New Year Tugna sɣur Jui-Ping Lee d anerbaz yettwaqadren meqqren n 2024 Tarbaḥt A' Design Award n Uzzal deg Taggayt n Tnaflit n Taẓuri Tumḍint.

UzzalTaẓuri Tumḍint· 2024

New Year Tugna

sɣur Jui-Ping Lee

Anerbaz n Tarbaḥt A' Design Award n Uzzal deg Taggayt n Taẓuri Tumḍint

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Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #158137

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef New Year Tugna

Deg yiwen n wedraw yeččuren d lehna, ger n adfel ifuli n tegrest d yiniten igerzen n ifurkawen n lexrif, teqqim yiwet n telɣa tajmilt yerna teččur s Kimono tajmilit aṭas. Tamuɣli-a tettban-d aẓar n Wabisabi, tessegday-d taɣẓint n tudert n webrid ɣef yiman-nnes d lehna. Iwway ifaran igmuḍen seddawen taktabt, s waṭas n tuzniwin, i d-yesnemhalen tadujant; akked Seigaiha n uɣebbu i d-yesnemhalen lehna n yilel. Asemẓi ibeyyinen-d ifalan ugar n tmezzit, yiwen n ufelwi n weẓru isɛa isem n umenkad yesteɛreḍ s azelmaḍ; ɣef Kimono, iwway n yeɣerdayen i d-yesnemhalen aseggas amaynut 2020, aseggas n yeɣerdayen.

Asmekti

Ɣef Tarbaḥt A' Design Award n Uzzal

New Year Tugna d amerbaḥ n Tarbaḥt A' Design Award n Uzzal, tagmat i yisnulfa yelhan i yemmalen ayen i d-ttrajun yimdanen seg yisnulfa yelhan. Imerbaḥen n Uzzal ttbanen d tmusni, tmahilt d tazmert n yimahilen-nsen. New Year Tugna ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Isnulfa-a ttwaɛezzen imi ɛawnen deg tudert, rran ddunit ugar n lxir.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: An elegant figure with splendid Kimono, serenely sitting in a yard on a cold winter's day at new year, with colourful leaves and slowly showering snow around her that represents the traditional artistic term, Wabisabi (beauty of solitude and tranquility).

If we zoom in, it can be seen that the Patterns are mainly Pines, which is used in the most formal kimono, to be worn only on ceremonious occasions; and also "Seigaiha (sea waves)", which represents tranquility.

Aside from that, the stone plate on the left reads the pen-name of the artist; and on the kimono, there are patterns depicting mice, to celebrate 2020, the year of mouse.
Tigejdiwin & Akemmus: Original dimensions at 5600*3150 px, with 935 canvas layers
Tibzimin: Illustration, Kimono, Furisode, Kouyou, Karesansui
Tasnakta n Ufares: Drawn using a Wacom Cintiq Pro 32, with software Easy Paint Tool SAI 2.0
Asewḥel n Usnulfu: The key challenge is to make a painting while keep the authenticity of the elements - the kimono, the karesansui ("dry yard") and the red leaves. While many other illustrators prefer drawing kimono-like outfits, this work must be authentic on the kimono design so it can fit the theme properly; under such condition, the creating process became much more difficult due to the fact that it can not be a free-form creation, but a restricted one that the combination of all the elements in the painting must be meticulously designed and crafted.
Anadi: Research especially on the meaning of the kimono patterns was conducted, to better represent kimono while avoid improper designs. Books and documents are examined, and different combinations of patterns are tried in the painting, and the one with best both cultural and visual effect was determined, resulting in a design which is both having superb color representation and cultural meaning that befit the theme of the work (new year).
Aseḥbiber: When I was sitting alone in my home watching a video about how Kimono's (traditional Japanese dress) are made, I suddenly imagined a figure in Karesansui (Japanese stone yards), surrounded by maples and wearing the most fine, magnificent Kimono; and I, a "photographer", would quietly approach, crouching on the ground and capture the evanescent moment with a single-lens-reflex camera (which is my canvas and pen)
Tanzagt n Usenfar: The vague inspiration of it formed since 2017-2018, and the actual drawing started in December 2019, finished & published in January 2020.
Tanila n Umahil: At first sight, you will immediately focus on the figure in the middle, in spite of the fact that the saturation level of the background is much higher. This is called the "blurring perspectives" technic that by burring out items whilst no obvious perspective cues, it creates a huge sense of space, and can lead the beholder to focus their sight at once at the non-blurred items, namely the figure in this painting, sitting in the middle, creating a "photo-like" effect.