DI: What is the main principle, idea and inspiration behind your design?
: Calligraphy and street art.
This work is a letter, it is also a picture.
DI: What has been your main focus in designing this work? Especially what did you want to achieve?
: 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.
DI: What are your future plans for this award winning design?
: 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.
DI: How long did it take you to design this particular concept?
: It took me a year to figure out the style.
The concrete image solidified in a few days.
DI: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
: 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.
DI: 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?
: 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.
DI: What made you design this particular type of work?
: Please look at my portfolio.
This work entitled KANJI-LINE is this series.
https://www.behance.net/miltz
DI: Where there any other designs and/or designers that helped the influence the design of your work?
: -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
DI: Who is the target customer for his design?
: Although not decided in particular,
I think that I want you to resonate with younger people and older people.
DI: What sets this design apart from other similar or resembling concepts?
: The concept of graffiti that changed kanji.
Also, the use of beard characters, which is a traditional Japanese style of letters.
DI: How did you come up with the name for this design? What does it mean?
: As it is, it is a line deforming handwriting of kanji. ... Kanji-line
Drawing kanji ... Tengafuchin
DI: Which design tools did you use when you were working on this project?
: picture:Acrylic paint, Stencil, Fluorescent spray flame:wood, paint
DI: What is the most unique aspect of your design?
: It is a form that is between the letters and the picture and is a form written on a clear meaning.
DI: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?
: It is a work of only one person.
DI: What is the role of technology in this particular design?
: There is no big role.
My sense of self expression is great.
Other aspects of character and culture research may exist.
DI: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?
: 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.
DI: What are some of the challenges you faced during the design/realization of your concept?
: 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.
DI: How did you decide to submit your design to an international design competition?
: 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.
DI: What did you learn or how did you improve yourself during the designing of this work?
: 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.
DI: Any other things you would like to cover that have not been covered in these questions?
: nothing special