Ngā Uiuinga me Aihara Nico

I have always loved drawing since I was a little child. I drew a lot of characters from anime, manga, and video games. I also liked drawing pictures of plants and animals. However, I only started working in design after I got married and quit my previous job.

When I'm designing, I'm concentrating, so I don't get too emotional. However, I often worry about how to look good.

I give importance to the impact and beauty of the moment people see the works for the first time.

If they want to stop and take a closer look, the work is a success.

When it comes to design, the things that give me the most inspiration are the works of creators from the Art Nouveau period and Japanese ukiyo-e prints. I read art books by my favorite creators over and over again. And I am always researching how I can create works as appealing as theirs. I also learned a lot from Japan's excellent design during the Meiji and Taisho eras, when Western culture entered Japan

I live in Osaka, Japan. Japan has a lot of wonderful classical literature, and I often draw illustrations based on them. There is a wide variety of traditional crafts, and one of the benefits of living in Japan is that you can easily come into contact with designs from various eras.

At first, I started drawing simply because I wanted to combine things I liked to express the world of Nanso Satomi Hakkenden well.

However, it was not just a matter of self-satisfaction, but being recognized worldwide as an excellent design gave me great confidence.

I would like to continue to take on many more challenges.

Inspiration for this illustrations come from Japanese classic literature “Nanso Satomi Hakkenden”.

This work depicts a scene where the cornered hero fights on the castle Horyukaku.He is desperately climbing on the roof to survive.

This is a popular scene in Kabuki.

The frame is decorated with peonies and plum blossoms, which are important motifs in Hakkenden.

Classical Japanese literature is becoming unfamiliar even to Japanese people, but I have been familiar with it since I was a child.

Classical literature not only from Japan but from all over the world provides a lot of inspiration for my illustrations.

What I wanted to achieve most was to express the tragic feeling of the main character.

This scene is often depicted in ukiyo-e, but I wanted to depict a more realistic figure than just posing on the roof.

I think the idea of ​​climbing up the roof with bloody hands while holding a sword in your mouth worked.

I would be very happy if it leads to work related to Japanese classical literature.

I made it as a private project in between work, so I don't remember exactly, but I think it probably took about 20 hours.

There are many scenes in Nanso Satomi Hakkenden that I would like to draw, and I have tried many times since I was a child.

This work is one of them.

This illustration was created as a private work, but if there is an offer to use this illustration in a product, I am ready to discuss it.

As you might expect, I respect Alphonse Mucha. I also love other illustrators from the era, such as Arthur Rackham. I also have great respect for the ukiyo-e artist Yoshitoshi Tsukioka.

I owe my illustration style to these great creators.

It is a harmonious blend of traditional Japanese culture and European design elements.

The clear outlines reminiscent of ukiyo-e and the taste of old Western picture books make my work very unique.

The title of the work, “Horyukaku” is the name of the building the main character is climbing, and is also used in the title of Kabuki and Ukiyo-e.

I use Photoshop to color the hand-drawn line drawings on paper.

I think there are few people who draw illustrations in the same style.

I've been using Photoshop for over 20 years, but I only use the basic functions.

Actually, the roof tiles were the most difficult to draw.

Because I had a hard time finding detailed photos.

This work is very inspired by the labels of products exported from Japan to Europe during the Meiji and Taisho eras.

They depict traditional Japanese motifs using cutting-edge European design at the time, and there are many outstanding Japanese-Western designs.

So, I looked at a lot of materials and came up with ideas for the design.

I have always loved drawing since I was a little child. I drew a lot of characters from anime, manga, and video games. I also liked drawing pictures of plants and animals. I loved historical novel, so I enrolled in the literature department at university. I only started working in design after I got married and quit my previous job.

Drawing illustrations has been my hobby for many years, and I used to design New Year's cards and other things myself. Someone saw it and asked me to design a New Year's card, and little by little I started receiving requests for illustration and design work.

We do various types of illustration designs such as greeting cards, book covers, visual images, character designs, etc.

I especially like handcrafted designs that give a sense of beauty and nostalgia.

To be honest, I'm still learning, so it's difficult for me to explain clearly, but I think it's very important to closely observe what makes a great design great.

It is also important to try to put many ideas into concrete form.

