Tag Archives: japanese

Tokyo Storefront

Polish-born and Japan-based artist Mateusz Urbanowicz is the talented illustrator and painter behind Bicycle Boy, a series we’ve previously featured on Neocha. Known for his vivid usage of watercolors and eye for detail, Urbanowicz has worked as the background artist for many anime TV shows and movies over the years, including the critically acclaimed Your Name. This year, Urbanowicz expressed hopes of shifting more of his attention towards personal projects. This reprioritization has led to a continuation of the ten-part Tokyo Storefront series that he released last year. The extension to the series comes in the form of a bilingual book that includes the original ten illustrations along with 40 new drawings.

艺术家Mateusz Urbanowicz生于波兰,目前居住在日本。他也是我们先前报道的另一个水彩画系列《自行车男孩》Bicycle Boy)的作者。才华横溢的他以细腻精致且清新生动的画风而闻名,更曾为许多动漫和电影创作背景插画,包括广受好评的电影《你的名字》(Your Name)。今年,Mateusz表达了他专注创作自己的艺术作品的希望。他将去年已有10张作品的《东京店面》(Tokyo Storefront)系列进行了增补,并将以双语书的形式面向大众,其中将包括最初的10幅插图以及40幅新创作的作品。

“When I moved to Tokyo more than three years ago, I was really surprised that on my walks I encountered so many shops still in business inside really old buildings. Differently to Kobe, where the earthquake wiped out a lot of these old downtown houses and shops, in Tokyo they still survive,” Urbanowicz recalls, and inspired by their beauty, Tokyo Storefront is his attempt to document these charming buildings.


The majority of the storefronts featured in the book comes from Urbanowicz’s exploration of Tokyo. However, his approach is more than a mere recreation of his observations. In the illustration above, Urbanowicz shares that the signage was already torn down when he showed up in his location hunt. Disappointed, he took a few photos of the shop in its current state and went home to scour the internet for old images of the store. In his final illustration, the original signage has been restored in its retro glory, and as a master of details, a small chair he observed in one of the old photos was also included.


Commenting on the series, Urbanowicz shares, “I didn’t want to copy all the retro guides that already exist for Tokyo. Because of that we, of course, had to go again to those places, take more photos, and look more closely at the details of the shops. But that also gave us a chance to talk with the owners to learn more about the interesting history behind each of the shops.”


In the upcoming book, Urbanowicz not only explores Tokyo shop facades but will also include historical details presented in both English and Japanese as well as sketches of shop interiors.

Tokyo Storefronts – The Artworks of Mateusz Urbanowicz is now available for pre-order on Amazon.


目前,《东京店面——Mateusz Urbanowicz绘作》(Tokyo Storefronts – The Artworks of Mateusz Urbanowicz)系列已经可以在Amazon上预售


Contributor: Chen Yuan


供稿人: Chen Yuan

Passion & Fragility


Mizuki Nishiyama is a Japanese multimedia artist, painter, and poet based in New York City. Currently a student at the Parsons School of Design, Nishiyama creates abstract expressionist works that examine personal experiences, ideas of the extreme, and the concept of human fragility. Nishiyama tells Neocha more about her artwork below.

Mizuki Nishiyama是来自日本的多媒体艺术家、画家和诗人,现居纽约,就读于帕森设计学院(Parsons School of Design)。Nishiyama以抽象表现主义的作品,探讨自己的人生经历,极端的想法和人类脆弱性的概念。最近,Nishiyama和Neocha分享了她对艺术、文化和创意的一些想法。

Snails In Her Eyes
In My Lake of Boulders

Neocha: What first drew you to pursue art?

Nishiyama: My grandma, granduncle, and mother are all painters. Each of them work in different mediums – my grandma uses tennen iwa enogu (powdered minerals) for Nihonga (traditional Japanese art), my granduncle paints with watercolor, and my mother paints with oil. As my family has an artistic background, I presume I’ve been influenced by them. Nevertheless, many of my own personal developments have led me to explore different methods to recreate or make a statement, whether it be through music, dance, or writing. Over time, I’ve realized that painting allows me to create the most accurate representation of what I intend to visualize.

Neocha: 你一开始为什么会对艺术感兴趣?

