Yoichi watanabe photographer business
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GNOMIC BOOK
'LIKE' - Ryan Debolski, 2020Shortlisted for the Aperture / Paris Photo First Book Award
'LIKE' is especially meaningful to me because it crosses over with many of my own interests about capital and the Middle East - so it made sense that I should write the essay that accompanies the project. It was a pleasure to bring this book to fruition; almost every project has some small thing we would have done different, but to the best of my knowledge, this one has none. / Jason Koxvold
Ryan Debolski made this work during a year in Oman as part of his Fulbright Fellowship in 2014. LIKE explores the physical and digital relationships of the migrant workers who build the infrastructure of Oman, a rapidly modernizing country rich in oil and natural gas. These men, predominantly from East Africa and the Indian subcontinent, communicate using widely available, low-cost smartphones that help them cope with the social isolation they face while living in camps for years. As quickly as new friends are made, others disappear without a trace, never to be heard from again: workers are deported for various reasons, or shuffled around to different camps throughout the region.
The book includes an essay by Jason Koxvold entitled Raw Material: Capital and Exploitation at the N
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<Skybus Niseko> Like the start in Niseko! Special start tour! !!
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『After seeing the overwhelming background art of "Princess Mononoke", I thought, "I want to work as a background artist!』
Although you have been active as an art director, your career before that would be rather unusual for most people aspiring to work in the animation business, isn’t it?
Many people who watch a Ghibli movie, get inspired and want to join the animation business. But they think it is not easy to become an animation artist, is it? Were you good at drawing as a child?
After working for several background art companies, you joined Studio Ghibli. How did you come to join the company?
Could you tell us in an easy way what the role of the art director is?
When designing the visual image, do you go on location for each film?
The colour palette used by masters such as Kazuo Oga and Nizo Yamamoto are a little different from each other, aren't they? Do you specify the colour palette to be used depending on the work?
『For me, NICKER Poster Colours make it easy to paint small details.』
In the current anime business, there are no more celluloid drawings, the characters are CG, and the backgrounds are more and more digital. What are the cons and pro’s and differences b