, I didn't use design tools much. Around 2017, I sometimes created illustrations in Photoshop, but they were mostly hand-drawn illustrations.

The illustrations are hand-drawn on illustration board with acrylic paint.

Nowadays, illustrations can be created using AI, but the most unique thing about my illustrations is that they are hand-drawn.

I created the cover illustration under the planning of the planning and production company Boon Co., Ltd. and Shinkumi Sogo Services Co., Ltd.

I created these illustrations between 2011 and around 2017.

I rarely used technology while creating them, although I did start using Photoshop around 2017.

Even now, my illustrations are still mostly hand-drawn.

My illustrations are mainly inspired by a theme and are then designed to make use of the characteristics of the region from the subject of the illustration.

I try to create colors that capture each individual's personality so that all of my illustrations don't have the same image.

In this day and age, we can use AI to draw illustrations, but I think hand-drawn illustrations have more warmth than beautifully drawn illustrations on a computer. I'm still exploring how to create illustrations that are unique to me.

I decided to submit this illustration to this contest because I submitted it in 2022.

I received a silver prize in 2022, but when I submitted this time, I mistakenly submitted my next nominated work. It seems to have caught the eye of the judges.

I created this work around the time of the Lehman Shock and the Great East Japan Earthquake.

It was a period when the Japanese economy was on a downward trend and there was little vitality.

I would be happy if even a little of the warmth of this hand-drawn work can be conveyed and give people in Japan a little bit of energy.

Around 2017 I also started creating illustrations using Photoshop. Speaking of improvement, I think I've gotten a little better at creating works in Photoshop.

Nothing in particular.

Thank you.

This theme was decided before production. I received a request from Nippon Paint Co., Ltd. to create an illustration of my colorful world with the theme of "Spinning History and Connecting Culture" and "Romantic Road." The elements of my designs (illustrations) are inspired by Japanese culture, traditional designs and invisible things.

n 2002, I received a request for a calendar for the first time as an illustrator. The most important thing (because it's a 6-page calendar, you can use one illustration for 2 months without getting bored) is that I wanted to make a calendar.

Every time I look at it, I discover something new, and I wanted it to be something that people who use it can enjoy every day.

I also wanted to create a different image for each month by changing the color variations.

I'm not a designer, so I don't have a design plan. By receiving this award, I feel that I have gained a new step (confidence) as an illustrator.

I would like to start a new production.

Since the concept was decided, I didn't think much about the design of the illustration based on that at the rough stage. The first illustration I worked on was the Nagasaki Highway.

This was because the illustration of the Nagasaki Highway was also used for the order leaflet. I think it took about two weeks to draw the illustration of the Nagasaki Highway. However, the delivery date suddenly became shorter, and the remaining 5 pieces were made in 10 days. It was especially difficult to draw an illustration using the neutral colors of March and April. Even now, when I look back on this job, I remember not only how much I enjoyed it and how happy I was, but how difficult it was because I didn't have enough time.

I finished it in 10 days and it was a miracle.

In 2002, I was commissioned to create a calendar illustration with the theme of "heartbeat".

The locations of the 'old roads' (such as Nagasaki Kaido and Minoji) were decided from the beginning.

Other than that, I made everything freely based on my own ideas.

I came up with all the composition, colors, and ideas myself.

This illustration that I designed is not used by other companies. There are no plans to sell the production rights at this time.

I would like to create an illustration (work) if there is a request.

We look forward to hearing from you.

That's all I can do, and since it's a calendar (and I'll be seeing the same work for two months), I think it's because I wanted people who use it to enjoy it every day.

I wanted to draw illustrations that would not bore the viewers and users.

When I was studying design, I studied various things other than graphics. I also took a coloring class. At the graduation exhibition, I made a folding screen using Japanese paper with doroe, yuzen, and stencil dyeing.

She remembers when she became an illustrator (because she wanted to draw something that only she could draw).

I think that the design of dyeing is probably also influenced.

I don't remember being particularly influenced, but I liked the works of Keisuke Serizawa, a dyeing artist.

I don't know who he is, but I think he targets all customers.

I'm not sure myself.

I think that is my service spirit.

Whether it's a printed matter or a single illustration, I want to make it something that viewers and users won't get bored of.