Nishiyama: 我的祖母、伯祖父和母亲都是画家。他们各自用着不同的媒介来创作。我的祖母用Tennen Iwa Enogu(粉状矿物质)来画日本画(Nihonga,指日本的民族传统绘画),我的伯祖父画水彩画,而我母亲则是画油画。由于我家的艺术背景,我从小就已经受到他们的影响。尽管如此,我个人的很多经历也在促使我去寻求不同的方法来创作或表达,可以是音乐,也可以是舞蹈或写作。慢慢地,我意识到,绘画能最准确表达出我想要可视化的内容。


Neocha: Aside from familial influences, how does Japan and its culture influence your artistic process?

Nishiyama: I was fortunate to have been raised in a culturally diverse environment. My father is from Japan and my mother is from Hong Kong, but they spent a big portion of their lives in Italy. Bouncing between five languages at home and attending a Canadian International School in Hong Kong, I’ve never been able to identify concretely with particular heritages. However, I’ve always had a fondness for Japanese history and culture. By visiting Japan ever so often, I’ve been exposed to traditional arts such as bunraku (traditional Japanese puppet theatre), kabuki (classical Japanese dance-dramas), buyō (traditional Japanese performing arts), and ukiyo-e (an art genre that flourished in Japan between the 17th and 19th century), which have all brought my attention and attraction to classical arts. I’m so grateful to have been brought up with multiple cultural values, as I do realize that I unconsciously blend aspects of all those cultures together.

Neocha: 日本文化对你的作品有什么影响?

Nishiyama: 我很幸运可以在一个多元文化的环境中成长。我的父亲来自日本,而我的母亲来自香港,但他们大部分时间都生活在意大利。在家里,我会在五种语言之间来回切换,加上是在香港的加拿大国际学校读书的,所以,对我来说,我从来都没有特别觉得自己属于哪一种文化。不过,我一直都很喜欢日本的历史和文化。我经常去日本,也接触到很多当地传统艺术,例如文乐(Bunraku)、歌舞伎(Kabuki)、舞踊(Buyō)和浮世绘(Ukiyo-e)、而这些艺术又让我开始注意并喜欢上古典艺术。我很感恩,自己能在这种多元文化的环境中成长,因为我发现,自己会不自觉地将这些不同文化融合在一起。

Peas and Peaches

Neocha: What are some recurrent themes in your artwork?

Nishiyama: I’m a very emotionally driven person. I’m tempestuous, and my thoughts are impassioned. The images that I paint come from a very sensitive and ardent side of my human experience that I simply want to document.

My work covers unconventional topics about the human experience that are intentionally confrontational. I’m extremely intrigued by the rawness of the human psyche when we are vulnerable to our emotions. These feelings help cultivate my creativity through emotional intimacy between myself and the brush. The themes I’ve expressed thus far have been based on personal experiences and spontaneous social issues, often ignored or instinctively disregarded by society.

I started painting as a response to many situations in my life. This allowed me to take a step back, and analyze these situations through a secondary lens. I consider my paintings as somewhat of a visual diary. By looking back at my work, I’ve learned to understand myself better – emotionally and circumstantially.





Tic Tac Toe
Swing Me From The Cantaloupe I Swear To Beckon This Raisin Day

Neocha: How does color play a role in your art? What does color mean to you?

Nishiyama: Selecting the appropriate colors to provoke emotions and amplify messages are constantly on my mind. Themes surrounding my pieces are often quite impassioned, so I tend to naturally grab darker, more vibrant and vivid shades. I am currently experimenting with mediums. I am familiar working with highly pigmented shades, however, I’ve recently begun incorporating gouache, gloss, thickening mediums, as well as glazing to create a variety of looks.

Neocha: 色彩在你的艺术创作中扮演什么角色?色彩对你来说意味着什么?

Nishiyama: 我总是会去思考如何选择合适的色彩来挑动情绪,突显作品想要传达的信息。我的作品主题往往都十分激烈的情感,所以很自然地,我倾向于使用更鲜活生动的暗色调。我目前在尝试用不同的媒介进行创作。我比较擅长用高饱和度的色彩创作,但是最近我也开始使用水粉、光泽涂料、可以增厚质感的媒介,以及透明画法(glazing)来营造同不的效果。

Sunflowers Dream

Neocha: As both a painter and a poet, how does your creative process differ across these two mediums?

