Silver Graphics, Illustration and Visual Communication Design · 2025
Aisanka Information Magazine
- A' Design Award 2025 Silver Winner in Graphics, Illustration and Visual Communication Design
- Awarded April 15, 2025
- CLIENT: Aichi Prefectural Government, General Affairs Department, Regional Affairs Division
- Estimated Number of Design Views: 57,996
- Verification code B6FA2515AE · Verify this award
About Aisanka Information Magazine
She was asked to create a cover illustration with the theme of Aichi Prefecture Festivals in order to spread the appeal of Aichi Prefecture (history, culture, industry, etc.) to the whole of Japan and the world. She observed festivals unique to Aichi through video and documents, captured their characteristics, and expressed the fun and uniqueness of the festivals in her own way through illustrations.
Kiyoka Yamazuki's Aisanka Information Magazine positions itself within the rich tradition of festival documentation and cultural heritage illustration, drawing upon centuries of visual practice dedicated to capturing the ephemeral spectacle of ceremonial fire celebrations. The work demonstrates sophisticated compositional intelligence through its arrangement of multiple torch-bearing figures across a carefully orchestrated spatial field, where scale relationships establish both narrative hierarchy and rhythmic visual interest. The artist's chromatic decisions reveal deliberate engagement with the thermal symbolism inherent in the subject matter, deploying warm reds and oranges against cool ultramarine passages to create maximum visual vibration while maintaining harmonious integration through the mediating presence of neutral whites and strategic black accents. Technical accomplishment manifests particularly in the treatment of flame morphology, where traditional decorative motifs merge seamlessly with contemporary illustration techniques to produce fire representations that honor heritage visual languages while speaking fluently in modern graphic dialects. The stylization of combustion into curling, spiraling arabesques suggests familiarity with historical approaches to representing elemental forces, transforming the chaos of actual fire into ordered, readable visual poetry. Thematic resonance extends beyond mere documentation toward meditation on community, tradition, and the transformative power of collective ritual, where individual participants merge into unified purpose beneath towering flames that suggest both destruction and renewal. The relationship between diminutive human figures and monumental torches invites contemplation of humanity's relationship to forces greater than individual existence, whether understood as nature, tradition, or communal spirit. How might viewers consider their own experiences of collective celebration, and what transformative fires burn within their cultural memories?
Press Kit
- Unique Properties
- This information magazine is for promoting Aichi Prefecture. It is a tool to let Aichi residents and people from other prefectures know the good points of Aichi Prefecture, and to remind them that Aichi Prefecture is a rich city with culture, industry, and tradition, and an attractive city that we can be proud of on the world stage.
- Dimensions & Packaging
- This information magazine is one of the tools to let people know about the appeal of Aichi's traditional culture, industry, and products, encourage participation in vibrant urban development, introduce Aichi to other prefectures, and promote the good things about Aichi.
Height 29.7mm x width 21mm, 18 pages.
It is a quarterly magazine published twice a year, and is also introduced to the Aichi Prefectural Government, each branch office, and other prefectures. - Tags
- #142430 Silver A' Design Award for Graphics, Illustration and Visual Communication Design Category/Kumanokodou
- Production Technology
- She didn't have a chance to actually see the festival, but she watched a video of the Aichi festival and was inspired by it to create a hand-drawn illustration (of the fun and splendor of the festival).
- Design Challenge
- Although she never had the chance to actually go see a festival, she studied videos of festivals in Aichi Prefecture and created illustrations to convey the fun and realism of the festivals. It is unclear whether the magazine achieved its goals, but in 1996 she created and published an illustration of the Tahara Kite Festival, which earned her a letter and a mini kite from the Tahara Kite Preservation Society, and she participated in the kite flying that year.
- Project Duration
- The project period was from 1994 to 1998. It was a four-year project that was published twice a year, with the focus on Aichi Prefecture and disseminating to the rest of the country.
- Operation Flow
- At the time, the Aichi Expo was about to be held, and in order to ensure the success of the Expo, the client wanted the people of Aichi to rediscover the good things about the prefecture and promote it not only to other prefectures but also to the world. So she designed the illustration with the hope that people would be able to feel the good things about Aichi through its traditional festivals that are close to them.
- Research
- The purpose of the magazine was to convey the charm of Aichi's traditional culture, industry, and products to people inside and outside the prefecture, and to have them rediscover the good things about Aichi. At the same time, Aichi Prefecture was also working hard to attract the World Expo at the time, so the magazine was globally conscious. The warmth of the hand-drawn illustrations and the unique use of color fascinated people visiting the local traditional festival.
- Inspiration
- This was an information magazine created at the time to promote Aichi to the people of Aichi and other prefectures, as well as to the world, in order to attract the World Expo to Aichi Prefecture. The cover illustration she created was based on the theme of "festivals," a tradition passed down since ancient times, and promoted the charm of Aichi both within and outside the prefecture.
