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Kanjiline Tengafuchin Typography Art by Miltz |
Home > Winners > Design #65776 >Interview |
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FS: What is the main principle, idea and inspiration behind your design?
MK: Calligraphy and street art. This work is a letter, it is also a picture.
FS: What has been your main focus in designing this work? Especially what did you want to achieve?
MK: Characters are made by drawing lines according to the rules. You can make meaningful inorganic shapes by leaving the original traces without obeying the rules. I wanted to obscure the boundary between such lines and meaning and recognition.
FS: What are your future plans for this award winning design?
MK: I am planning to create two more works in this size and make it one series with three. Since I already finished making one, I will find the time and I will make the last one work.
FS: How long did it take you to design this particular concept?
MK: It took me a year to figure out the style. The concrete image solidified in a few days.
FS: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
MK: This design has not been requested. I have given a firm sense to the shape I draw. However, it does not speak from me. Ideally the picture tells everything.
FS: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?
MK: No. However, either way, I am planning to submit this work to the auction. I will continue to make works pursuing originality from now on.
FS: What made you design this particular type of work?
MK: Please look at my portfolio. This work entitled KANJI-LINE is this series. https://www.behance.net/miltz
FS: Where there any other designs and/or designers that helped the influence the design of your work?
MK: -Japanese sake, Masamune's kanji logo -Numerous "Hihakutai (splashed brushstrokes)" of Kukai. -It is slightly different from typography, calligraphy of VINCENT ABADIE HAFEZ and RETNA
FS: Who is the target customer for his design?
MK: Although not decided in particular, I think that I want you to resonate with younger people and older people.
FS: What sets this design apart from other similar or resembling concepts?
MK: The concept of graffiti that changed kanji. Also, the use of beard characters, which is a traditional Japanese style of letters.
FS: How did you come up with the name for this design? What does it mean?
MK: As it is, it is a line deforming handwriting of kanji. ... Kanji-line Drawing kanji ... Tengafuchin
FS: Which design tools did you use when you were working on this project?
MK: picture:Acrylic paint, Stencil, Fluorescent spray flame:wood, paint
FS: What is the most unique aspect of your design?
MK: It is a form that is between the letters and the picture and is a form written on a clear meaning.
FS: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?
MK: It is a work of only one person.
FS: What is the role of technology in this particular design?
MK: There is no big role. My sense of self expression is great. Other aspects of character and culture research may exist.
FS: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?
MK: For a long time I was looking for originality that someone else did not challenge. Until this work I made a prototype of various works. They are pictures of pop girls, pictures of sharp animals, avant - garde design etc .. But it was a work that I can imagine that everything is drawn by someone other than me. At such time I was inspired by a calligraphy exhibition and I began making prototypes for this work.
FS: What are some of the challenges you faced during the design/realization of your concept?
MK: I had a hard time making foreheads than drawing. I paid close attention to painting and painting up the trees so as not to hurt the picture.
FS: How did you decide to submit your design to an international design competition?
MK: I received an invitation email from A'Design award and I applied for a trial. Until then I did not know the existence of the awards and I was not interested in the awards.
FS: What did you learn or how did you improve yourself during the designing of this work?
MK: Expression of graphics realized on the desktop with a brush requires motor nerves. To move your body like a line that the brain imagines requires training and ⌘Z can not be used. However, the hard work has become the only distortion work in the world. In the modern era where infinite data continues to be replicated, I believe that the value of not copy will be re-recognized.
FS: Any other things you would like to cover that have not been covered in these questions?
MK: nothing special
FS: Thank you for providing us with this opportunity to interview you.
A' Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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