Nishiyama: Literature and painting go hand-in-hand when it comes to being able to show an accurate representation of what I intend to document. I’m a big fan of confessional poetry. I do not intend to create flawless stanzas nor sculptured phrases. I have always treated both my paintings and my poems as representative milestones in my life. The commonality would be the emotional heaviness I convey through both mediums.

Neocha: 你身兼画家和诗人两个身份,那么你在分别创作这两个媒介时,会有什么不同的创作思路吗?

Nishiyama: 文学和绘画都能准确表达出我想要记录的内容,在这一点上,两者是一样的。我特别喜欢自白派诗歌(Confessional Poetry)。我不打算创作出完美无瑕的诗节,也不想精雕细琢所用的词语。一直以来,我创作的画和诗都是记录我生命的里程碑。两者的共性在于我透过这两种媒介传达的沉重情感。


Neocha: How has studying in New York City influenced your attitude towards art?

Nishiyama: I became more driven once I started attending the Parsons School of Design, due to constantly being surrounded by highly motivated and creative people. Moving to New York City meant there were going to be a lot of new life changes, and that resulted in many conversational pieces. Nonetheless, Hong Kong, Japan, and New York are all creative, visionary cities to develop one’s art. But I do favor New York simply because it is a new chapter in my life, and there is yet so much more for me to learn and explore.

Neocha: 在纽约学习的经历让你对艺术的态度产生了什么变化?

Nishiyama: 入读美国帕森斯设计学院( Parsons School of Design)后,我变得更有创作的动力,因为身边的人都充满了创作欲望和创意才华的人。搬到纽约后,在生活上自然会发生很多的变化,也因此创作了很多交谈画(Conversational Piece)。虽然香港、日本和纽约都是充满前卫创意的地方,非常适合发展艺术,但我尤其喜欢纽约。原因很简单,它代表着我人生的新篇章,在这座城市有那么多值得我去学习和探索的东西。

Messy Heads

Website: mizukinishiyama.com


Contributor: George Zhi Zhao



供稿人: George Zhi Zhao

Turning Rocks into Art

Japanese artist Hirotoshi Ito doesn’t carve the type of statues that most people might expect of traditional sculptors. Coming from a masonry background, Ito creates sculptures that preserves most of the stone’s original form and texture. Despite this, it’s often difficult to believe that Ito’s sculptures are made of solid rock, as his adept manipulation of the rigid medium makes many of his works appear as they were actually created with a much more malleable material. From laughing rocks with human teeth to unzipped rock pouches filled with seashells, Ito’s imaginative works seem to push the boundary of possibilities. See more of his surreal sculptures below.

日本艺术家伊藤博敏(Hirotoshi Ito)的雕塑作品颠覆了大多数人对传统雕塑家的想法。伊藤博敏本是一名石匠,他所创作的雕塑作品在很大程度上保留了石头本身原来形状和纹理。但是,看到他的雕塑作品,人们难以相信它们竟然是坚硬的岩石。他对这些坚硬材料的熟练处理,使它们看上去像是更软的材料。从笑着露出牙齿的石头,到拉链打开、装满贝壳的“石袋”,伊藤博敏天马行空的作品,似乎在不断突破可能性的极限。下面一起来欣赏他所创作的超现实主义雕塑作品吧。

Website: jiyuseki.com
DeviantArt: jiyuseki.deviantart.com


Contributor: David Yen
Images Courtesy of Hirotoshi Ito



供稿人: David Yen
图片由Hirotoshi Ito提供

Hotel Okinawa

Greg Girard is a Canadian photographer who has spent the larger part of his career in Asia. His latest book, Hotel Okinawa, is a snapshot of Okinawan history and the legacy of U.S. military power, with photographs taken on U.S. military bases and their surroundings from 2008 to 2016. Supplemented by archival photographs, periodicals, and other historical materials, the book examines the changing social, historical, and physical landscape of a multilayered and complex region. In an excerpt from Hotel Okinawa below, Girard tells us more about the project.

