Interviews with Akihito Shimizu

The coexistence of sustainable packaging systems and artistry, and the narrative and visualization of the production site from the producer's climate to the consumer.

We plan to create a ripple effect in the industry as one of the coffee industry's new visual identities, and to promote the development and expressive potential of the design.

It took about a year from the client's order to the launch of the brand and visual identity.

A product without a concept will not convey the raison d'etre of the brand, and if there is a content or ideal that you really want to convey, a concept will naturally emerge. We have established the concept by repeatedly listening to the client's ideas and requests and tuning in. The designer makes proposals for means and methods of expression, materials, and their incorporation into specific graphic design.

We work in-house on graphic design, package design, and print specifications, and consult with other companies on production. For visual development, I act as art director and graphic designer, working with artists and photographers.

I don't think it is special, but no one had ever done a label design that combined art with visualization of the producer or production area, so I was confident that it would be a special expression in that respect, and I thought it would be very easy for consumers to understand.

There are too many to narrow it down to just one.

I think it's people all over the world who are interested in coffee.

I think it's not only the sustainable packaging system, but also the fact that it puts the visual focus from the production area to the consumer.

TERRA means “earth,” “soil,” and “globe” in Italian. The brand name expresses the connection from the coffee production area to consumers around the world, and to the protection of the earth itself.

Well-known design software and photo and digital collage software.

Designing a unified visual identity rather than a singular one. Starting with the brand logo, typography, label design, artwork development, packaging containers, and print specifications that define the brand, we ensure that all materials add value and build a reason for being.

We worked with photographers, artists specializing in digital collage, and printers to bring the labels to life.

Although seemingly contradictory, the greatest technological point is the coexistence of emotionality and narrative as well as functionality.

We conducted brand research on packaging design in our own country and around the world, including labels in our industry. We carefully researched not only the superficial design, but also the brand's philosophy, concept, and behavior to identify points of differentiation.

The challenges are a real and stable logistics system to demonstrate the concept in practice, sound financing, transparency, and sustainable economics.

First, I wanted to know how my design would be evaluated in a business that spans the globe, from procurement of raw materials to delivery of products to consumers, while creating a brand using communication design methods.

That each person, thing, place, and country has its own reason for existence and story. Translating them and expressing them in a way that is easy to convey using communication design methods is a task that tests one's own thinking and experience, and nothing can be done alone. Through the difficulty and discovery of the process of listening to as many people as possible and connecting them to all the elements of the project, I was able to grow greatly.

That a cup of coffee with an open mind can broaden your horizons as you travel the world.

This may be an extreme view, but it is because I realized that everything outside of nature, including the earth, was designed by human beings. Since that realization, I have wanted to contribute to and be useful to society by creating and expressing something through the means of design.

I chose the path of a designer myself. Only a designer can help human society by always thinking about what is wrong and what is right, and by embodying what I envision.

I would like to take traditional products from my own country, transform them into designs that suit the current era for the sake of future generations, and promote them throughout the world. For example, I would like to be involved in brand design not only for food and beverages such as sake and Japanese sweets, but also for spaces. Also, as an international exchange of design, I would like to design manufacturing overseas, utilizing the perspectives and advantages of Japanese traditions.

Understanding the elements that make up a brand is important not only to deepen one's knowledge of each, but also simply to consciously experience them in one's own work and as a user. This is because what consumers and society want, what kind of attractive products should be created for them, and what needs to be done to achieve this can often be seen by constantly learning about the many designs that are in demand around the world and experiencing the brand for oneself. Such exciting work can only be done by designers. This is because a good brand contains a wealth of different ideas for consumer acceptance and satisfaction, which can only come from the designer's experience, accumulated knowledge, and perspective.

I believe that a great designer is not someone who has decided on his or her own that he or she is great, but someone who is naturally recognized by those around him or her as great.

And I believe that if that state of being continues, one can become a great designer.

So maybe the difference is just a matter of time.

