Masami Yamagishi is an event producer that manages a design production company on one hand and produces events with creative charm on the other. While serving as the chairman of the planning committee for Sapporo International Short Film Festival which starts on October 5th, he also has Sapporo Design Week coming up on October 19th. At this event he will speak about the importance of “noticing” by sharpening the senses.
  Born in Monbetsu City, Yamagishi’s family moved to Sapporo when he started attending Sapporo Keisei High School. Referring to helping build an unfinished school track along with fellow students during this time, Yamagishi says, “My love of building something from the ground up must have started around then.” He enjoyed drawing, so he took his teacher’s recommendation and started on his path to becoming a designer.
  Following his graduation, Yamagishi started working at a design firm in Tokyo – it was there that he learned the basics of design. He moved to a major firm that designed ads for a department store, then moved to a Sapporo office when he was 28. Following the first design company that he founded with friends, he started the company he still heads, called Marketing Communication ERG, in 1988.
“ERG is a unit of measurement that stands for the amount of work and energy needed to move an object one centimeter. We value others and especially communicating with society,” says Yamagishi. This philosophy is not only the foundation for his company but for Yamagishi himself.
  At Sapporo Short Fest, he introduced short films as a unique visual expression capable of leaving a lasting impression in a very short time, rather than their common impression as minor student films. He takes on these events because he would like people to “hear and see different things that make them realize different ways of living that may not be so focused on their material possessions.”
  Sapporo Short Fest is gearing up for another great year with 78 short films from around the globe. Pre-sale tickets for Sapporo Short Fest are on sale in Play Guides all over Sapporo City. Chiseling at his sleep time but motivating himself knowing “the greatest reward is when I see attendees’ happy faces,” Yamagishi prepares for this year’s opening.

Written by Yuko Sato
Photography: Harebare Shashin
Translation: David Neptune

Shuichi Fukatsu watches over two factors of Sapporo that make summer the exciting season it’s meant to be. The first of these two is “White Rock”, the dome shaped projection screen for the main stage of Sapporo City Jazz. The second is the film Éclair – Okashi Hourouki, which he executive produced.
The film was shot in Miyagi prefecture before the Tohoku earthquake and tsunami, featuring the Sunagawa area, famous for their “Sweet Road”, a street lined with local candy shops. “We just began screenings in non-theater venues like concert halls in all 44 prefectures. Please see the beautiful Ishinomaki as it is preserved on screen,” says Fukatsu.
Born in Aichi prefecture, Fukatsu began a film and acting club with friends his dorm at Hokkaido University. “We used to screen 16mm films at Café Tamaki on Kita 18-Jo (North 18th street). When I graduated, I found my self suddenly working in the film industry,” laughs Fukatsu.
Just as these his rental-screenings were catching on, the age of video began. It was 1995: an age of uncertainty. “We’re looking for someone who can shoot film at a concert in Sapporo,” invited a friend. The event he was speaking of was part of Cyndi Lauper’s Japan tour. Fukatsu edited film at the concert venue, tilted a projector at a 45-degree angle, and projected it directly onto Cyndi’s chest from between the stage and the audience.
After the event, Fukatsu was told he did a “perfect job” and realized then that directing visuals could be very interesting. He started his own film company when he was 41. In 2007, he decided to “create an original space you can’t find anywhere else,” buying a dome-shaped projector screen from America. He made the first year of the Jazz Festival and his first use of the dome a complete success.
“No matter how good of a film you make or event you plan, you cannot compromise on output quality,” says Fukatsu. In Okashi Hourouki he began utilizing a grassroots advertising campaign, tying up with local businesses to pay advertising fees out of film sales.