加拿大摄影师Greg Girard在亚洲度过了他职业生涯的大部分时间。他最新出版的作品《Hotel Okinawa》(冲绳酒店),记录了日本冲绳的历史,以及美国在当地遗留下来的军事影响。书中主要包括了他在2008年至2016年期间在美军基地及其周围拍摄的照片,并辅以一些文献档案照片、期刊和其它史料。本书探讨了这个多层化的复杂地区中,不断变化的社会,历史和地理景观。在《Hotel Okinawa》中,Girard向我们介绍了这个项目。

Hazard to Aviation Checkerboard, Naha, 2008
Audrey Poster, 2008
A&W Drive-In, Route 58, 2016
Ginowan Overview, Dusk, 2009

“My first sighting of Okinawa came from the deck of a ferry, approaching the port of Naha after a 52-hour sailing from Tokyo. It was December 1982, and the tropical-ness I had looked forward to was nowhere to be found. I remember grey skies, rain, and cool temperatures. But I had long wanted to visit, hoping to see for myself what this Japanese honeymoon destination and U.S. military garrison island looked like.”


USMC Camp Foster Base Housing, 2008
F-15 and AWAC Plane, 2008
Grady, Chatan, 2016

“Living in Tokyo in the 1970s, I unexpectedly encountered this vast network of U.S. overseas bases, of which Okinawa was, and remains, a part, via late night broadcasts of American Forces radio. Around this time, I also discovered Ryu Murakami’s first novel, Almost Transparent Blue, set in a town near a big U.S. air base west of Tokyo. He described a world where aimless young Japanese and young American servicemen partied, slept together, hung out, fought, and drifted apart, though not necessarily in that order.”

“上世纪70年代,我在东京生活时,意外在美军广播电台一档深夜节目中知道了美国的庞大海外军事基地网络,而冲绳正是其中的一个部分。大约也是在那个时候,我还发现了村上龙(Ryu Murakami)的第一部小说《接近无限透明的蓝色》正是以东京以西的美国空军基地附近的小镇为背景创作的。他在小说中,描述了漫无目的的日本年轻人和年轻的美国军人一起举办派对,一起玩,又互相战斗,然后慢慢疏远,大概是这样的故事。”

Man in Corvette reading "Star and Stripes", Okinawa, 2008
Family Housing, USMC Camp Foster, 2008
Watching Softball Game at Futenma Marine Corps Air Station, 2008

“But on that first short Okinawa visit, dodging the rain in the streets of the capital, Naha, I didn’t see much evidence of a local version of the scene Murakami had described. It was there, however. It was further up the highway in base towns north of the capital and being photographed, as I would later discover, by Japanese – including Okinawan – photographers. For myself, as far as these base towns went, I had been luckier in earlier years, making pictures closer to Tokyo, in Yokosuka, where the U.S. Navy’s 7th Fleet was (and still is) based. After a few sunless days, I left Okinawa on the twice-weekly JAL flight to Hong Kong; on board were a number of American military families, off to the British territory for Christmas vacation. My own Hong Kong visit ended up stretching into New Year, then the Lunar New Year and beyond, eventually making the city my home for the next fifteen years.”


Osprey and Marines, Camp Hansen, 2015
Protest House, Naha, 2012
Road Above Camp Lester, 2008

“I knew I wanted to return to Okinawa, but other decisions, other distractions, kept me occupied, and it would take more than 20 years before I was able to make pictures there again. During this period, a drawdown of US engagement in the region was taking place. Alliances were shifting or completely unraveling. The U.S. closed its bases in Vietnam and the last troops were withdrawn in 1973. Soon after, in 1975, the U.S.-backed South Vietnamese government collapsed. By 1976, the U.S. was forced to vacate bases in Thailand from where they had operated for more than a decade in support of the war in Vietnam. In 1979, following diplomatic recognition of Beijing, the U.S. closed its bases in Taiwan. Elsewhere in Asia, the U.S. had long operated a number of key facilities in the Philippines: Clark Air Base and Subic Bay Naval Base, in their day, were among the largest U.S. bases overseas. By 1992, those too were closed.”


Bar Interior, Okinawa City, 2008
Customers in Bar, 2016
Bar Interior, Sakura-zaka, Naha, 2016

“And so, in 2008, when I was finally able to undertake a project on ‘the bases’, their number was much reduced. The U.S. military presence in the region was now concentrated on bases in Japan and Korea, and on the U.S. territory of Guam in the western Pacific. The first step was to make formal requests (to the Pentagon and to individual bases). At last, in March 2008, with permissions in place, I was able to begin photographing. Within two years, I had photographed more than 20 separate bases, some numerous times.”


