ABOUT THE COVER THE ARTS ‘n’ PIXELS feature different digital illustrations from different artists which shows that everyone can create various styles of drawings by using the medium that is used in modern time — today.

02

FEATURED

ARTISTS

Table of CONTENTS 31

02

About the Cover

05

Editor’s Note

08

Mika Pikazo 09

08

31

16

Mai Yoneyama

22

Yuno 25

36

16

36

22 40 28 04

Yuno - Interview

28

Hotetige

31

Popman3580

36

Katorei_

40

DenQ 41

16

Mika Pikazo - Interview

DenQ - Interview

Editor’s

NOTE

EDITOR RHUNA POLANCOS ASSOCIATE EDITOR RITA KUROSAWA MANUSCRIPT EDITOR LANCE UBALDO

The ARTS ‘n’ PIXELS Magazine is built upon an idea that art is universal and fun. Being the premier worldwide artist’s magazine in the world, The ARTS ‘n’ PIXELS embraces the idea and explores the possibilities of art in every page. Published monthly and compact in digital publishing, The ARTS ‘n’ PIXELS offers practical know-how for all styles of artist. The ARTS ‘n’ PIXELS covers topics ranging from art and anything that’s design-related, digital art, architecture, and others. These include feature interviews, entertain, inspire and inform readers about issues and events of importance to them. A publication like this requires much more that journalistic writing or superb layout; it demands a great deal of passion, impulse, energy, and a knack for visual communication.

Email us on: [email protected] Follow The ARTS ‘n’ PIXELS on social media!

B

digital illustrations. Before the rise of the digital art, there was, and until now, a hot string between traditional and digital artists, but as time went by, slowly artists are embracing the modern and technological way in drawing illustrations. As a digital artist myself, the only difference between the two is the medium of expressing own’s creativity. In this time where Artificial Intelligence are trying to overpower the originality, hard work and effort, that every real artists who spend and dedicate their life in creating their masterpieces, let us not forget the elegance and grace in creating artworks and the satisfaction we feel looking at the picture you made for hours. Let us not be intimidated by those art-stealing machines that generates soulless pictures.

efore creating this magazine, I had the thought of wanting to show to people the beauty of the works of the digital artists that I admire. This project gave me that opportunity and I would be glad if you would read the articles and interviews of the featured artists that we picked for this publication. With this magazine, I would also like to convey to the readers especially the artists who are also striving in the art industry the creativeness of these artists and how they can transform Rhuna P. their ideas into beautiful

“Let us not forget the elegance and grace in creating artworks”

Editor’s Note | 05

06 | About the Editor

Author / Mitsufumi Obara

pixiv.net/users/1039353 @MikaPikaZo [email protected]

Illustrator

Mika Pikazo

Born in Tokyo in 1993. After graduating

the comic market, etc., and is energetically

from high school, she became interested in announcing her own projects. South American video technology, advertis-

Mika Pikazo is primarily known as a light

ing design, and music, and moved to Brazil for novel illustrator for titles such as Apocalypse about two and a half years.

Witch: Houshoku Jidai no (Saikyou) tachi e.

After that, she returned to Japan and started She is also the designer of the avatars for working as an illustrator. She handles a wide

several Vtubers (Virtual Youtubers) including

range of character design drafts, key visuals,

Hakos Baelz of Hololive English, and has also

book illustrations, and original story planning done character designs for the mobile title drafts. She specializes in vivid color sense Fate Grand Order. and attractive character design, and is active

Within the Fire Emblem franchise, she is the

regardless of genre.

lead character designer of Fire Emblem En-



gage.

Aside from his commercial activities,

she continues his coterie activities through

08 | Mika Pikazo

“Being true to what you love is essential.” – Interview with popular illustrator Mika Pikazo



In our follow-along teaching series,

cover illustrations, Mika Pikazo supposedly

sensei, popular illustration artist Mika Pikazo

had a low point in the past where she even

offers us a glimpse into her creative process.

considered giving up art.







Today, on pixivision, we have an in-

For the many youths of this generation

struggling with wanting to become a profes-

terview where she talks about her journey

sional iillustrator but not knowing where to

to becoming a professional and offers some

start, her talk has a lot to offer!

pointers on drawing! Though widely in demand now for her character designs and

Interview ・ Mika Pikazo | 09

The illustration she completed for our session.