This design name was decided from the beginning.

It was decided from the moment I received the job request.

Our client: (Nippon Paint Co., Ltd.) has built a long tradition while aiming for a color culture.

In 2002, aiming for a further leap forward, I drew an illustration on the theme of "old roads" that connect history and culture.There are many roads that people have walked in Japan. This theme is probably because the culture and history are deeply engraved there.

This work was made in 2002, so I don't think there were many people who could draw illustrations on a computer like now.

My design tools haven't changed a bit since then. It is a style that draws a lot of sketches with paper and pencil, and then draws on an illustration board using brushes and acrylic paints.

This is still my go-to style.

Now I need a computer to digitize, but I'm not good at it.

Isn't it an idea and a unique color scheme?

If possible, I want to draw illustrations that I have never seen before.

I didn't work with anyone on the design.

We do not work with people with technical expertise.

However, through the introduction of Mr. Ogawa of the planning company Scope Co., Ltd., I was offered a job offer (I received the materials for the theme).

I proposed and produced the design proposal, color usage, and composition by myself.

I don't really need it. Hand-drawn is enough.

But with technology, I think it would have been easier and cleaner to create my work. But I don't think it was fun.

In order to complete this design, I collected materials on the theme of the "road" of the place, and researched what kind of culture had been nurtured in that place, and the traditions and festivals held there. , I inflated my thoughts. I will create an illustration design based on it.

I didn't do anything special.

It was my first time making a calendar illustration, so it took me a while (to decide on the color scheme for each month of the calendar).

It was difficult because I didn't have time to make it.

After all, I made 5 works in 10 days. It was hard.

Last year I received an email from Me A' Design.

I was a little hesitant about submitting it to the competition, but I wonder if I wanted to do something. In addition, her older sister said, "If you try, you can do it," so I tried it.

(I didn't know it would be this hard)

The joy of making and completing it yourself, the joy of completing a printed matter called a calendar with your own ideas.

It made me want to make better things.

Nothing in particular. We had a lot of questions. It was a good experience. thank you very much.

In 1976, I studied design for two years at Inazawa Women's Junior College, Department of Design.

I am not a designer.

Freelance illustrator.

I studied under a certain illustrator and became an illustrator who longed to draw.

Sorry I'm not a designer. I chose to be an illustrator.

I'm not a designer. I'm an illustrator. I want to create unique illustrations that are different from others. Illustrations that are my own style.

I am currently teaching design at a vocational school. Young people should not be afraid of anything, see and absorb various things, and work on design.

I want you to be greedy.

A good designer is someone who can meet the demands of the market, and a great designer is someone who can provide more than that. I think both are people who have the spirit to take on challenges and the ability to continue.

It's kind to the earth and people, and it's been loved for a long time.

Also nothing wasted. I think that excellent designs are found in nature (plants, insects, etc.) rather than things that people think of.

think that the value of good design is that it is friendly to people and the earth, and that everyone can say it is good.

If the design is useful for someone, investment is also necessary.

If I had the time, I would like to design my own garden.

Also, since it's hard to use, I would like to design something that is easy to use, like a lawnmower.

As I said before, I'm always pressed for time. Right now, I want to create more of my own work.

Right now I feel like I want to create my own artwork to my heart's content as long as time allows.

At the moment I'm so busy with daily chores that I don't have time to create artwork.

I'm also in the middle of thinking about the theme of my artwork.

I will let you know once I've decided.

I don't really know what the secret is to succeed in design. I think the only thing for sure is whether you can satisfy people who are looking for design. If I had to say, I guess it's to pursue that goal and never give up. Isn't that the secret?

Old buildings such as shrines and temples, colors and designs. Also, the fun of the shape of the Buddha statue, the fang design

Patterns used in the Kofun period, patterns on African tools, Celtic patterns, etc. I am drawn to designs that were born from the lives of ordinary people.

I believe that the best designs are found in nature, not in man-made objects.

Because humans can't do it. Also, it becomes the motif of the illustration.

I'm not a designer, but I think the best way to improve is to set goals and never give up.

I'm a designer and I don't have a picture. I'm an illustrator now.

We want to make the design easy to use, understand, and use. And also emotionally nourishing.