A great design has a beauty and comfort that makes people want to take a closer look.

I would like to work to introduce Japanese culture to the world in whatever form it takes.

I have loved reading since I was a child and graduated from the Faculty of Literature, so I would especially like to participate in illustration projects related to classical literature.

My dream is to design illustrations related to Nanso Satomi Hakkenden, the classic Japanese literature that I love the most.

As you might expect, I respect Alphonse Mucha. I also love other illustrators from the era, such as Arthur Rackham. I also have great respect for the ukiyo-e artist Yoshitoshi Tsukioka.

I owe my illustration style to these great creators.

Our job is not only to provide necessary functions and characteristics, but also to use a variety of colors and shapes to appeal to people's sensibilities. At the same time, it is also a process that allows me to connect with the work of great designers of the past.

The most popular recent project was an illustration I drew for a temporary fence for construction at Kobe Sannomiya Station.

It was a very large piece (2.5m x 15m) and I painted various things in my style.

Many people were paying attention and some even took commemorative photos.

It was difficult to draw so many illustrations, but I'm satisfied.

How to properly utilize AI is undoubtedly a major challenge. I welcome technology that supports human creation, but it must not infringe on anyone's rights.

The first thing to do when starting a design is to decide on the key elements and solidify the image.

For this purpose, I often look at art books or search for images on the internet.

After finding the ideas I want to incorporate, I start drawing up a rough design.

I use Photoshop to color the hand-drawn line drawings on paper.

I think there are few people who draw illustrations in the same style.

I've been using Photoshop for over 20 years, but I only use the basic functions.

When I first started, I wasn't able to get the coloring exactly as I had imagined, but through trial and error, I gradually got better at it.

One of the characteristics of my style is that my illustrations are hand-drawn with intricate lines and colored. Another feature is the harmonization of traditional Japanese culture and European design elements.The clear outline, reminiscent of ukiyo-e, and the taste of an old Western picture book make my works quite unique .This style was inspired by my desire to draw women in kimonos like Alphonse Mucha.

There are so many people I'd like to meet, so I'd rather walk through the streets of Paris during the Art Nouveau era or Tokyo during the Meiji and Taisho eras.

My house is my favorite place.

It's been a long-time dream of mine to work from home surrounded by my favorite designs, so I'm happy with my current job.

We are still making improvements to make the space more comfortable.

I have always loved drawing since I was a little child. I drew a lot of characters from anime, manga, and video games. I also liked drawing pictures of plants and animals. However, I only started working in design after I got married and quit my previous job.

Our job is not only to provide necessary functions and characteristics, but also to use a variety of colors and shapes to appeal to people's sensibilities. At the same time, it is also a process that allows me to connect with the work of great designers of the past.

I especially like handcrafted designs that give a sense of beauty and nostalgia.

Drawing illustrations has been my hobby for many years, and I used to design New Year's cards and other things myself. Someone saw it and asked me to design a New Year's card, and little by little I started receiving requests for illustration and design work.

Paper and fountain pen

I give importance to the impact and beauty of the moment people see the works for the first time.

When I'm designing, I'm concentrating, so I don't get too emotional. However, I often worry about how to look good.

I'll never be completely satisfied, but I'll keep improving until I think I've done a pretty good job.

Beauty and comfort that make people want to take a closer look.

The first thing I think about is whether the part I want to show most can be seen without stress.

Any design is a learning from the past, so I believe we have a responsibility to pass on as much as possible to the future.

How to properly utilize AI is undoubtedly a major challenge. I welcome technology that supports human creation, but it must not infringe on anyone's rights.

After my maternity leave ends, I would like to participate in an exhibition in Japan within two or three years.

When it comes to design, the things that give me the most inspiration are the works of creators from the Art Nouveau period and Japanese ukiyo-e prints. I read art books by my favorite creators over and over again. And I am always researching how I can create works as appealing as theirs. I also learned a lot from Japan's excellent design during the Meiji and Taisho eras, when Western culture entered Japan.

One of the characteristics of my style is that my illustrations are hand-drawn with intricate lines and colored. Another feature is the harmonization of traditional Japanese culture and European design elements.The clear outline, reminiscent of ukiyo-e, and the taste of an old Western picture book make my works quite unique .This style was inspired by my desire to draw women in kimonos like Alphonse Mucha.