Because I draw them so often, I’ve gotten used to the movements involved. They sometimes creep into my drawings even without me knowing. - So are Japanese patterns a chief focus for you and your drawings?

A single drawing filled with heart, body and mind -Thank you for taking the time today! Before we get started, could you tell us about the theme for today’s illustration? For today’s making-of session, I thought it would be nice to use a bunch of my favorite designs with a “cute and colorful” theme. I plan to design a Japanese pattern combining vivid colors like bright reds and yellows. - Many of your drawings are traditional Japanese-themed. In your mind, what defines the central appeal of Japanese patterns? Their common motifs of elaborate patterns going beyond simple shapes, incorporating petal and wave designs makes for their extravagant, yet delicate appearances. I find them appealing because of how easily their expression can be changed by how they are drawn. - That’s true. To the novice, Japanese patterns might be daunting because of their detail. What are your thoughts on that? 10 | Mika Pikazo ・ Interview

No, I wouldn’t say that they’re my main focus, though I do enjoy drawing them. What I try to keep in mind when drawing is the “worldview.” Rather than making single, flat, one-off drawings, I try and think of the world inside the drawing as well as the characters living inside of it. Taking the drawing today, for example, I try to depict the interactions between characters and objects, such as the bird on the umbrella pattern, as if they were in motion in front of the viewer. Doing the art for Kouta Nozomi’s Aisare World (HJ Novels) was the first time I did novel illustrations. During that time, I realized that my drawings wouldn’t just be single drawings, but that they would become part of the story, which was very meaningful to me. That’s when I started wanting to draw things that would be more than individual drawings.

It is important to set the tempo to prep before drawing - We believe that many of your pointers in today’s making-of session will be universal to different kinds of art. Is there anything you pay special attention to when you’re drawing?

wanted to draw halfway through. Having a solid rough will make every transition afterward smoother, keep up your work tempo, and you’ll have better control over what takes shape in the end. - Interesting. Speaking of tempo, what does that process look like? Me, I listen to music while I work. Having an upbeat song playing keeps me working at a good pace, and I often have something uptempo like house music playing when I first start working. During the finishing stage, I have fast songs playing. I pick from Lady Gaga, Skrillex, and also anime songs that I like. By the way, the music I listened to while making today’s illustration was Ringo Shiina. I say good pace, but I don’t mean that I work faster or spend less time on it (if anything, I do-over quite a bit). What the tempo helps with is letting me work through trial-and-error with a good disposition and pace. It helps me decide when and where to compromise and be satisfied enough to move

If I’m drawing a character from an anime or game for fun, I do my best not to deviate from the original color scheme. Conversely, if I’m making original illustrations, I spend some time experimenting with different colors that will fit with my conception of that universe. It’s important, when projecting a mental image onto canvas, to spend plenty of time on the rough before you get to the later, permanent coloring stages. By spending a lot of time on the rough, you’ll have a firm grasp of what you want to draw before you get down to it. Conversely, if you don’t spend time on the rough, you’ll on to other parts. start to get lost as to what you originally

Interview ・ Mika Pikazo | 11

The change in mindset helped me affirm her desire to become a pro - Moving on, tell us about your journey in becoming a professional illustrator. When did you first start drawing? Since 2 or 3. I’ve always loved drawing as long as I can remember and was pretty good at it, so I knew I wanted to be a professional illustrator. But there were many times things didn’t go my way, and, when I think back, I may not have had the perseverance to make a living as an illustrator. But around when I was 20, I realized and understood my own lack of maturity. I once quit doing art for a living, but eventually I realized that I still loved to draw, and I resolved to become a professional illustrator.

then. What specifically was it that you went through? Near the end of high school, I was a state of not knowing what I would do or what my calling was. And so, right after graduation, I ended up going to Brazil through a relative’s connection, and I stayed there for about 2 years. I left Japan when I had that strong feeling of wanting to become a professional illustrator, so living life so far from home might have even strengthened that resolve that much more. It was around then I’d gotten a brief job to make illustrations for a social network game. I realized then this was the very kind of work I’d been aspiring toward, and I’d felt a conviction, stronger than any feeling I’d felt before, that this was what I wanted to do for a living. When I looked at my finished illustrations, it made me think, “Even I can do something,” and it revived my ambitions to become a professional illustrator. I decided I want to stay in this world of illustrations, and drawing is what will keep me connected to it. It was a big turning point, looking back on it.