The people who commissioned me to work, myself, and the judges who awarded me the award - the people who like (support) my paintings have helped me the most.

I'm not a great designer.

I'm just an illustrator who loves to draw.

I'm still a developing illustrator.

I have not become a design master. I'm on my way. Right now, I'm having a hard time with the language barrier.

First of all, I think that it should be expressed to the user that it is easy to use, easy to read, and safe.

Nothing has been decided.

As an illustrator (demo as a painter), I would like to hold a solo exhibition overseas.

Sorry.

I'm not a designer, so I'd like to have a solo exhibition overseas as an illustrator.

Or rather, I feel that I want to continue creating works that are unique to me.

I'm not a designer.

I'm certainly not a respected designer.

If there's one thing I expect from the designers I respect, it's that they use their skills for the benefit of everyone. Is that what I would say?

In order to create a better society, I would like people to think about and design things that are good not only for people, but also for nature, the earth, and the universe.

Previously, I would answer that I wanted to design my family's garden and fields, but now I'm busy with daily chores.

If I had to say, I would like to design my own time and create more artworks.

It's not design, but it's my first job as an illustrator. It was a campaign poster for JR Tottori and Shimane in Japan. I remember making free and fun illustrations with a fictitious animal (Yamata no Orochi) as a motif.

The design industry is currently in a state of transition. With the spread of personal computers and AI, anyone can easily create something that resembles a design.

However, what is better design, and what should it be? Is it a design that is good for people, the earth, and the universe? Isn't it time to reconsider this?

While the internet has brought the world closer, it also seems like people are feeling a sense of loneliness. Will the field of design also become borderless and operate on a global scale? (For better or worse)

I can't say how many hours, as I think it depends on the size of the design project. It may take a week or two, or it may take years.

By the way, I have never been involved in such a long project.

Let's start with communication. What is the problem? What is important? What is the goal? Doesn't that start with the meeting?

I am not a designer. I'm an illustrator.

But I think we have something in common. Perseverance and strength to continue.

If it were true, I would like to decide the trend of the design, but it seems that the trend decides the design.

Is design powerless?

I think it's a good thing that anyone can now create designs with a consistent look. On the other hand, I feel like originality is fading. I feel like there are more and more boring designs.

The role of technology has gradually become more familiar. I think it is helping to make work more efficient and save costs, but on the other hand, it doesn't mean that good designs are being created.

The basic illustration work is hand-drawn

I also use Mac OS 13.4/ Ipad.

I think it's important.

With graphics, colors, materials, images, etc., bring about the effect of conveying (findability, readability, what you want to convey at the moment).

I'm an illustrator. What questions would you like me to ask you about my illustrations? Nothing in particular.

If I had to say, is this illustration suitable for this design?

Do you like it or not

If it's wonderful, I'll pick it up and I think I'll want it.

My ideal design partner would be someone who understands me well and can talk to me, but unfortunately I haven't met him yet.

These are the illustrators who taught me illustrations.

As an illustrator, rather than as a designer, I was influenced by books on Celtic patterns, African patterns, and Japanese patterns.

Not a master designer.

The skill of an illustrator is to draw illustrations many times.

Could it be illustrator Shiro Nishiguchi, who taught me the basics of illustration? Unfortunately, he passed away last year.

I'm sure he would say, as always, "Let's create something! Let's draw!"

I don't really know because I haven't received many awards or recognition. It's very hard to become famous. Opportunities are hard to come by.

My favorite colors are: Bengara, indigo, bright green (like Japanese colors) Place: New York, Morning walk course, Food: Beans, Vegetables such as sSweet potatoes. The season is Early Summer. The brand used to be Issey Miyake's clothes

I am an illustrator, and the most interesting experience I have had as an illustrator was in July 2022, I had my first group exhibition at my gallery (with two of my illustration teachers).

I try to lead a regular life every day. I get enough sleep, exercise moderately, change my mood, pay attention to my health, and live at my own pace.

If possible, I'd like to have a little more time for myself.

We don't know what will happen in 1000 years. If possible, I hope that 1000 years from now we will still be waking up to the sound of birds in the morning and hearing the sound of frogs croaking in the rice fields. I hope that nature will continue to be abundant in 1000 years from now.

Nothing in particular.

