|
 |
[Comments on the prize-winning work]
The warmth of the sun light, the smell of breezes, the posture of wild plants that are standing tall toward the sky.... These things always touch my heart and give me refreshing feelings. I say, the kind of agreeable impression they give me is indispensable, while I am on a journey searching for something beautiful. This time, given the thematic subject of Traveling Heart, I attempted to express a journey of a heart that keeps searching for beauty. It is a piece of artwork from which one may feel a variety of different atmospheres-- this may even result in changes within his heart. |
|
|
 |
|
What was your primary motive to start creating CG art?
It was during a class in high school that I learned CG for the first time. Actually, I had been interested in it since I was in the middle school, but I stayed away from it, because it was not something I could easily turn my hand to. Later on, I was lucky to have the opportunity to start learning it in high school, where one could major in art. It was also there that I learned about the existence of Photoshop. |
 When you started CG for the first time, didn't you have any feeling of hesitation?
No, I didn't. Rather, I thought that CG had tremendous potential. So I was more strongly interested in it than feeling any hesitation. Actually, I started learning CG even before I knew how to use a computer, so I needed some time to get used to it. I was always good at mechanical stuff anyway, so I ended up maneuvering it well while having fun. |
Tell us what motivated you to enter the DCA contest.
There was a period of time when I was getting tired of artwork made with CG. I thought that many CG works were being produced by the very same process. Then, I started wondering if there were some other ways of expression in CG that no one ever thought of before. I began producing a work with the theme of "searching." CG did respond to me better than I expected. When I finished with this work, I thought I needed to let people know of it. That's why I entered the work. |
For the award winning work "Feeling Sign," which parts did you want to be most unique, or did you go through special efforts to create?
I used acrylic gauche to create the basic image, and then scanned it to process and organize it. During this process, it was most difficult to find the right expression. However, after all, it was very much fun struggling with paints, and making decisions saying yea and nay. |
The screening committee members' highly praised your work. They wrote the following: Its use of colors is natural, yet pop, and has movements; what is wonderful about it is that it is a "now" kind of work.
Did you have any specific theme while you were working on it?
My goal in making artwork is to "converse" with the audience of my work. The audience I have the "conversation" with, as well as I myself, will use imagination to enjoy the work. That's how I can retain freshness in the work. |
Has anything changed in your life since you won the DCA Excellence Award?
(e.g., your friend told you he saw the work; you feel more motivated than ever)
The news was published in my high school's paper, after I graduated. This led to many congratulatory words not only from my friends but from my teachers, too. It gave me confidence. |
What is your dream or goal for your future?
I would like to expand my world view by challenging movies and 3D works. |
We will soon announce the winners of DCA 2003. Now, could you offer any words of encouragement to those who are planning to enter their work in the next DCA competition?
Let's make this contest a venue that is even more active and wonderful, by entering your powerful art! |
 |
|
The 6th - - Winner of the Excellence Award, 2002
Name: Takefumi Yoshii
Sex: Male
Occupation: Student
Email: t-441@hicat.ne.jp |
|
 |
| Click on each picture to enlarge it. |
|
|
 |
|
1. Creating raw materials
I created original pictures using acrylic gauche (water base paint). I put in a lot of efforts on them so that they would give the finished work a wide range of expressions. For example, I smudged colors with water, sprinkled, and used impasto to make it look like it was embossed. While the hue can be freely transformed later, the key is to put on many paints thick and fast, with the preposition that it will then be easy to process.
Left/ (hue and color saturation) apply
Right/ (hue and color saturationa select color gamut a reverse selected area a delete) apply |
 |
 |
|
2. Texturing the original pictures
Using the raw materials, I created layers. I did this while generally dividing up these raw materials into various categories, such as warm hue, cold hue, accents, etc. During this process, I used blur and gradation functions for Layer 1, above, and texture and emboss for Layers 2 and 3, respectively, to differentiate them. After integrating these layers together, I put the black spot on the right side, which is important for this work. Then, I kept adding layers on it. |
 |
|
3. Using Soft Focus Function
In order to give the screen magical impression, I applied an effect which functions like a soft focus filter of a camera. This process not only put this work's entirety together, but also gave a stronger impression to the overall work. (Copy layer a drawing mode [overlay] a blur [gauss]) |
 |
|
4. Creating a "flow"
I created a "flow" onto the screen by using gray-scaled raw material (see the picture on left). I used the function to "edit with quick mask mode" on the picture which was available after the above process #3. I then applied the "filter/texture effect" function, and scanned the gray-scaled raw material, to make the selected area. (On the right picture, the area except the blue part can be edited.) Finally, I put the white color on it. |
|
|