It is difficult to decide which balance to prioritize: quantitative design, qualitative design, functional design, or emotional design, but I think the first step in evaluation is to ensure that the deliverables are useful to society. Sometimes the most important thing is not to design, so I think the standard of evaluation is to derive what is best for what the client is looking for. Then, I think the minimum hurdle is to comprehensively serve many people while evaluating multiple aspects of the design, such as determining whether the design is developmentally useful to the social context.

It is an abstract concept, but as mentioned above, good design is something that contributes to the greater good of people and the international community, both domestically and internationally. And we believe that it is an asset to be shared by the world, leading the human world toward peace. We believe that all humankind should now invest in good design not only for the sake of humanity, but also because we believe that the great challenge is to return the wealth gained from nature back to nature, and that this will lead to a new sense of values. for the survival of the planet we live on.

Besides commercial design, I would design for the public good and to make my family happy. The latter is rather natural for us as human beings. I think everyone wants to make their loved ones happy with the designs they create.

You may laugh, but it is a design that can only be done when you get older. I think design is an output of experience as we get older, so something that can only be expressed over time cannot be realized right now. If I want to be involved in traditional Japanese design, which is what I desire, I have no choice but to live in Japan, constantly learning and experiencing.

It is to always make an effort to keep abreast of the history that has been built up by our predecessors. In particular, analog expressions, experiences, and textures that cannot be expressed digitally are important elements that only humans can sense. As AI evolves in the future, it will be able to act more like human sensibilities, but in the end, human sensibilities cannot be realized. Therefore, the secret of success will be to continue to feel what only humans can feel.

Calligrapher Kosuke Watanuki. Katsuhiko Shibuya, an active graphic designer.

There are too many to answer this question. The more perspectives I like, the more I like. I even like the empty bottles that fall around.

A Swiss bank envelope given to me by my father, who was a banker.
It was a blank envelope with no address or signature, but when I realized that it represented a real private bank, I got goosebumps.

I think it is to be interested in and experience many things, and not to be limited to one area. It is becoming very difficult to survive in only one field, so I think the next stage that designers should explore is to multiply the specialized knowledge that human beings have developed up to now and develop that area.

I can't imagine a career other than being a designer, but if I had given up on my dream, I would probably still be a banker.

It is life.

I cannot choose. My great grandparents, parents, and family. And my mentors who have guided me to the joy of design.

My personality and inquisitive mind, I can love anything with a point of view.

I don't consider myself a design master, but how do I want to live? What can I do? The big obstacle is always me.

Brand design is very diverse, so I think it is best if you can present not only photos that document the results of your work, but also photos of scenes that convey the user's excitement and product experience.
Also, if you can always show your work from the brand's perspective, the visuals will be even denser, so I think it is best to strike a balance between the two.

It is a brand design for “Sake,” a uniquely Japanese alcoholic beverage.

I don't have any goals as a designer at the moment. I think a designer's life is richer if he/she does not set goals.

People expect you to play a more essential role as a translator of perspectives and ideas of things and events that lead to a better society and sustainable activities through your design methods.

As mentioned above, design will continue to contribute as a translator of values and as a device or method of spreading values.

It is to read traditional Japanese patterns, explore the deeper meaning of colors, and compare and study them with foreign sensibilities. By having something to compare, I am thinking of better ways to convey Japanese culture.

The brand communication design for TERRA COFFEE ROASTERS is probably one of the most satisfying projects, having received national and international acclaim.

A more three-dimensional design that is not limited to one specialty or field. In other words, it would be best to build designs that fit the time, the era, and the individual situation, not in terms of dots, but in terms of surfaces and coverage.

There will be more and more opportunities to think about design outside the earth and in space, in terms of humanity and the earth. At the same time, design in the places and countries where we were born will be reexamined.

It is difficult to say, but some projects take as little as six months and as long as three years.

We talk to the client about the subject matter and then start researching the past, the people, and the heritage in every nook and cranny of the literature. If necessary, I also do fieldwork and various consumption experiences at the same time.

“Everything you see is designed by someone else.”

I think it could be both, but trends alone do not complete a design, and creating trends with design techniques is too artificial and boring. I think a balance is important.