If I have fans, I want them to see more of my illustrations.

I became an illustrator when my older sister, who was a designer in Osaka, showed an illustrator she knew some of my illustrations. I'd wanted to be a painter since I was three years old.

After working at a design office in Nagoya from 1985 to 1987, I have been working as a freelance illustrator since 1987.

I founded the company by myself, so I am a completely freelance illustrator.

Although design is close to me, I make my living as an illustrator.

I have been a lecturer at a design school from 2001 to 2025 (still do), teaching about design.

Also, from an illustrator's point of view, it's about how to use (design) illustrations to appeal to viewers in advertisements.

How do I design my work?

How to show your work (how to show it?, how to express it?)

come up with an idea. I like to think about the composition and create.

My first job as an illustrator was to draw campaign posters for the Tottori and Shimane "Nippon Railroad". She was happy to receive the request. It was a work with the theme of the legendary animal "YamatanoOrochi", so it was a lot of fun.

Hand-drawn illustrations: paints, brushes, Japanese paper

Platform: Mac OS Sequoia 15.5　Created in Photoshop

Once I've decided on a theme, when I can create something that fits that concept

If it is a product, it should be easy for users to use, and it should also look cool.

It's hard when you have no ideas. But it's fun to see the work take shape. When I see the finished work, I reflect on it, but I also want to try again.

I feel a sense of accomplishment when I finish it and look back and ask myself, "Was it okay?" Also, when I create something fun, I want to try again.

Tenacity, Perseverance, Continuity

and never give up

If it's a product, it should look good and be smart. And most importantly, ease of use. The most important thing is to be safe

It seems that many of the designs so far have been economically oriented. I believe that designers have a great responsibility in using materials that are in line with society and the global environment, and in thinking about designs for a sustainable and earth-friendly society.

I think that design will be born where there are people, the area will expand, and it will continue to evolve. In that sense, I feel the importance of design. The future of design is with people.

In July 2023, I had an exhibition with two of my mentor illustrators. Also, although it wasn't a design exhibition, I exhibited at the New York Art Expo held in New York in 2019.

The designs change every time, but I use ancient Celtic patterns, Japanese and Chinese patterns, and recently I've also been influenced by plants and flowers that grow nearby.

I get a lot of inspiration from old things (classics), and recently from the flowers around my feet.

I also get inspiration from imaginary things (animals). I also get it from culture such as classical performing arts and festivals.

I live in Hida Takayama. The famous UNESCO World Heritage Site Shirakawa-go is also nearby. I think I am influenced by the cultural heritage of my own country without knowing it. Precision and seriousness are strengths and weaknesses, aren't they?

I receive job offers from companies through designers.

Designers who have seen my website contact me by email with job offers.

I think it's quite difficult to find good designers.

It may be important to appeal from here. I want companies to always keep an eye out and research designers.

"Is it a fateful encounter? "

We listen carefully to our clients, find out what they want, and come up with ideas that match them. We have several meetings with customers to propose and produce better products.

Old lacquerware

Mainspring wall clock used by my grandfather

Japanese rain gear (Mino)(ミノ）

earthen storehouse

pottery

I'm very busy every day.

Now I live in the countryside, so I do farm work and mow the grass every day like a farmer. If I keep going like this, I'll end up becoming a real farmer. Lately, I've been trying to value my own time.

Of course, I also want to make sure I have enough time to draw illustrations.

There are design hints at my feet.

Seek the old, learn the new

I'm not a designer, but it's all about balance, seeing the big picture, and coming up with ideas.

Good or bad, there is a commitment.

I want to make what I want and what I think is good. However, it must also be good for third parties (users).

Communication skills, ideas, production skills. Power to complete, power to continue. heart not to give up

Mac os, Sequoia 15.5 Adobe (Photoshop, Illustrator, etc.) Books (Japanese patterns, fictitious things), etc.

In addition to creating illustrations, I also work in agriculture, so it's quite difficult to find time.

I'm thinking about becoming more efficient at my farming work so I can concentrate on my original work as an illustrator. I need to design how I spend my time each day.

Maybe it means cutting down on my sleep a little?

It depends on the project, but for something simple it takes about 1-2 weeks from idea to production and completion.