Written by Yuko Sato
Photos by Akihito Yamamoto
Translation by David Neptune

 The fifth annual “Sapporo City Jazz,” a 42-day jazz festival, started on the 13th of July. It began in 2007 as a “music event to be broadcast from Sapporo to the world.” Hokkaido Governor Harumi Takahashi and Sapporo City Mayor Fumio Ueda are honorary advisers for the planning committee on this major project.
  In its prior form, Sapporo City Jazz was known as “Sapporo Jazz Forest” and was held in Sapporo Art Forest. Akimitsu Yamauchi was the festival producer for eight years starting in 1999. Born in Sapporo, Yamauchi is an outdoors enthusiast who endured vigorous high school baseball practice and started surfing when he was 20. After graduating from college, he could not see himself working in the city, so he started working for Sapporo Art Forest.
It was not easy for Yamauchi in the beginning. He felt a distance between himself and others who worked there, people with much more experience and knowledge in art. One day, enveloped in a beautiful sunset in the outdoor art museum, he felt the beauty seep into his core. “There must be events I can organize because I’m a novice in the art field. That was a moment I remember clearly even now,” says Yamauchi.
  When something seems interesting, it didn’t matter to Yamauchi if it had been done before or not; it was worthy of a challenge. The most memorable event in his 20-year career was the Sapporo Art Forest 10th Anniversary show, “Ginchan Goes.” It was written and directed by theater prodigy Kohei Tsuka who passed away last year. Starting with hiring Tsuka, a difficult challenge in itself, Yamauchi gathered sponsors, held casting sessions, and was the adviser to Tsuka during the one-month run of the show.
  Later in the jazz festivals, he incorporated jazz schools for elementary and junior high school students and brought in the first music dome in the country that allowed the audience to enjoy music and visuals at the same time.
  Now, Sapporo City Jazz pulls over 100,000 attendees. “Now that it’s grown to this scale,” Yamauchi plans on passing on the planning of the festival to the next generation. He now looks toward new fields to give citizens of Sapporo a fresh way to experience art.

Written by Yuko Sato
Photos by Akihiro Yamamoto
Translated by David Neptune

 During her student days, Tamami Hirano was hooked on late-night radio programs. Although now her medium has changed, her passion for creating things has not. Her talents were given a chance to shine when after school she started working for the free publication Travel and Cuisine. Thirty years later, she tirelessly types out her take on the charm of Sapporo, becoming one of the key players in the publishing industry of the city.
  Going from Travel and Cuisine and Stage Guide, Hirano took an offer from Iwao Yamazaki in 1983 to work as an editor for the magazine Susukino Town Information. But two years later their parent company was losing strength. Going out on a limb, Hirano and Yamazaki decided to take over management as an independent company. “We were headed into the bubble economy and ads were selling well. The time period and our close friends encouraged our decision,” they say.
  For 16 years Hirano was an editor at Susukino Town Information. In 2006 she began publishing her own magazine called O.tone. The theme “Sapporo’s oyaji(dads) are the navigators,” plays a big role. Her target readers are in their 40s or above; people that “taught me all the important things,” as she says. She calls these men “oyaji” with affection. In its fifth year, the magazine’s in-depth articles are attracting female readers as well.
  Hirano’s magazine has the warmth and energy of a busy city street. Many articles are based on a conversation had over some drinks. “A city’s charm comes from its people. The charm passes through its residents as blood runs through a body. Only then can a city give off its own warmth.” Hirano now looks toward the youth and thinks on how to connect them with her oyaji readers. Her monthly publication O.tone is also available for purchase through the Aruta Publishing webpage.