It would be to replace simple tasks and provide sources that cannot be examined by human power alone. Of course, there are high expectations for technology, but it alone would result in a boring product with no human touch, so it needs to coexist well to create a human-like design.

Specifically, I use Adobe creative software most of the time.

It is not enough, but it is probably an important piece in building identity.

I want to ask, “Is my design useful to you? If the answer is “yes,” they will be more than happy. If the answer is “yes,” they will be more than happy.

You will observe it carefully and try to imagine how it will benefit society. You have to wait and see if something comes to mind.

I am always in sessions with different perspectives and different expertise. For example, I collaborate with editors, photographers, artists, and other fascinating professionals.

I can't really pick one person because it varies from field to field.

Like the person, I can't really decide on one book.

I have grown by listening to senior designers and art directors, and sometimes by lectures, but mostly by self-study.

My late father.

It is not up to you to decide if you are famous or not, but to others and to society. Also, being famous does not necessarily mean being happy.

My favorite color is black. I like its strength that is not dyed in any color.
Place is Nishinomiya, Hyogo. Food is Japanese food. Seasons are spring and fall. There are too many things and brands to choose from.

Design and thinking to prevent counterfeiting is a very secretive field and not accessible to everyone. I used to be a banker, so many of the experiences I had there were very unusual, but there is also a world of technology in the design world that no one can talk about. I can't tell you any more than that.

On sunny mornings, I try to stand up straight and be regular. When I am tired after a long day of work, I drink a glass of good sake.

No, I never thought I would become a designer. But from a very young age I was drawing and collecting things that other people had drawn.

I would like the earth to be a place where people can coexist with nature as members of living creatures and where everyone can live naturally, rather than where human egos determine national borders.

There is nothing in particular that I would like them to know about me, but design is a profession that reflects strongly on a person's outlook on life and experiences. If I can inspire something in your life by letting you know about my work and my way of thinking, then I will be happy. Thank you.

V.I.plans, symbols and logos related to branding of companies and organizations,Promotional tools for sign planning, packaging, advertising, etc. in architecture and space,Exhibition / display planning and construction, WEB, etc.Incorporating design perspectives and thinking into management through various media。
We practice the design of essential visual communication.
Participation in the establishment of local communities, for regional and administrative issues,Lectures and recommendations for practical solutions using design methods,Teamwork and exhibition planning with artists active in Japan and overseas
We are actively doing it.

I think it is one of the important communication techniques. Whether or not it is visualized as a result, finding the intrinsic value and appeal of the client and maximizing it visually cannot always be achieved without honest face-to-face contact between the client and the designer.
Design is not a method of self-expression, but a strategic method that always plays a role of promotion for clients, so not only graphics but also various designs and trends in different fields, consumers' thoughts and actions are grasped on a daily basis. You need to keep it. In a nutshell, design is a fortune.

I like everything about design so much that I can't narrow down to a particular genre, but I dare to say that I really like graphic design works and their roles in fashion brands.
A message-like visual communication expression that constantly requires change and clarity in the environment where brand logo, tradition and innovation, maintenance and innovation are inherently clearly stated. The required expression must always be clear The structure itself is very interesting.

I like NIKE's branding design and visual communication the most. Not only products and designs covering all generations and categories, advertising development, graphic design, but all promotions are exciting. There is also a marketing strategy that constantly acquires new customers across generations by making things according to the background of the times, the history and tastes of people, coexisting advanced and past heritage, and skillfully developing products. It's great, but everything is named after the goddess of victory, and the story of the logo at the time of its founding is a dream story that is indispensable when talking about the brand.

The brand logo design.
Since it is related to all designs, I did not include words that indicate a specific area such as graphics.

I like paper and printing techniques the most. The joy of leaving it as a substance and the portability of having it at hand seem to make the smallest building, and I think it is a very fun platform.

It's rewarding when clients are satisfied, consumers are satisfied, and the number of regular customers called brand fans increases, but the momentary impression is the moment when something can always be impressed.

