I think calendars are pretty unique as a form of expression. They’re not exactly items of interior decor. Nor are they graphic art. They’re usually produced in a way that exploits this ambiguous nature. They represent a kind of sanctuary for taste in that even people with discriminating taste who don’t compromise in wallpaper or chairs may take a more relaxed view of calendars. In some ways, they aren’t products of deliberate design, but they are nevertheless, subject to our scrutiny throughout the entire year, which gives them an air of strength and completeness. I can’t think of another medium that exhibits this kind of “combined charm.” It is this slightly handicapped nature of calendars that I tried to work to some advantage. I feel I exploited it in a blatant way without taking an attitude of “this will make it look cool”. I’m grateful to TDC for recognizing my effort.
Born in Tokyo in 1961. Graduated from the Kuwasawa Institute of Design in 1983 and founded the Sarubrunei Co.,Ltd. in 1990 where he was extensively involved in art direction for advertisement, books, visual art and digital media projects. He has also been producing “Dobutsu Bancho” series for Nintendo Cube game machines. Past awards include the New York Disk of the Year Grand Prix, the Industrial Technology Governor’s Award from the National Catalogs and Poster Exhibition, the Minister of Trade and Commerce Award from the 1994 Multi-media Grand Prix Competition, the Japan Software Grand Award, the 1995 Game and Entertainment Grand Prix in the International Digital Media Awards, the 1996 Design Distinction Award from the I.D. Magazine Annual Design Review, the Best Interactive Award from Animation Kobe ’96, Best CD-ROM 1996 from CD-ROM Fun, The 1996 Best of Game from Tiger Mountain, and the Best Visual Designer for 1996 from the AMD Award Competition.