Teishoku Marunaka, Okinawa City, 2016
Mt. Blanc Hotel, Okinawa City, 2016
Wooden Building, Naha, 2009

Previous publications by Girard include City of Darkness and City of Darkness Revisited, documenting Hong Kong’s infamous Kowloon Walled City, and monographs Phantom Shanghai and Hanoi CallingHotel Okinawa will be available for purchase from The Velvet Cell on August 15th.

Girard之前出版的作品包括记录香港臭名昭著的九龙寨城的《City of Darkness》和《City of Darkness Revisited》,以及《Phantom Shanghai》和《Hanoi Calling》。 《Hotel Okinawa》8月15将在The Velvet Cell发售。

"Home Base" Oden Restaurant, 2008
Grass/Plants/Neon, Chatan, 2016
Marine with Companion at USMC Birthday Ball, Okinawa, 2008

Instagram: @gregforaday


Contributor: George Zhi Zhao



供稿人: George Zhi Zhao

What Makes a Selfie “Good”?

No camera angle magic, no flawless porcelain-like skin, and not even a hint of a smile – the selfies that Izumi Miyazaki takes often shows her looking unflatteringly solemn or completely emotionless. It’s clear that her rise to internet fame wasn’t the result of crafting a facade of beauty and perfection like the typical female internet celebrity. Instead, her devoted online following and feature in TIME magazine are the results of the absurdly and delightfully surreal self-portraits that she regularly uploads. Born in 1994, the Musashino Art University graduate uses Photoshop to expand on and exaggerate the possibilities of reality, creating a quirky and outlandish world of black humor where she touches on the heavy subjects of death, loneliness, and identity. “The tomato sauce coming out of my decapitated head represent my feelings towards mortality,” Miyazaki explains of the above image. “The imagery is meant to present a positive attitude towards death. It’s the same with the photo of my head being cut in half with a fish, I wanted to share my feelings in a comical way.” Scroll down to check out some more of Miyazaki’s self-portraits.

没有黄金45度仰拍,没有无暇的蛋壳肌,甚至连一丝笑容都没有,总以一副严肃甚至有点呆滞的表情出现在镜头前。日本少女Izumi Miyazaki就是以她与众不同的超现实自拍照走红于网络,甚至登上了美国《时代周刊》。Izumi Miyazaki1994年出生于日本山梨县,就读于武藏野美术大学。她利用Photoshop放大了现实世界的可能性,营造出古怪荒诞的个人世界,用冷幽默的画面去传达她对孤独、死亡和身份认同等话题的理解。“脑袋里流出的番茄酱是我对于死亡的态度,这种意象有点乐观又有点滑稽。”在介绍自己作品的时候Izumi Miyazaki这样讲到,“被劈开的生鱼和脑袋也是这样,我想用喜剧的方式去呈现死亡。” 下面一起看看Izumi Miyazaki的更多“迷之自拍“。

Website: izumimiyazaki.tumblr.com


Contributor: Ye Zi

网站: izumimiyazaki.tumblr.com


供稿人: Ye Zi

Cities & Places with Ryota Unno

(1400 x 2800 mm)

Ryota Unno is a Japanese artist whose work brings a playful and contemporary twist to traditional Japanese scroll painting. A graduate of the Tokyo National University of Fine Arts and Music with a Bachelor of Fine Arts in Japanese Painting, Unno is influenced by the art of the Edo period and employs traditional techniques in his creative process. Using traditional materials, such as iwaenogu (mineral pigments) and gold foil, on Japanese paper, Unno tells colorful stories about life in modern society set in cities across the world. His work has been exhibited in Japan, as well as internationally in the U.S., Hong Kong, Brazil, Italy, Taiwan, and Singapore. See below for more of the artist’s work.