An important point to focus on in the first place is "the potential value of the client and the distance from the current user".
Once you know the true value and the distance from the user's needs, you will be able to see the challenges that you must face.
It is important to know the distance first because it is fun to drive inside the car (inner branding) and the time to the goal is optimized if you make a vehicle suitable for the distance and drive while incorporating various creative methods.

I think it's important to stay calm because my personal feelings are aimed at being beautiful and smart. Depending on the work, it may be influenced by positive emotions such as joy, fun, and wonder, but it is still important to keep calm at the end of the work because there is always a calm confirmation process.

It's joy and tension.
When the design begins to develop realistically, the joy that is hard to change spreads in my heart.

Unless various environments and conditions are met, a single promotion or design cannot solve the problem. The key is the client-designer relationship, business decisions, trends, and timing.
If any one is missing, it becomes a weak point and hinders the progress of brand development later. Of course, there are many cases where the project is carried out while correcting the trajectory, but if the timing is missed, it often leads to a big loss, so the courage of the manager is tested at the same time as the challenge of the designer. Last but not least, it is important to plan your goals (big goals, small goals).

At the store, it is important for users to pick it up, but the premise is how the product is needed by people and the earth. Since visual communication such as graphics is a technique that plays a linguistic role (translational), it is important to carry out consistent design from manufacturing to distribution, sales to consumption, so the philosophy and philosophy of the brand. , Be sure to consider your actions.

I think it is to create something that is kind to people, society, the earth, and loved for a long time without any load.

From my own profession and point of view, two-dimensional things are expanding three-dimensionally (or beyond), so I think they will evolve into a world that transcends the boundaries of fields. In reality, in medical care, environment, education, social issues, research, architecture, etc., not only flat parts but sometimes three-dimensional, interactive expressions are required, so in the future, designs that combine expressions from all fields will be created. I think it will increase.

The last exhibition was held in February 2021 by a group exhibiting greeting cards made by famous designers from all over Japan. Next is exactly "A'Design Award"? It will be.

Everything you see with your eyes and feel with your skin is the source of inspiration, information, and is transformed into more three-dimensional information through people. The best way to feed is to go out a lot and meet and interact with many people, which is the most exciting and imaginative starting point.

I can't say it in a word, but since I have a career as a bank clerk, I can think cross-cuttingly because the management perspective and the way of thinking about the economy are areas that the arts and design fields cannot have. I think that is my excellent ability and my own style. The approach is to confirm the two points of "having a fun dream" and "knowing the reality".

I live in Osaka, Japan. Japan's cultural heritage is a very important asset that always makes you aware of your identity as a Japanese, but it has become the history of the country, and the road to the present age has changed significantly before and after the war (Westernization). Japan longs for the West, and I feel that it is a challenge for many Japanese people, including myself, to not know about Japan. It is very complicated that the strengths and weaknesses always coexist, but since it is a country where information is very easy to gather in terms of knowing the world, while learning the history and traditions unique to Japan, you can get information on advanced and future thinking of other countries. Japan that can be obtained is very convenient.

Work with all companies, including the areas in which you act.
This is because a person cannot live alone as long as there is a definition of existence of self and others.

What if I was the owner of the client? What if you were an employee? What if you were a fan of that brand? I think it is important to ask many questions and propose the answers through design.
If you keep thinking about what you can do for someone and come up with an answer that only that person can think of, that would be one of the reasons for choosing.
I think a good designer is someone who can talk and is interested in people.

First, we will learn about the regional characteristics, climate, culture, industry, etc. of each coffee producing region, and then confirm the uniqueness that can only be harvested in that region. Of course, the flavor that comes from the coffee beans that can be harvested from each region varies, but just like humans, each coffee has its own personality and color. By combining local photographs, customs, and farm activities in a collage of colors, photographs, and graphics, which can only be expressed in the region of origin, the result is a visual that is unique. I thought about it and incorporated it into my design methods.