- There was a big “turning point” for you

‘Revenge Pop’ 2022 Mika Pikazo Art Exhibition

12 | Mika Pikazo ・ Interview

The change in mindset helped me affirm her desire to become a pro -Please tell us about what you’d like to do in the future. I would like to work with people in different fields than me, like music or film. Just like during the time I mentioned before, I want to experience that feeling of my art becoming part of someone’s work. And above all, in order to repay so many people and creators who’ve supported me in my low points and encouraged me to keep going when I thought I couldn’t, I’d like it if my art could contribute and be something that helps other people. - Lastly, could you give us a message to

all your fans and fledgling illustrators that want to go pro? My desire to improve comes from my love for drawing. There were sides of me that didn’t fully agree with that when I left for Brazil, but ultimately pursuing that love in spite of my circumstances is what, I believe, allowed me to become who I am today. My love is what saved me. And I don’t believe that love is limited to, or should be focused on just art. You can listen and really meditate on music, and let that inspire you as you create your art. Through a person’s love and passion for what they do, a world will be created that can only be created by that person. . So, please, follow your passions until you’re su0 re that it’s what you want to do. Feel and experience many different things. You are the only one who can decide your direction. If you have faith in that intuition of yours, I believe one day that path will open up!

Illustrator and animator

Mai Yoneyama

Illustrator and animator, Mai Yoneya-

ma produces emotive expressions with consistent skill and outstanding sense. Worked on projects such as the “Racing Miku 2016” and the Evangelion apparel brand “RADIOEVA”. She has also been involved in many animation projects, including character design for the anime “Kiznaiver”, and the ending animation for “Darling in the Francis” and “Promare”.

‘illume’ 2021

@yoneyamai rearise.sss.applibot.co.jp 16 | Mai Yoneyama

‘This one is the art of creation vs oneself. I think it’s also pretty easy to understand. We all fall into art slumps sometimes. The hands surrounding her are plaster casts.’

‘SHE WILL’ 2019 Mai Yoneyama | 17



This is the first picture go home in the early morning

I drew for my solo exhibition.

when there are lots of crows and

I planned to use it to decorate

rats everywhere. It really makes

the exterior of the gallery, so I them feel alive when I see them was conscious about making it

scavenging through garbage for

keep in balance with the build- food. I chose this theme because ing. The “Main Visual Trilogy” is a

I feel a strong sense of vitality in

series about living things in the

Shibuya. This is the essence of

city. Recently I’ve been work- the city anthropomorphized. ing in Shibuya and sometimes

18 | Mai Yoneyama

‘SHE RAVEN’ 2019



This girl is based on a city rat.

Inspired by the artist Kei Mochizuki, I wanted to draw a girl with big eyes, an intense gaze, and a big, frilly dress. Her dress looks like it was made out of garbage bags. I also quite like the steel frames and building materials present in the picture.



If you look closely,

you’ll see she also has a tail. And there are thin cords that have been gnawed on. But I don’t necessarily need to tell you any of this. The person looking at the picture is free to have their own interpretation.

‘SHE BLACK-RAT’ 2019 Mai Yoneyama | 19

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‘B&T APC9-K’ 2020

22 | Yuno

Illustrator and watercolor artist

Yuno



After graduating from the morning ses-

sion of the Setsu Mode Seminar, she has been working as a freelance illustrator since 2013 in a wide range of fields, including Vocaloid MVs, event key visuals, anime collaboration goods, and book design.

She draws illustrations centering on wom-

en who are likely to meet somewhere in everyday life, and the light and soft colors and lines make you feel not only kindness but also strength.

Commercial magazine illustrations, goods

illustrations such as “Love Live! Sunshine !! ” and “Wake Up, Girls!” An illustrator who is active in various fields, such as animation MV director and storyboard original drawing.