- Image Credits
- ＃162363：Illustrator/Kiyoka Yamazuki 1995
#1:Illustrator/Kiyoka Yamazuki 1995
#2:Illustrator/Kiyoka Yamazuki 1996
#3:Illustrator/Kiyoka Yamazuki 1998
#4:Illustrator/Kiyoka Yamazuki 1996 - Patents
- Copyright Kiyoka Yamazuki 1995
Colors of Aisanka Information Magazine
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G0E23 ShopDesign Interview about Aisanka Information Magazine
For example, when creating a cover illustration, which is the face of a booklet, you want the illustration to have an impact (or a sense of nostalgia or familiarity) that will make the reader want to pick it up.
Also, if there is anything seasonal in the illustration, include that in the illustration.
Also, if there is anything seasonal in the illustration, include that in the illustration.
This booklet is a magazine that is published twice a year.
The cover illustration is also the face of the booklet, so we focused on creating it with a sense of the season and events taking place during that time.
The cover illustration is also the face of the booklet, so we focused on creating it with a sense of the season and events taking place during that time.
This project magazine was commissioned and produced from 1993 to 1999, but the project has already ended.
There are no particular plans for the future.
If there is anyone who would like to use illustrations like these, please contact us.
I would also like to create illustrations if I find any other interesting themes.
There are no particular plans for the future.
If there is anyone who would like to use illustrations like these, please contact us.
I would also like to create illustrations if I find any other interesting themes.
The production period is limited, so it takes 1-2 weeks for the idea and rough draft stage.
Production takes about 1 week to 10 days. If it's urgent, I will follow that.
Production takes about 1 week to 10 days. If it's urgent, I will follow that.
This design was commissioned.
It includes an illustration based on the concept of "enlivening the local area and its people" and themed around a local festival.
It includes an illustration based on the concept of "enlivening the local area and its people" and themed around a local festival.
Of course, my illustrations can be produced and used by other companies. I will also produce new ones if requested. I also intend to produce some work myself.
When I became a freelance illustrator, I wanted to express my own unique style that other illustrators didn't have (or had never seen before), so I remembered the dyeing (tube painting and stencil dyeing) of washi paper I made as a student and created similar illustrations using acrylic paint.
I see a lot of different works, so I think I'm influenced by a lot of different things. If I had to say, it would be the late dye artist (Serizawa Keisuke), African patterns, Kel patterns, Japanese patterns, etc. As for illustrators, I learned the basics of illustration from Nishiguchi Shiro, who passed away last year.
The target audience of this design is the people of Aichi Prefecture and those who support Aichi Prefecture, and it is an illustration and design for Aichi Prefecture.
This design was made between 1993 and 1999. There was an information magazine with the goal of making Aichi Prefecture a lively and attractive place for people.
I remember being impressed that Aichi had such a fun and unique festival, so I made it.
I think the concept is sound.
I remember being impressed that Aichi had such a fun and unique festival, so I made it.
I think the concept is sound.
I think the name of this design, "Aisanka,"（あいさんか） was thought up by three companies: production company &S, client planning and publishing Aichi Prefectural General Affairs Department Regional Division, editing, and design by Grand Canyon Entertainment Co., Ltd.
(I don't really understand)
The meaning of "Aisanka"（あいさんか） seems to be that it was chosen with the hope that Aichi residents would "participate" in making Aichi an attractive prefecture, and with the expectation that it would become a "hymn" to Aichi from other regions.
(I don't really understand)
The meaning of "Aisanka"（あいさんか） seems to be that it was chosen with the hope that Aichi residents would "participate" in making Aichi an attractive prefecture, and with the expectation that it would become a "hymn" to Aichi from other regions.
I don't use technology as a design tool yet.
The works from 1993 to 1999 are from about 30 years ago.
I don't rely on technology in particular (for my illustrations).
The works from 1993 to 1999 are from about 30 years ago.
I don't rely on technology in particular (for my illustrations).
Nowadays, illustrations can be created using AI, but the most unique thing about my illustrations is that they are hand-drawn.
The design was produced by I&S Co., Ltd., planned and published by Aichi Prefecture General Affairs Department Regional Division, edited, and designed in collaboration with Grand Canyon Entertainment Co., Ltd.
I don't know the details, but I'm sure they worked with people with specialized technical skills.
I don't know the details, but I'm sure they worked with people with specialized technical skills.
As I mentioned before, this work was created between 1993 and 1999, about 30 years ago. It was created around the time when modern technology had just started to be used.
I think my illustrations were created far from the influence of data or analytical research. (I think the designer in charge did some research on Aichi Prefecture, but I'm not sure.)
When I was creating the illustrations, I watched a video of a festival in Aichi Prefecture and created something that I thought was interesting.
When I was creating the illustrations, I watched a video of a festival in Aichi Prefecture and created something that I thought was interesting.
We are now in an age where illustrations can be drawn by AI. I think that hand-drawn illustrations have a warmer quality than those beautifully drawn by computer, and these days, fast, cheap, and high-quality illustrations are being praised.