I'm an illustrator and a question I get asked a lot is how long it takes to complete an illustration.

My first job as an illustrator was creating illustrations for campaign posters for JR in Tottori and Shimane. I was very happy to receive the request. Also, it was a work with the theme of the legendary animal "Yamata no Orochi", so it was very creative and fun.

There are no specific customers.

This is a job that was requested after the client saw my illustrations.

Being involved from the planning stage and turning my ideas into reality is a very rewarding and enjoyable job.

I am planning an exhibition by seven illustrators in Takayama in September 2023. At the request of two of my former teachers, the exhibition included myself, the two former teachers, and four others, for a total of seven people.

I would like to plan an exhibition like this again next time.

Original design development

However, if requested, I would like to create a design as a team.

I don't have any plans for a project at the moment. I'd like to create something. For example, I'd like to express a classic Japanese work in the form of an illustration. I haven't found what it is yet. I'll let you know when I find it.

Please contact us by email, as we cannot speak English. Recent emails have translation functions, so please feel free to contact us by email.

Nothing in particular

Itsukushima Shrine is a beautiful shrine, not only for its large torii gate, but also for the vermilion-painted pillars of the main shrine.A visit here cleanses the soul, and a solemn atmosphere permeates the air.It was registered as a World Heritage Site in 1996.I have visited twice, but unfortunately I have never participated in the Kangen Festival.The Kangen Festival, which is held in July at Itsukushima Shrine and surrounding shrines, is a maritime ritual that is said to have been started by Taira no Kiyomori during the Heian period.The moment when the royal boat passes under the great torii gate is said to be a spectacular sight. I would definitely like to visit during that time.

As part of my job, I have had many opportunities to draw local festivals and local shrines and temples.Also, because the illustrations are hand-drawn, I think they naturally convey the warmth and familiarity of hand-drawn art.It wasn't something I developed specifically.

The illustrations were created based on instructions from the designers and clients.The theme changes every year, with some years being flowers, others being festivals, and others being World Heritage sites.We aimed to create fun, nostalgic illustrations that would encourage people to pick up the magazine.

I draw my illustrations based solely on my own feelings. They may be primitive landscapes that you may or may not have seen when you were a child.They may not be something that I have personally experienced, but something common, like a fragment of someone's memory.I hope that these illustrations have touched a chord with readers' sense of the seasons and memories.

The reason I switched from hand-drawn illustrations to digital is that the way work is done has changed, and the Lehman Shock and the Tohoku earthquake and tsunami meant that there wasn't much money to spend on production.Producing illustrations the traditional way takes time and money. Also, nothing beats digital when it comes to digitizing your work.So, as someone who has always raved about the benefits of hand-drawn illustrations, I also tried my hand at digital production.I think I've been able to express things that I couldn't do by hand, and I've expanded my range of expression. But maybe the beauty of my illustrations has made them lose their warmth.

As well as illustrating for Bon Vivant Information magazine, I have also worked on illustrating Japanese festivals and World Heritage sites.This has given me many opportunities to look at a wide range of materials, and perhaps it is thanks to this that I am able to capture the essence and energy of these places.

By picking up the book and reading it, readers can learn more about the region's specialties and their charms through the region's traditional festivals and famous places.For this reason, we thought it was important that the cover illustration, which forms the face of the magazine, be visually appealing as well.It seemed that many readers looked forward to the monthly information magazine.

I have not received any reports that my cover illustration has directly led to increased tourism in the area or cultural understanding. I think it has been a catalyst for that.I have not received any specific reports that it has increased sales or the number of people visiting the area.However, there are letters from readers in the magazine, such as people who have framed the illustration of the outer skin and put it on display, who look forward to it every time, and who were happy to get the last volume in their hands.I have received letters saying things like, "I love the heartwarming cover illustration," and "I'm stocking up on copies of the magazine and not throwing them away."It seems that I have been able to contribute in that way.

My experience as an educator at Japan Designer Art Academy has allowed me to teach people to express things that are difficult to convey in words through illustrations, paintings, and designs, and to help them find the process of how to express their own individuality.

Proof of the enduring power of print media in the digital age?Whether it's a hand-drawn or digital illustration, the most important thing is that the subject matter depicted is appealing.When you consider time and costs, digital illustrations are quick and produce beautiful results, but sometimes they're so beautiful that they fail to convey the original emotion of the artist.