[email protected] facebook.com/yunopict pixiv.net/users/128625 yuno.jpn.com @_emakaw _emakaw

Yuno | 23

Add color to everyday life with music together with Yuno Interview / Haruna Yamazaki, ITMedia



Ever since I was little, I have always been

drawing. The high school I attended was a private school that was good at art, so I took the entrance exam for an art university, but failed and got a job in sales immediately after graduating from high school.

Thinking that I might not be good at draw-

ing, I enrolled in the morning class of a school called “Setsu Mode Seminar” while working as a company employee. At a school where you can draw pictures freely, I didn’t have to teach anything in particular as a lecture, but I was just doing character croquis.

When I heard that my school students

would participate in the “Design Festa”, which was not so well known at the time, I participated in a circle exhibition with my high school friends. After seeing the exhibition at Design Festa and listening to the voices of the customers, I felt that there is still a lot of potential for various people to see it. I quit the company so that I could have more free time, and started working as a part-time jobber while doing exhibitions. I started receiving requests for Vocaloid song MVs, internet radio main visuals, posters and flyer illustrations...since the beginning of 2014. Worked as a freelance illustrator until now. She wants to draw a picture that can be seen leisurely.

24 | Yuno ・ Interview



The pen tab is a Wacom product

from about 10 years ago, and the software uses “IllustStudio”. I’ve been using a dynabook PC for more than 5 years, but recently I’ve been working on two computers side by side in order to gradually move to the iMac I received. I often use a 0.38 mm uni compound ballpoint pen for analog environments, but recently I also like using office ballpoint pens.

Shin Hashimoto, who did the bind-

ing and illustrations for the book “Jellyfish Sea Floating Boat” (Yusaku Kitano, Tokuma Dual Bunko), which I read many times when I was a junior high school student, has been the most influential in my life. I think you are receiving The book itself has many influences.

There are many good things about

drawing, but every time I have the opportunity to talk with the painter or artist I admired, or get together with people who know a lot about things I don’t know, it feels like a dream. I think.

‘(un) sentimental spica 2022

Interview ・ Yuno | 25

Interview / Haruna Yamazaki, ITMedia



This is the first illustration

‘Monochrome Underground / electripper’ 2011

I worked on for CD artwork.

The artwork I’ve always

admired was matched with the music of someone I really like, which gives me the energy to work as a freelancer now, and I’m happy every time I see the jacket.

After

graduating

from

school, I drew pictures while working as a freelancer. There are many people I have met and jobs I have received through this painting, and although it is a painting from many years ago, I often take it as a postcard at events and exhibitions.

The model is a girl named

“Sawaguchi-san” who worked at a part-time job before. So the title is “S”. She was a high school girl with a very cold gaze, and I really liked that she would stare at me like this even though I was just discussing shifts and talking about the flow of work.

26 | Yuno ・ Interview

‘unsettled’ 2015



I saw a very cute

blue sweater that was worn by an older sister at a clothing store. I thought that if it was a picture, I could wear whatever clothes I wanted, so I drew it, and it turned out to be one that I really liked.

Interview ・ Yuno | 27

28 | Hotetige

Illustrator

Hotetige

Hotechige. Illustrator. Born in Niiga-

ta, lives in Tokyo.

After working at a production com-

pany, he became a freelance illustrator. She is active in a wide range of fields, including advertisements and jackets. “lovelive! is her life. People who want to draw illustrations that are illuminated. A very active illustrator who handles the official illustrations of “Love Live!” ! and has drawn JAM’s pamphlet cover illustration for 2 years in a row.

[email protected] pixiv.net/users/4533257 skeb.jp/@hotetige @hotetige Hotetige | 29

30 | Hotetige

Illustrator / character designer

popman63580

Graduated from Osaka University of Arts,

Department of Design. 2013 P-1 Grand Prix (sponsored by pixiv) Honorable Mention. He publishes illustrations mainly on SNS such as pixiv and Twitter, and her supple and cute style attracts attention.

While working for a manufacturer, he is

expanding his field of activity as a side-business illustrator, such as book illustrations, collaboration with fashion brands, and character design.

In January 2020, he held his first solo

exhibition “Charm” (EBISU HORIZON Gallery), which was well received by many fans.