How can we create illustrations that are unique to us in the future?
How can we create illustrations that are unique to us in the future?
The reason I decided to enter an illustration from 30 years ago in this contest is because I entered it in 2022.
In 2022, I received a silver prize for number 3, but at the time I mistakenly entered my next nominated work for this entry. It seems to have caught the eye of the judges.
In 2022, I received a silver prize for number 3, but at the time I mistakenly entered my next nominated work for this entry. It seems to have caught the eye of the judges.
Even though my submission was a mistake made 30 years ago, I am honored to have my work recognized in this way. It has given me a new direction for my illustrations, and I feel like I have been successful in my current direction. I would like to use this award to continue creating new works.
Nothing in particular. Thank you for asking.
Grand Interview about Aisanka Information Magazine
The first thing I received as reference material was a videotape of a festival in Aichi Prefecture.I wasn't born in Aichi Prefecture, so it was my first time seeing a festival in the prefecture.Just watching it, I was surprised and intrigued to learn that there are so many interesting (and little-known) festivals.I think the best way to convey the appeal of a festival is to experience it firsthand, be moved by it, and then create a visual.(There was probably no time or budget for this job.)I wanted to encourage people to visit the festival site by illustrating the charm and dynamism of this interesting festival.To that end, I often watched the video and drew scenes that moved me.
Even in Aichi, the festivals that are rooted in the local community are very interesting and fascinating.They are unique festivals that are specific to the area and have been supported and passed down by the land and its people since ancient times.There are many other festivals in Aichi that are known nationwide, but the festivals that people hold to worship gods and offer to them in ancient times (as opposed to commercial festivals) are very interesting (these are often called strange festivals).I picked out and drew some lesser known local festivals that fit the season.
Even before 1994, my illustrations had a fictional animal motif.The first illustration for "Aisanka" wasn't festival-themed, it was a dragon illustration.Perhaps it was the impression I got from the illustrations that inspired the image of a festival?I was just starting out as an illustrator at the time, so I don't really know what kind of impact this information magazine had on the Aichi Expo held in 2005 or the international situation.As for me, it was that I got more work drawing illustrations of festivals (though I don't draw them as much nowadays).I also got more work drawing World Heritage sites.There are still many unique festivals in Japan and around the world, and I would like to draw them again if I have the time.
The Tahara Kite Preservation Society's festival is held on Children's Day in May. The main event is a kite battle.The winner is the one who entangles the strings of their kite with the opponent's kite and cuts the strings high in the sky.We also make and fly large kites to celebrate the birth of a child, and at that time we teach children how to make kites.It was a festival where adults took on a serious challenge.Going to the site and experiencing it still brings back vivid memories, and unlike photos and videos,it is an important element of expressing things through illustrations.I think it is important not just to draw illustrations, but to convey the passion of the people involved in the festival and culture.
I did not use any special techniques or colors to express the energy and emotion of Aichi Prefecture's festivals.I think the unique warmth is the result of the goodness of hand-drawn art (fuzzy lines, uncertain shapes, etc. that can never be expressed on a computer).I did not choose any particular colors to express this, but if I had to say,I think I chose the paints used in festivals (red, green, navy blue, ochre, etc.) because I wanted to express the fun and energy of festivals.
I haven't done anything special to promote old festivals to modern audiences.I don't think there is anything more interesting and fascinating than old festivals.Festivals that were born in a place and have been passed down since, and continue to this day, have a certain charm and power to attract people (beyond age, people and race).I just enjoyed drawing them.
It was a time when you couldn't easily research things on the internet like you can today,so I think I would have gone to a bookstore to check a guidebook, or I would have gone to the location in person to check things out.I actually watched a video of the festival put out by Aichi Prefecture and drew it. (I probably also went to a library and looked at photos, right?)What I remember well is that the festival video was very interesting and entertaining.
There are many seasonal festivals that are still celebrated in Aichi Prefecture. There are many interesting festivals that are not yet known in each region.The publication schedule was managed, so I chose two or three festivals that were held during that season and drew rough sketches from them to create the book. I don't think there was any problem with the seasons not matching (not having enough festivals).
The more I draw an illustration without being at the festival, the more I look at reference materials.I try to draw as faithfully as possible (colors, shapes, format, etc.) things that are actually used at festivals, such as festival costumes and props.However, I was free to use my imagination wherever I could. I tried to draw it as fun and lively as possible, making it make you want to go out.
In rural areas, young people leave their hometowns to go to school, and when they return, there are no jobs.This is why the population is still increasingly moving to cities.Even if they want to hold festivals, there are no young people to carry them on. There are people, but they're mostly elderly...If this continues, the festivals that were once a given will no longer be possible. Festivals are an important tool that connects people, and if there are no people to carry them on, it's difficult to get them back. I hope that they will be cherished and passed down.I would be happy if I could help convey that charm with my illustrations.