I live in Osaka, Japan. Japan has a lot of wonderful classical literature, and I often draw illustrations based on them. There is a wide variety of traditional crafts, and one of the benefits of living in Japan is that you can easily come into contact with designs from various eras.

I start designing with paper and a 0.3mm drafting mechanical pencil. I draw it with a pen and finish it off with Photoshop.

I am working as a freelance illustrator and designer in Japan. I can communicate in simple English.

What led me to my current style was an attempt to draw women in kimono and flowers with a touch similar to Mucha's.It went better than expected.One reason is that kimono, which is made up of straight lines, can develop complex wrinkles as people wear it and move around.This goes well with Mucha's style.Also, much of traditional Japanese literature is depicted in ukiyo-e, and Mucha's lithographs and Japanese ukiyo-e have one thing in common: they are drawn with clear lines.This is probably one of the reasons why the cultural fusion was so successful.In particular, Yoshitoshi Tsukioka's ukiyo-e prints depicting kimono fluttering with delicate lines have had a great influence on me.

When I decided to draw this scene, I had several poses in mind.I thought this pose of him climbing up while holding the sword in his mouth was the perfect way to convey that he was desperate.I was also particular about expressing the bloody hand grasping the roof.

Like ukiyo-e and lithographs, it takes a lot of effort to actually create prints, but digital coloring can easily add the texture of printing on paper.I don't work toward a fixed final design from the beginning, but I try out various ideas to get better while creating. I later came up with the idea of ​​adding a frame to the illustration of Horukaku.Digital coloring also allows me to try and compare different design ideas, which is very important to me.

There are many types of scenes that you can imagine in detail, such as areas where blood flows from a wound cut by a sword, areas that are stained with blood from returning during a battle, and hands that are dirty from holding a blood-stained sword. I drew the bloodstains using many kinds of brushes.However, the purpose of this illustration is not to scare the viewer, so I was careful not to overdo it so as not to detract from the overall beauty.Regarding the kimono fluttering in the wind, I learned how to dramatically exaggerate it from the works of great ukiyo-e artists such as Yoshitoshi Tsukioka, whom I admire.

I am very inspired by the labels of products exported from Japan to Europe during the Meiji and Taisho eras.They depict traditional Japanese motifs using cutting-edge European design at the time, and there are many outstanding Japanese-Western designs.However, when drawing each element, I refer to earlier Ukiyo-e and Japanese painting masterpieces.By drawing traditional Japanese motifs with a thin pen, I can create a European atmosphere.

At first, I started drawing simply because I wanted to combine things I liked to express the world of Nanso Satomi Hakkenden well.However, it was not just a matter of self-satisfaction, but being recognized worldwide as an excellent design gave me great confidence.I would like to continue to take on many more challenges.

I often refer to catalogs that collect commercial labels from the Meiji to Taisho eras.Each element that makes up the design has been inherited from an earlier era.Therefore, I often search for images of traditional crafts on the Internet in order to draw them.Furthermore, this illustration has detailed elements arranged to match the world of Nanso Satomi Hakkenden.For example, peony and plum blossoms have important meaning in the story, so they are drawn inside the frame.It's not just because it's beautiful.I like to add meaning to things that only a few people notice.

I try to express the characters' emotions directly, like a Baroque painting, so that even if you don't know the details of the story, the situation and emotions can be conveyed.It is expressed using not only the facial expressions of the person, but also all the elements such as the pose and movement of the kimono.This is useful not only for Japanese people who are not familiar with classical literature, but also for showing it to foreigners.

Regarding the color palette, I am not particularly conscious of the color palette of ukiyo-e.This is because the colors of ukiyo-e itself are quite different between new and old ones.I use color combinations as a reference, but in the end, I place colors that feel comfortable to me.The advantage of digital coloring is that it is easy to make fine adjustments.The compositions are also inspired by many works, both Western and Eastern.

This is one of the successful examples of the challenge of expressing classical Japanese literature in combination with Western design.I would like to continue this challenge forever.However, there are many people other than me who are trying to convey the wonders of Japanese classical literature, so I want to feel free to draw my favorite stories, centering around Nanso Satomi Hakkenden, without thinking too m