Since May 2020, the laughing entertainer

/ Soshina has been attracting attention by providing illustrations for the original music videos released on his YouTube channel.

popman3580.wixsite.com/popman3580-gallery [email protected] pixiv.net/users/4403712 @popman3580 @popman3580 popman3580 | 31

Illustrator popman3580 holds first solo exhibition “charm” in Ebisu An illustration by popman3580 featur-

an exquisite sense of balance, and

ing a supple and transparent touch.

there is a beauty that makes you want

Not only that, each work is drawn with

to look at it for a while.

popman3580’s exquisite sense of balance

An illustration by popman3580 featur-

an exquisite sense of balance, and

ing a supple and transparent touch.

there is a beauty that makes you want

Not only that, each work is drawn with

to look at it for a while.

32 | popman3580



The illustrations post-

ed every day are popular and Twitter followers are over 50,000. On Instagram, there are many posts that capture the daily lives of characters that appear in Studio Ghibli works.

In the solo exhibi-

tion, popman3580’s original worldview will be expressed through space and music.

popman3580 | 33

popman3580 | 34

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An illustrator living in To-

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36 | katorei_

[email protected] katorei_ @katorei_

katorei_ | 37

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40 | DenQ

Illustrator

DenQ

Influenced by 80’s and

90’s culture. Characterized by his retro pop colors and his works that make extensive use of letters. He publishes his works mainly on SNS.

He is active in a wide

range of fields, including advertising, magazine illustrations, and apparel collaborations.

[email protected] pixiv.net/users/2788820 @9q9qz @denjinq

Meet Japanese illustrator,

DenQ

Tell us a little bit about yourself.

— I produce works inspired by Japanese pop culture

of the 80s and 90s. I collaborate with Japanese fashion brands and clients overseas. People mainly find my work via social networking sites. Describe the city you’re living in and what it’s like to live there.

— Saitama is the land where I was born. A perfect city

next to Tokyo. Interview ・ DenQ | 41

What is the best and worst thing about

all over the world to

living in your city?

hold solo exhibitions



overseas. I would

— The good thing is that there are

museums and galleries nearby. There are

also like to do anime

many art events in the neighboring city,

and game character

Tokyo, which I like to visit often. I think

design and collabo-

that you can touch many genres of art

rate with artists from

just within a day trip.

different genres,



such as singers and

There is not much dissatisfaction

for me but summers here can get hot and

animators.

harsh … I often get sick in the summer. If you could collaboHow did you start your career in art?

rate with any person



in the world who

— My career started when I submit-

ted a contribution of a picture to an art

would it be?

magazine. When I saw them publish my



work, I was very happy to see it. After that,

to collaborate with

I sent my work again and got the oppor-

MARVEL. I am a fan

tunity to have my work published several

of the Marvel Comic

times. Recently, I often get work through

Universe.

— I would like

social networking sites. How would you Were the people around you supportive

describe the women

of your decision on working as a cre-

around you?

ative?





— I did not get much support from

— I am in-

spired by many

the people around me. Perhaps people

female artists from

think creative work is just about being

around the world on

stuck in a room. Actually, besides the cre-

Instagram and Twit-

ative work, I go out and do other work.

ter.

What are some goals and ambitions you

Were there any local female creatives

have for your future work?

that you looked up to when you were



growing up?

— To get to know more people from

42 | DenQ ・ Interview



— In the wide com-

ic industry of Japan, ‘CLAMP‘ is a female comic artist group. I was amazed by their comics when I was a kid and soon became a fan. I learned about Copic (color marker) because of their illustrations. I started drawing earnestly after learning about them. Are there any challenging aspects of being a female in your industry?

— I don’t think

gender is very relevant. Do you have any advice to young women who are aspiring to work in your field?

— Believe in your

intuition and create without giving up. Even if you feel like you’ve ‘failed’, you can always complete the work without throwing it out. Go and experience various things. Even if you think it will not matter, there will come a time when it will be useful for your creation. Interview ・ DenQ | 43

Copyright © 2010 by Wily E. Coyote All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Printed in the United States of America First Printing, 2010 ISBN 0-9000000-0-0 Falling Anvil Publishing 123 Mesa Street Scottsdale, AZ 00000 www.FallingAnvilBooks.com

ISBN 0-9000000-0-0