KOSAI SEKINE / BIOGRAPHY
Director Kosai Sekine’s sophisticated and witty sensibility is evident throughout all his work. His outsized creativity and storytelling stands poised at the crest of a new wave of branded and interactive content in Japan’s creative community. Sekine made his debut in 2005 with the much-talked-about “Right Place”, a darkly humorous yet compassionate slice of life short film about a man with OCD. The following year he won the Young Director Grand Prix award at the Cannes Lions International Festival of Creativity for his work on “Daughter”, a TV spot for the Raindance Film Festival. In 2010, he directed the “Nike Music Shoe” campaign, in collaboration with breakbeat unit “HIFANA”, creative technologists “Rhizomatiks” and W+K Tokyo. This groundbreaking campaign redefined the power of branded content, and took the Silver Award in the Film Craft category at the Cannes Lions. It was the second year in a row that Sekine received a Silver at the Lions, cementing his status as a director of international repute. He is known for marrying an unbiased, borderless worldview with verité-style images and grounded perceptions of Tokyo and Japan. His innovative direction and creative use of symbols in portraying a neo-futuristic Tokyo for the music video “Maledict Car”, a collaboration with Jemapur and W+K Tokyo Lab, were a hit on the global creative scene. Sekine resides in Tokyo and is currently involved in a wide range of projects including TV spots, webfilms, music videos, and short films. His clients include top brands Nike, Uniqlo, NEC, and Shiseido. With his signature inventive visual expression, Sekine continues to be a pioneer among Japanese directors.
(words by Bruce Ikeda)
His management company in Tokyo is GLASSLOFT. Also Kosai belongs to JKD Collective as a visual artist. For international projects he is represented by productions as below.
Stink: London, Paris, Berlin, Shanghai
Stink Digital: New York
PTT Films: Istanbul
Ursula: Buenos Aires
Ok. Now you will have an idea what French call the “Second degré“…
Made this crazy video, made the music and “lyrics”, part with my iPhone and also the Mac (of course).
What is the idea?
Errr… Well, let’s say the non-communication between creative candidates and the world of HR. I think, sometimes, they are on different planets each of them. Like Aliens.
Who are you? Graphic designer? Creative director? Artistic director? What does this mean? What is your job exactly? What do You Want??
These are the latest reports from HUDSON about Hiring, HR trends in Asia; salary in advertising and communications fields.
I’ve made a special ISSUU about it. But To view directly The Hudson Report results and analysis, please click here.
The Hudson Report Quarter Four, 2009
“Hiring expectations continue to rise at an accelerating rate. Overall, expectations are higher than they were a year ago and it now seems that the ‘green shoots’ are here to stay.”
Mark Carriban, Managing Director – Asia
- Hiring expectations are rising sharply and this survey of nearly 500 executives across key business sectors shows that 35% forecast headcount growth in Quarter Four (Q4) 2009, up from 22% in Q3;
- Hiring expectations are rising faster in Hong Kong than in the other markets surveyed in Asia;
- Across all the sectors surveyed, respondents say that talent development and improving staff retention are their key HR priorities for 2010;
- One-third of respondents say they would employ someone who has been out of work for more than a year;
- Where employers are prepared to hire the long-term unemployed, previous experience and track record are given as the principal reasons;
- Respondents in the Consumer, IT&T and Manufacturing & Industrial sectors are more confident about finding local talent for senior positions than those in Banking & Financial Services, Legal and Media/PR/Advertising.
Managing Director, Asia
AIGA, the professional association for design, stimulates thinking about design, demonstrates the value of design and empowers the success of designers at each stage of their careers. AIGA’s mission is to advance designing as a professional craft, strategic tool and vital cultural force. Founded in 1914, AIGA remains the oldest and largest professional membership organization for design, and is a nonprofit, 501(c)(3) educational institution.
What is graphic design?
Article from AIGA Career Guide
Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? You could tell people one by one or broadcast by radio or loudspeaker. That’s verbal communication. But if you use any visual medium at all—if you make a poster; type a letter; create a business logo, a magazine ad, or an album cover; even make a computer printout—you are using a form of visual communication called graphic design.
Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements—typography, images, and the so-called “white space” around them—to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you’re wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.
Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography.
Designers develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.
In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.
In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.
When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.
Image and type
Designers often combine images and typography to communicate a client’s message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.
Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What’s more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.
Symbols, logos and logotypes
Symbols and logos are special, highly condensed information forms or identifiers. Symbols are abstract representation of a particular idea or identity. The CBS “eye” and the active “television” are symbolic forms, which we learn to recognize as representing a particular concept or company. Logotypes are corporate identifications based on a special typographical word treatment. Some identifiers are hybrid, or combinations of symbol and logotype. In order to create these identifiers, the designer must have a clear vision of the corporation or idea to be represented and of the audience to which the message is directed.
Graphic Design: A Career Guide and Education Directory
Edited by Sharon Helmer Poggenpohl
The American Institute of Graphic Arts
From: Latest News – Xinhua
Hong Kong Secretary for Commerce and Economic Development Rita Lau called in London Sunday for more collaboration between Hong Kong and London in the development of creative industry, a government press release said Sunday.
Noting that London is renowned as the global center for creativity, Lau said she gained first hand knowledge of UK’s latest creative industry landscape and had very fruitful exchange with leaders of the UK creative industries in these few days, according to a press release from the Information Services Department of Hong Kong Special Administrative Region (HKSAR) government.
At a roundtable meeting chaired by the UK Minister of State for Trade and Investment Lord Davies, Lau met with top designers and key representatives of British creative sectors.
She introduced to them Hong Kong’s solid foundation and aspiration in the development of creative industries, and the participants were interested to learn that Hong Kong had drawn reference of the UK model in setting up a dedicated agency, CreateHK, to support Hong Kong’s creative industries, the press release said.
Lau visited the Central Saint Martins College of Art and Design at the University of the Arts London, which is Europe’s largest center for education in its field offering a wide range of undergraduate, postgraduate and research opportunities in arts, design and performance.
Noting that nurturing of talent was high on the HKSAR government’s agenda of promoting creative industries development, Lau encouraged UK creative industries institutions to establish bases in Hong Kong.
Upon completion of her three-day visit to London, Lau also took the opportunity to visit a number of major establishments in the cultural, art and creative field.