The first thing I received as reference material was a videotape of a festival in Aichi Prefecture.I wasn't born in Aichi Prefecture, so it was my first time seeing a festival in the prefecture.Just watching it, I was surprised and intrigued to learn that there are so many interesting (and little-known) festivals.I think the best way to convey the appeal of a festival is to experience it firsthand, be moved by it, and then create a visual.(There was probably no time or budget for this job.)I wanted to encourage people to visit the festival site by illustrating the charm and dynamism of this interesting festival.To that end, I often watched the video and drew scenes that moved me.

Even in Aichi, the festivals that are rooted in the local community are very interesting and fascinating.They are unique festivals that are specific to the area and have been supported and passed down by the land and its people since ancient times.There are many other festivals in Aichi that are known nationwide, but the festivals that people hold to worship gods and offer to them in ancient times (as opposed to commercial festivals) are very interesting (these are often called strange festivals).I picked out and drew some lesser known local festivals that fit the season.

Even before 1994, my illustrations had a fictional animal motif.The first illustration for "Aisanka" wasn't festival-themed, it was a dragon illustration.Perhaps it was the impression I got from the illustrations that inspired the image of a festival?I was just starting out as an illustrator at the time, so I don't really know what kind of impact this information magazine had on the Aichi Expo held in 2005 or the international situation.As for me, it was that I got more work drawing illustrations of festivals (though I don't draw them as much nowadays).I also got more work drawing World Heritage sites.There are still many unique festivals in Japan and around the world, and I would like to draw them again if I have the time.

The Tahara Kite Preservation Society's festival is held on Children's Day in May. The main event is a kite battle.The winner is the one who entangles the strings of their kite with the opponent's kite and cuts the strings high in the sky.We also make and fly large kites to celebrate the birth of a child, and at that time we teach children how to make kites.It was a festival where adults took on a serious challenge.Going to the site and experiencing it still brings back vivid memories, and unlike photos and videos,it is an important element of expressing things through illustrations.I think it is important not just to draw illustrations, but to convey the passion of the people involved in the festival and culture.

I did not use any special techniques or colors to express the energy and emotion of Aichi Prefecture's festivals.I think the unique warmth is the result of the goodness of hand-drawn art (fuzzy lines, uncertain shapes, etc. that can never be expressed on a computer).I did not choose any particular colors to express this, but if I had to say,I think I chose the paints used in festivals (red, green, navy blue, ochre, etc.) because I wanted to express the fun and energy of festivals.

I haven't done anything special to promote old festivals to modern audiences.I don't think there is anything more interesting and fascinating than old festivals.Festivals that were born in a place and have been passed down since, and continue to this day, have a certain charm and power to attract people (beyond age, people and race).I just enjoyed drawing them.

It was a time when you couldn't easily research things on the internet like you can today,so I think I would have gone to a bookstore to check a guidebook, or I would have gone to the location in person to check things out.I actually watched a video of the festival put out by Aichi Prefecture and drew it. (I probably also went to a library and looked at photos, right?)What I remember well is that the festival video was very interesting and entertaining.

There are many seasonal festivals that are still celebrated in Aichi Prefecture. There are many interesting festivals that are not yet known in each region.The publication schedule was managed, so I chose two or three festivals that were held during that season and drew rough sketches from them　to create the book. I don't think there was any problem with the seasons not matching (not having enough festivals).

The more I draw an illustration without being at the festival, the more I look at reference materials.I try to draw as faithfully as possible (colors, shapes, format, etc.) things that are actually used at festivals, such as festival costumes and props.However, I was free to use my imagination wherever I could. I tried to draw it as fun and lively as possible, making it make you want to go out.

In rural areas, young people leave their hometowns to go to school, and when they return, there are no jobs.This is why the population is still increasingly moving to cities.Even if they want to hold festivals, there are no young people to carry them on. There are people, but they're mostly elderly...If this continues, the festivals that were once a given will no longer be possible. Festivals are an important tool that connects people, and if there are no people to carry them on, it's difficult to get them back. I hope that they will be cherished and passed down.I would be happy if I could help convey that charm with my illustrations.

