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[Comments on the prize-winning work]
My idea that "lights" are breaths of a city led me to create my work. I thought that where more lights gather, the more active these places become. The image of this work is "where lights gather," which is a symbol of cities. It is integrated by something mechanic, yet it has an atmosphere which makes it look like it is thinking on its own. I would be happy if the audience finds such an atmosphere in this work. |
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What was your primary motive to start creating CG art?
It was when I was a high school student that I came across a computer called X68000, a Sharp product. That was also when I encountered what is CG, for the first time. I advanced to a design school to major in graphic design and computer graphics. CG, back then, was nothing like what you would call CG by our current standard. It was something like, a couple of balls floating in the air, on which there were some shadows. Figures like these still looked awesome back then. Needless to say, it was a time when a personal computer could in no way calculate reflection or refraction. |
When you started CG for the first time, didn't you have any feeling of hesitation?
In the beginning of my CG career, what I was doing was no more than quick image combining with PhotoShop. So, rather than a hesitant feeling about CG, I had more of anticipation that such readily image combining is possible, just like that. |
Tell us what motivated you to enter the DCA contest.
I did not have any strong motive to enter my work. However, what appealed to me most was the fact that the DCA was calling for entries from all over the world, and that entrees and award winners were international, as if they were responding to Toray's intention. Besides, as I was living in the U.S., the method of entry, via on line, was simple and easy, which helped. |
For the award winning work "Breath of a city", which parts did you want to be most unique, or did you go through special efforts to create?
Whenever I produce artwork, the most important factor in creating a work to me is "how do I "digest" and interpret the given thematic subject?" This part of the process takes the most effort. This time, again, I needed the greatest effort during the part that I had to come up with my own "concept" based on the given theme. After that part was over, all I had to do is to draw a rough sketch, and then to work with it. |
Your work was highly praised by the screening committee members for its strong commitment to detail. Did you have any specific theme while you were working on it?
Again, it is not just for this work but whenever I create artwork, to make sure that I take an extra care on the detail, based on the method of expression I am using for the work that is best picked for the concept. Depending on the work, sometimes the best texture is "slick" feel, which may be a really CG-like texture; while some other works may look better with more realistic existence. As for this particular work, the thematic subject "Cities that Breathe," was rather specific to me. So I wanted to express such specificity-- reality-- by pursuing a realistic feeling on the CG itself, to a certain degree. |
Has anything changed in your life since you won the DCA Excellence Award?
(e.g., increased number of incoming paid work; networking with more artists)
Let's see. Firstly, I received many email messages from my friends and acquaintances whom I never told about winning the award, that said to me that they learned about it by viewing the website of the DCA. That was the moment when I felt how influential DCA is, more than I expected. Of course, I am certain that the fact that I won this award is something I can be very proud of in my art producing career. I feel motivated toward creative activity more than ever before. |
What type of artwork are you planning to create from now on?
I am not sure how my art style and work will change. The only thing that I can tell you that I know will not change, however, is my policy to "surprise the audience." This policy was the first goal of mine in starting my CG career. It was important to me when I first started dealing with computer, and it hasn't changed since. Right now, I have a renewed feeling that I would like to continue creating works which live up to that policy. |
Can you offer any words of encouragement to those who are planning to enter their work in the next DCA competition?
The DCA is a wonderful competition in which you can present your artwork to the whole world. To all artists, the fact that such an opportunity is being offered by Toray is fantastic. Why don't you have a try at it, everyone? |
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| Click on each picture to enlarge it. |
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| I first determined the structural outline of the picture. For this work, I had the image of a triangular arrangement (blue lines), which is the basis of this picture. Then, on top of the blue triangle, I placed the straight lines (in red) stretching toward the top of the picture, so that the picture would have the depth that goes toward the top. |
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| As I was conscious about making the work look realistic and wanted to express something persuasive, I checked the rendering method beforehand. Here, I drew it with a light simulation method called the Global Illumination Method. |
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| To create the sense of depth within the picture, I coordinated the Depth of Field. This is the same method used for regular cameras. In the case of computer graphics, depending on the software, there are models that can automatically calculate it for you. |
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| Using image processing software, I added effects to the little parts, such as lights, which needed detailing work. It was also during this stage that I added the effects to the parts, such as the image of air flowing out of duct pipes and sparkling lights. |
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