A graphic designer Takeshi Hamada made a cover design for this issue. I guess not many people knows that it is Japanese who makes this statelessness magazine “Tiger“.
Not only a production of “Tiger”, but also he creates works for overseas magazines and his working place is now world widely expanding. He participates in the web cinema “Trunk” as an art director as well.
Please introduce yourself.
After working several design companies in Tokyo, I went to Germany in the year 2000. I studied at a school and gained my experience at a design company there as well. It was Germany where I released a screen magazine “Tiger“. I have been working as a graphic designer in Tokyo since I backed to Japan.
What sort of projects do you usually do?
Creating works and having collaboration as an individual designer, creating works for overseas magazines and books through “Tiger” and running and producing “Tiger” are the main things to do now.
“hamada-takeshi.com” is a personal gallery site. I have started this since 1998 but it used to be run in the name of “617” first. However, through the art direction for “Tiger” and contributing to other media with my works, I found that I used too many names and it was quite confusing. Thus I stopped to use the name for the gallery and changed to my own name domain.
As for “Tiger”, I feel like publishing a magazine through a screen rather than running a site.
When did you start to run “Tiger”?
When I was studying in Germany, a student from the faculty of the on-line asked me to produce something as an assignment during summer holidays. So I made “Die Daumenkino” (means a sliding cartoon) in Flash just for fun. That student said, “What’s this..? Do you have anything else?” but it was a prototype of a freepaper for me. It was winter in 2000 when I made “Tiger” 0 issue. I gave it a name “Tiger” because it was my nickname at that time.
How do you select graphics, illustrations, photos and other works for “Tiger”? Do you have any special selecting points?
First of all, I see works from a page structure point of view. I check whether I could make a good balance with them as a one whole thing. Therefore, even though it is a great work as an individual work, there are many works I had to decide not to use.
Whether they suit my current preference or not is the second point.
And finally, I check if a quality of a work can be kept when I change its size to meet the limitation of data in Tiger.
I would like to know about the web cinema “Trunk” that is on at the moment. What sort of cinema is it?
This is a short movie directed by Mr Shinji Aoyama. It is running as the web cinema and showing only on the Internet (Speaking strictly, you have to download them to watch).
Once viewers get visual tools and collect them in their computers, they now can watch them. Also, if they choose a viewpoint, called Share Mode, they could see logs of comments from others about the cinema in an interesting way.
What were you in the charge of in this cinema?
I was in the charge of a visual direction as a whole. I made a format as well.
A poster and a flyer used both for “Trunk” and a collaborative event “Sound Republic Vol.4“, plane formats for the web and visual tools are the other things I made.
“TYO-ID” dealt with details about motions, letter operations and others. The best feature of this tool “Share Mode” is Mr Yugo Nakamura’s idea and he made it.
Do you have any interesting episodes, points you found them difficult and new discoveries through this production?
I found it difficult in a digital media. My principal profession is a printing design so that I believe my understanding about this genre is pretty well and I can bear responsibility for that. However, I have not understood about digital media well yet both technically and physically. So if I could say this in a good way, this can be called a collaboration work. In a bad way, I had to rely on somebody about something.
Also, it was very difficult how much I could be confident of my ideas with a technical support was a hard point, because I have to keep a distance between creators and myself. However, I could get to know many creators from various unknown genres through this project. I now think that it was a great experience to work with them and I learnt many things.
Thank you for making a cover design for this latest issue. What did you image and how did you make this?
I was thinking it would be nice if flowers will increase when I was drawing a rough sketch. But the flowers became like clouds so that I put an effect that moves them fleecy. Special thanks to Lucio Gelsi.
Please tell us your future plan?
Making a new font every year is my theme. So I would like to give myself plenty of time to do this. Since I have got several contributions at the moment, so it would be nice if I could do something new through them.
As for “Tiger”, I have got support staff in Tokyo, Osaka and Germany. By linking these basements each other, we are now carrying out a new project.
Address : 9-1-7#617 Akasaka, Minato-ku, Tokyo, Japan
Fax : +81-3-3475-0214
Text & Translation: Sachiko Kurashina