The biggest reason is that glass recycling is a system in their country and is commonplace. Glass containers are also odorless and preserve the flavor of the coffee inside. If they were made of plastic or other materials, the quality of the plastic could have a negative impact on the contents. We considered using paper for packaging, but if we wanted to add color to environmentally friendly, hygienic paper, we would have to print all over the surface, which would be very costly since we would have to be environmentally friendly not only for the paper itself but also for the printing. Glass is transparent, so we could show the color and shape of the beans, and it was an excellent choice for the theme of experience and the environment, so we planned to show that taking action to protect the environment protects the environment in the producing area and to make consumers aware of that idea.This is what makes it a true coffee experience that connects the producing area, the producers, and the taste of each.

It is very difficult to achieve both aesthetic appeal and environmental responsibility. I don't know if I've been able to do it perfectly. However, the depth of the word design is not simply about decorating the surface to sell a product, but about embodying various issues, backgrounds, and ideals in a realistic and rational way with the brand's philosophy. To achieve this, I think it is important to continue to gather information, carefully select materials, check the background of the materials used in the production of the product, and continue to question whether there is any contradiction between attention to detail, aesthetic sense, function, and effectiveness in everything.

The concept of reuse is becoming more and more popular around the world. Japan is a manufacturing country, but at the same time, we make too many cheap and convenient things for the world. There are many things that we think are necessary temporarily, but in the long run, they are actually unnecessary. Glass bottles are a prime example of this, and I wanted to include in the package the idea and message that it is not over when the contents are gone, but that we can get it again and renew it. The label is an important aspect and space that shows the visuals like a museum. The fun and joy of knowing which producers and flavors from which countries you will encounter tomorrow cannot be realized or obtained by throwing things away. The design began with the desire to appeal to Japanese people once again about the Japanese spirit of valuing things, and to have people around the world know about it.

The answer is simple. While adhering to the rules of the visual identity established in the early stages, currently, our in-house designers who understand brand design, other than me, develop designs for each producing region. The more types of coffee beans there are, the more difficult it is to develop label designs, but neglecting design development will cause the brand to lose value. It requires a lot of physical strength and perseverance, but AI cannot handle it, so we just have to keep creating it by hand.

When negotiating with distributors and gathering information on production areas, we collect various information such as the local farms and producers. It can be difficult to visit all production areas every time. We make every effort to select landscapes that show the characteristics of the farms and symbolize their charm. Not only the natural background, but also the expressions, family structure, clothing and behavior of the producers - everything is a story of nature and people, so the photos are filled with the entire story from the birth of the coffee beans to the moment they reach the consumer's mouth.

Accepting it as it is, I compose the color, texture, and overall atmosphere of the collage from various perspectives and information on the local area, such as the emotional and sentimental aspects of the place of origin, the taste, the country, and the climate. Sometimes I develop it to make rare beans look special, but basically I want people to drink it on a daily basis, so I stick to the range of what people can project from the appearance as it is into the design and communicate appropriately to people. In order to show the environment and reality of the place of origin, it is best to use a design that conveys it as it is, without embellishment or ambiguity.

It's not actually a strategy, it's an idea. It was an inevitable result when thinking about how to make everyone happy. In brand communication, it is important not to sell the target product, the maker, or the background itself, but to naturally connect them as they are and weave them into the story as a synergistic effect. Based on this idea, what is needed in both the physical and experiential aspects, and by carefully listening to the true feelings, concerns, and ideals of all stakeholders, the expression and outline of the brand will become clear. If ideas are added to this, you will have a perspective to design unique actions, and the brand's character and behavior will also be decided, so I think it will depend on how much you can realize what only that brand can do.

Japan's specialty coffee industry is currently in the process of exploring its future. It needs to be a viable business, but to survive in this industry, it will be essential to make the production areas visible on a global scale like TERRA COFFEE ROASTERS, to be considerate of the environment, and to communicate this in a careful manner. Products that are made by unknown people and where they are made will become increasingly difficult to see in the future, and it is reassuring to know who made the products you eat, especially. I think the important thing is not to give up on the fact that everyone, including producers, distributors, processors, and consumers, is connected to happiness, and I think this is our last chance to create a sustainable world. I would be happy if such ideas and thoughts could be spread through cases like TERRA COFFEE ROASTERS. Thank you.