日本艺术家Ryota Unno 以现代和俏皮的风格重新演绎了日本的传统卷轴画。Unno毕业于东京艺术大学,并获得了日本绘画美术的学士学位。他深受江户时代艺术的影响,喜欢运用传统绘画技巧来进行创作。Unno在日本纸上使用“岩绘具”iwaenogu(一种天然矿物颜料)和金箔等传统材料,以色彩丰富的画面展现出世界各地城市现代社会生活的故事。他的作品曾在日本,以及美国、香港、巴西、意大利、台湾、新加坡等地展出。下面一起来欣赏一下这名艺术家的更多作品吧。

A Mafia Loves Hot Springs
(600 x 720 mm)
Washington, D.C.
(1400 x 1400 mm)
Washington Park
(800 x 400 mm)
Central Park
(1400 x 700 mm)
(1400 x 2100 mm)
(1400 x 2800 mm)
Tower Life
(1400 x 1400 mm)
Chelsea Market
(800 x 560 mm)

Website: unnoryota.jimdo.com


Contributor: George Zhi Zhao



供稿人: George Zhi Zhao

Black & White Tokyo

Veteran Japanese photographer Junichi Hakoyama is best known for his minimalist black-and-white stills that he captures on the streets of Tokyo. Armed with his Leica M Monochrom, Hakoyama creates alluring images with bold lines and high contrasts through his effective use of light and shadow. The result is a beautifully understated monochromatic series that he has simply titled Tokyo. Every shot carries a soothing balance of proportion and geometric structure, which transforms a simple subject in a common setting into a moment full of purpose. See more of his work below.

日本资深摄影师Junichi Hakoyama凭借在东京街头捕捉的简约黑白摄影作品而闻名。通过他的Leica M Monochrom 相机,他用大胆的线条和高对比度的光影组合呈现了一系列出色的影像作品。他将这个精美而低调的黑白摄影作品系列简洁地命名为《东京》(Tokyo)。每一张照片的比例和几何结构都有一种令人看上去很舒服的平衡,将人们常见的环境和普通的人物定格为一个充满目的性的时刻。一起来欣赏一下他的作品吧。

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama


Contributor: Whitney Ng

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama


供稿人: Whitney Ng

Designing Happiness

Since arriving in Tokyo, Duncan Shotton has set about bestowing happiness around the world, one little hand-painted push pin at a time. Five years ago, in 2012, Shotton set up his own design studio in Japan. Since then, many aspects of his adopted home have served as inspiration. From holding his first pop-up shop in a tree within Tokyo’s Harajuku district to rethinking the humble soy sauce dish, Shotton has the ability to turn the everyday into the extraordinary.

2012年来到东京之后,英国设计师Duncan Shotton一直通过自己对平常生活的小用品的创意设计(譬如手绘小图钉),在世界各地传播快乐的精神。五年前,Shotton在日本成立设计工作室,日本的许多方面启发了他的创意灵感。不论是他在东京原宿区一棵树上开设的第一家概念性快闪店(pop-up shop),或是他对酱油碟的重新演绎,Shotton一直着眼于将平凡的小用品变得不平凡。


In Japan, it’s considered rude to wear shoes indoors. This custom is so deeply embedded into Japanese culture that many apartments come with a built-in sunken porch at the entrance. Shotton was inspired by stepping stones that he saw in Kyoto and designed Tobiishi as a clean space that serves as a stable treading spot for people greeting guests or accepting deliveries.


在日本,在室内穿鞋都是不礼貌的。这种习俗在日本文化中影响很深,以至于许多公寓在入口处都会设有一个“ 凹陷式门廊”。Shotton以自己在京都看到的垫脚石 为灵感,设计出Tobiishi,为人们在门口迎接客人或签收包裹时提供一个干净、稳固的踩点。

Soy Shape

Noticing that the natural color of soy sauce takes on a gradient form when poured into a shallow dish, Shotton designed these delightful dipping sauce dishes to give off the illusion of 3D shapes, giving an extra “dimension” to every sushi eating experience.

Soy Shape


Sticky Page Markers

This stationary series allows every bibliophile to build adorable landscapes from their favorite pages. From the iconic junk boats of Hong Kong sailing around the harbor to the infamous Godzilla monster terrorizing downtown, these page markers are sure to be a favorite amongst bookworms.

Sticky Page Markers


Shotton continues to work from Tokyo, collaborating with Japanese companies and sticking to a small production scale to maintain a high level of quality. His latest project, Planet Pins and the Moon – which is comprised of a hand-painted solar system and complete with a hand-casted concrete moon push pin – is now available for pre-order.

