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.

Takeshi Hamada
Address: #617 9-1-7 Akasaka, Minato-ku, Tokyo
Tel: +81 (0)3 3475 0214
hamada@hamada-takeshi.com
https://www.hamada-takeshi.com