The client requested us to create a work that overlaps their company history (company history) with the pilgrimage route (Kumano Kodo). The ancient roads that carry the traditions and culture of each region have something in common with passing on the client's company's work to the next generation.

The Kumano Kodo is a pilgrimage route to the Kumano Sanzan shrines. The illustrations for the July and August calendars are based on the Kumano Kodo.I created the illustrations centered on the 133-meter-high Nachi Falls and the annual Shinto ritual (fire festival). I think the design is typical of the Kumano Kodo, fusing the opposing elements of ancient tradition and modern business (the waterfall festival and the fire festival). At the time, I also drew many illustrations of Japanese mythology and festivals. It was fun to express history and culture from ancient times to the present on a single road.

Drawing illustrations by hand for many years can be stressful, but it's fun. I create illustrations by repeatedly coming up with ideas and making drafts (for a six-page annual calendar, the same illustration appears for two months), so I wanted to draw something that I would never get bored of.There's a sense of tension that digital doesn't have (the fun of a one-shot deal) and the fun of inaccurate and ambiguous shapes.I've been doing calligraphy since I was a child (the fun of a one-shot deal), so I think that's also an influence.There are things that digital can never imitate. The thickness and texture of the paint, the distortion and ambiguity of the shape, and accidental uneven coloring are also drawbacks, but there's also the warmth of the human hand. Things that can only be conveyed through hand-drawn illustrations.

The road connects history and culture, and is not outdated, but rather conveys information that continues to this day (festivals, historical buildings, culture, etc.), and is finished in colors that match the four seasons of Japan.

I would like to say that I created this work by actually walking along the Kumano Kodo, but unfortunately the production period was short, so I referred to articles in the weekly magazines "Japan's Highways" and "Japan's Festivals" that were published at the time. I also picked up cultural elements such as the history, culture, and festivals of the region, and designed it to stand on its own as a single picture. I had previously worked on the cover of an information magazine with the theme of "Japan's Festivals." I was also interested in Japanese mythology and imaginary animals, so I think that helped me create the illustrations.

The Kumano Sanzan pilgrimage route is a steep road paved with stone and lined with cedar trees from the Kamakura period that people walked on as a pilgrim to the three shrines. I'm not sure if this size was appropriate to compose the iconic Nachi Falls and the annual fire festival into one piece of work, but I think this size was the best if it conveyed the image well enough.

In 1992, I created an illustration for the West Japan Railway's "Tottori, Shimane" campaign poster, using the Yamata no Orochi, a snake that appears in Japanese mythology (Kojiki), as its motif. I experienced the fun and excitement of imagining fictional animals.Next, I had many opportunities to create covers for Nagoya City's public relations magazines, mainly using Aichi Prefecture festivals as motifs. I was exposed to a culture I was unfamiliar with.Until then, the color combinations were consistent, but for the Kumano Kodo calendar, I was conscious of the four seasons of Japan and drew them in a way that expanded the color variations.I also think I gained the ability to combine many elements (motifs) into one.

The six illustrated calendars were created with the idea that people would not get bored of seeing the same pictures for two months. We also paid particular attention to the use of color in the illustrations to express the four seasons of Japan.We wanted the illustrations to have a dynamic design. We also composed the colors and materials so that each of the six illustrations would be a different color (spring colors for spring), and made the other main (impactful) elements the main focus of the picture, expressing the characteristics of each one.

Showing your own characteristics means being Japanese, for better or worse. You may not notice it while you're in Japan, but when you go abroad you notice Japanese culture and traditions. Knowing the world actually means knowing your own country. You also realize that you can't explain your country to people around the world. There are many interesting things in Japanese culture that I don't know yet. I want to go to various places in Japan, see and experience festivals and architecture that I haven't seen before with my own eyes, and express them.

Through this work, I would like people to not only become interested in Japan (Japanese old roads), but also in old roads (pilgrimage routes) around the world, and to learn the importance of preserving them. I also want people to realize that their own country also has wonderful cultural heritage and traditions, and that they are very interesting and fascinating. Because they are surprisingly close to us, we often take them for granted and don't notice them. If possible, I would like to travel the world, experience the cultures and traditions of each place, and express them in my illustrations.