Shotton目前仍在东京生活,他与日本企业合作,坚持小规模的产量,以保证最佳质量。他最新的作品Planet Pins and the Moon是一组太阳系行星主题的手绘图钉,以及一颗用纯手作的混凝土月球图钉,现在已经开放预订。

Website: dshott.co.uk
Facebook: ~/DuncanShottonDesignStudio
Instagram: @_dshott


Contributor: Whitney Ng

网站: dshott.co.uk
脸书: ~/DuncanShottonDesignStudio
Instagram: @_dshott


供稿人: Whitney Ng

Makin’ Moves



Following the transhumanism concepts of his past works, Japanese art director Kouhei Nakama is back with his latest video, Makin’ Moves. Departing from the aesthetics of DIFFUSION and CYCLE, the two other short videos of the series, Nakama wanted to make the latest installment more visually approachable. This decision comes from the fact that his past two videos had received decidedly mixed reactions; while most viewers were impressed by the stunning visuals, others found them to be rather disturbing. “I thought that the parts people found ‘shocking’ in those two videos might have hindered the message I originally wanted to convey,” Nakama explains.

日本艺术总监Kouhei Nakama曾在过去的作品中探讨超人类主义(transhumanism)的概念,现在,他又带来了最新的短片作品《Makin’ Moves》。同系列的前2部短片《DIFFUSION》和《CYCLE》在网上发布后,毁誉参半。有人认为它们视觉效果震撼,有人则觉得不适。而这次的全新短片一改前两部短片的美学风格,呈现了更轻快的风格。“我觉得在前两部短片中那些令观众‘震撼’的内容可能反而阻碍了我原本想要传达的信息。“Nakama解释说。

Nakama describes the subjects in this latest video as the “dance team of the future.” The humans (and one lone dog) in the video swirl and contort, with complete disregard for the laws of physics; pop and lock, splitting their anatomy in biologically impossible ways; and gyrate along to the rhythm, exploding into colorful fractals in sync with a hypnotic, pulsating track produced by BrokeForFree. Nakama tells us, “Please, don’t think too hard. Just enjoy the video!”

Nakama说最新短片的主题是“未来的舞蹈团队”。视频中的人(和一只孤独的狗)打破所有物理定律,不断旋转和扭曲;他们的身体在跳着机械舞的pop 和lock动作的同时,以超越生物学的方式不断分解;并跟着BrokeForFree迷幻、跃动的音乐节拍旋转、爆发出多彩的分形图案。Nakama 说:“不要想太多,好好享受这部短片就行!“

Website: kouheinakama.com
Vimeo: ~/kouheinakama
Behance: ~/kouheinakama
Instagram: @kouhei_nakama


Contributor: David Yen

网站: kouheinakama.com
Vimeo: ~/kouheinakama
Behance: ~/kouheinakama
Instagram: @kouhei_nakama


供稿人: David Yen

Bicycle Boy

After visiting Seiseki-Sakuragaoka, the Japanese suburbs that the 1995 Studio Ghibli film Whisper of the Heart was modeled after, Polish-born and Tokyo-based artist Mateusz Urbanowicz was inspired to paint his Bicycle Boy series, which consists of ten watercolor paintings that bring the film’s narrow roads and suburban landscapes to life. Urbanowicz uses 6B pencils to sketch out each moment before coloring them with Schimincke and Winsor & Newton watercolors. This series takes us on a journey of a dedicated bicycle boy who rides up challenging inclines and through the elements in order to reach his destination. Many of Urbanowicz’s other illustrations are also inspired by his new adoptive home of Japan as well as the animated backgrounds that feature in many Japanese anime films.

波兰出生的艺术家Mateusz Urbanowicz目前生活在东京。在参观完日本郊区圣迹樱丘(Seiseki-Sakuragaoka)——1995年吉卜力电影《心之谷》(Whisper of the Heart)的场景原型后,Urbanowicz创作了《自行车男孩》(Bicycle Boy)水彩画系列,通过十幅水彩画,栩栩如生地呈现出电影中出现的狭窄小巷和日本郊区景观。Urbanowicz在创作时,先使用6B铅笔画出草图,然后用Schimincke和Winsor&Newton水彩上色。这个水彩画系列带领观众,跟随一名骑自行车的男孩,骑过艰难的斜坡,经历各种天气,朝着目的地进发。Urbanowicz的许多其它插图的灵感还来自于他如今生活的日本,以及许多日本动画中的场景。

Website: mateuszurbanowicz.com
Facebook: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz


Contributor: Whitney Ng

网站: mateuszurbanowicz.com
脸书: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz


供稿人: Whitney Ng