How do the works of Picture Book Creative Team tupera tupera attract people?

UNIQLO pajama collection featuring motifs from popular picture books beloved around the world. The current collection features works from the popular picture book creative team tupera tupera, which is known for its distinctive use of color, character designs, and stories originating from unique inspiration. We asked the tupera tupera creator duo of Tatsuya Kameyama and Atsuko Nakagawa about their thoughts on creating works of art.

Joy of Creating Things by Hand

tupera tupera has been creating works of art for roughly 20 years. During that time, they have continued producing various works including picture books and illustrations, while also conducting handicraft workshops and providing art production/direction for TV programs. In addition to picture books, the duo also produces theatrical stage designs and other three-dimensional works of art. Each of these works fully express tupera tupera’s unique ideas and worldview. Such works appeal to a wide range of generations from small children to adults. What is the secret behind their appeal?

──Your team has produced various works of art, starting with picture books. What elements are absolutely necessary?

Kameyama: I would probably have to say that the common thread running through all of our work is producing things by hand. At any rate, we really like and enjoy the sensation of creating things right before our own eyes. As a team, the two of us initially started producing stuffed animals, actually using old sewing machines. Even now we insist on using scissors and paint to create things. Even when preparing stage and set designs, we start by cutting and pasting paper to create rough images of what we hope to make.

Nakagawa: We create works based on what we can see with our own eyes and touch with our own hands. This holds true for all of our works, even goods, picture books, and illustrations.

Kameyama: The people we work with probably, in their hearts, want to receive our works in a data-based format [laugh]. However, we are truly analog-based, probably because it is hard for the two of us to work together using a PC. We are not cut out for working with PCs. That said, everyone seems to delight in seeing the rough images we produce.

──What is the reason for insisting on creating works by hand?

Nakagawa: Our works of art are basically collages made by actually cutting and pasting paper. I think this process allows for the emergence of our own unique expression plus some spontaneous elements. When looking at paper spread out on a desk, each piece of paper has different color tones and feels. As such, they produce unexpected combinations and spark new ideas. I think spreading out real materials before our eyes allows the two of us, as well as those working with us, to come up with many more new ideas.

Kameyama: For example, when we run handicraft workshops, the ideas of various participants are added and new things are created. We are truly happy when the objects created through this process lead to surprise, laughter, and emotional responses. Each time we have received an order from people and corporations, including those from completely different types of businesses, we have done everything we can to meet their requests. I think that is precisely why we have continued developing new methods of expression. This “chemical reaction” is always being repeated.

Producing Creative Ideas

──Your character designs and story development, which are rich in originality, produce very strong impressions. How are you able to come up with such ideas?

Kameyama: In many cases ideas emerge from our motivation to do something we have never done before. I think the seeds of ideas can be found in various everyday things. Ideas can emerge by just watching TV or looking at things around town. Each time I find such a seed, I tuck away the key word in the back of my mind.

Nakagawa: Basically, Kameyama is the “idea man,” but together we talk about how to best develop each seed of an idea. Then we mix together our various ideas that emerge at the same time. A single idea can be expanded into several variations. From there we might fine-tune the work to realize something simpler.

Kameyama: As Nakagawa enjoys the production processes, she has a heightened level of excitement during production. We have probably realized a good approach to role sharing.

──What points do you keep in mind during the production process?

Kameyama: There is the sense that the production is one aspect of having fun. So, I think we avoid taking the process too seriously. We are fastidious about those areas where we refuse to compromise. When producing our works, we take into consideration such points and the book’s paper and printing ink, as well as sales floor display methods. We even think about how the products will be delivered to people. We adopt a mental attitude of being fastidious, while still remembering to have fun.

──Among your many works, Polar Bear’s Underwear and Fruit Folk were selected as motifs for the UNIQLO pajama designs. Can you tell us how the ideas for these books originated?

Kameyama: We initially created a book cover featuring a polar bear. Then we thought it would be interesting if the polar bear wore underwear. From there the idea for the story emerged. We worried about whether the polar bear’s underwear should be made using paper or cloth. During the trial stage, one of our editors brought us cloth underwear, which we thought was a bit too realistic (laughing). Through this process we decided to use paper for the underwear. We also liked the idea of creating a design such that carrying the book would look like carrying a stuffed animal. So, the form of the polar bear boldly fills up the book’s cover. In this case, such details were determined first, with the actual content of the book determined later. The aim of “Kudamono san” was to first convey in simple terms content that is easy to understand. We feel that readers can more easily connect with the emotions when the content remains simple. I think our approach is to create art that also considers how the works will be used and by who.

──What did you find difficult with the production process used to incorporate your picture book motifs into pajama patterns?

Nakagawa: In the case of Polar Bear’s Underwear, as was true with the picture book, slight changes to the beige color tone used for the background easily changed the overall impression. So, decisions were made through a process of repeated exchanges. We were grateful that UNIQLO placed such importance on the picture book’s use of color, feel of the material, and world view.

Kameyama: I think that color expression for our drawings is difficult to reproduce. For example, we used pencil dust to provide shadowing for the white sections of the polar bear. The key point of this picture book is a polar bear who is actually wearing white underwear, so we needed to create a slight color difference between the polar bear’s body and the underwear. I think reproducing this difference using cloth entailed many difficulties [laugh].

Nakagawa: Another point was the arrangement of patterns for both the pajama tops and bottoms. In most cases, UNIQLO pajamas consist of tops with patterns and solid color bottoms. However, this time we spoke with the parties in charge and proposed using the motifs for both the tops and bottoms, as that would be cute.

──You have been producing works of art for a long time, during which you became parents. Has the responsibilities of parenting impacted your work? Also, through your work, what messages do you hope to convey to children and adults with children?

Nakagawa: We are often asked that question. Initially we continued creating works while frantically trying to raise our child. As such, I failed to recognize the positive influence our child was having on our work. However, when I finally had some time to stop and reflect, I could see that the many unconscious influences and how interaction with our children led to many new ideas. The stance we take to our work has not changed, but the range of inspiration for our work has certainly expanded.

Kameyama: It’s very interesting. Particularly in my case, I found many instances in which I became synchronized with my own childhood, especially when looking at my son.

Nakagawa: That is because he and our son have the same interests [laugh]. They both like giant monsters, ghosts, vehicles etc.

Kameyama: The works we produce seem to be aimed at children, but children are keenly sensitive and their ideas are fascinating. There is the Japanese word “kodomo-damashi,” which means a simple trick that can easily fool a child. However, any works created with that sentiment would not resonate at all. Our hope is that adults will also appreciate the fun incorporated into our picture books and handicrafts. Sometimes when a father brought to one of our workshops creates something really good, his child’s eyes will light up with an expression of true joy. Parents having such pure fun probably impact their children in a positive way.

PHOTO: RYUMON KAGIOKA

©tupera tupera/Gakken ©tupera tupera/Bronze Publishing Inc.