Written by Yuko Sato
Photos by Harebare Shashin
Translation by David Neptune
 

Professional uniform designer Takuya Minee believes uniforms are “items that employees should want to wear – something that expresses the company’s attitude toward their customers.” A unique perspective when in Japan, uniforms are often thought of merely as a corporate expense. Minee takes part in the entire process from design to production of his uniforms. He designed the staff uniforms for Sapporo Dome, Shin-Chitose Airport, and Tohoku Rakuten baseball stadium.
In the 1980’s when Minee moved from Furano City to Tokyo for college, DC brands were all the rage in Japan. DC brands or designer and character brands are a blend of popular major brands and characters from pop-culture. When Minee was 20, his father passed away. He moved back to Hokkaido with his mother and began working for long standing apparel company KIRIAKI. Ten years later, he was reaching every goal for sales at their 30 store locations nation-wide. He started Jade CKraft, a new branch of the company, and later took charge of management in 2005. Before the term “Hokkaido Brand” became commonplace, Minee designed new, cutting edge looks on the packaging for Hokkaido-produced food products.
“I wasn’t the only one with these ideas, but I was the only one making them a reality,” says Minee. Toshiya Kubo, who knows Minee since he was at KIRIAKI, says he was always impressed with Minee’s proactive stance. When the Hokkaido sales meeting took place in Taipei, Taiwan, Minee acted quickly. The employees of the hotel this meeting took place in were enamored by Minee’s uniforms. They surrounded his display and said they wished they had those uniforms. Minee canceled all of his plans the next day and made appointments with buyers to find out more about the Taiwan market. “There are a lot of Japanophiles in Taiwan, so Japanese designs are sought-after.” Two months later, Minee had a branch office in Taiwan.
“Cool and innovative – something everyone can enjoy,” is how Minee described his company’s work to acquire major hotel clients. He has started business with Mongolia and Vietman, while his trips back and forth to Taiwan continue.

Written: Yuko Sato
Photos: Harebare Shashin
Translation: David Neptune

Web system construction, design, video, content production, and wooden toy construction and sales cover the activities of creative unit Vas. The unit was named by Hidero Higa (60) on photo left. Named after variable stars, which change brightness, vas reflects the diverse nature of their activities. Even if they span many genres, their work always features their theme of ‘ideas and observations.’
When Higa quit his job at a printing company in 2004 after working there for 29 years, he shocked his friends and family, but his mind was crowded with ideas he wanted to bring to fruition. One such idea was the bus location service “DOCOIL.” The system emails its users real time as to the whereabouts of the bus they are waiting for. Higa thought of this idea when he saw high school students waiting in the cold for their bus to arrive.
“It’s something no one is doing, and it would definitely help people,” Higa said about his DOCOIL idea. At 52, he decided to put his life on the line and start a business. He decided to contact creative director Masaru Yamada (37) on photo right. At the time, Yamada was a free lance businessman, doing work like the package design for a candy called Sapporo Times Square. Though their ages differ, they got along well, so Yamada decided to join the team. They began developing DOCOIL, which now is utilized in over 40 busses and is used by over 3,000 people every day. Now there is even an iPhone app.
Another idea he’s had for some time now is a wooden toy with magnets imbedded, called “Tukkun.” The way they stick together and fall apart is some how adorable. “About 70% of our sales come from people my age,” laughs Higa, who drew out the blueprint for the toys.
“Anything goes, it’s like we are cooking together even though our styles differ,” the pair says about their collaboration. But such dishes are what attract so many fans to their products. We look forward to tasting their next “ideas and observation” dish.

Written by Yuko Sato
Photos by Akihito Yamamoto
Translated by David Neptune

 Big shiny eyeballs gaze up at you blankly. They are part of a piece for the melon and bear hybrid character that represents Yubari. “These are trial pieces because when I poured the polyurethane in the vacuum it formed some bubbles,” says Hideo Yoshida, the maker of these remarkably realistic props. There is a reflective sheet imbedded in the eyes so that they shine when the light catches it the right way. This extra step gives these props life.
Hideo Yoshida does special effects makeup and fabrications for movies and the theater. He created props for HTB’s popular show “Suiyo Dodesho” for many years, and has also made large costumes like the melon-bear for Yubari and Ebechun. Yoshida also created the “hughug chair” on the JR Hokkaido Asahiyama Zoo train. His business card reads, “Real things, imaginary things, I make them all.” His skills allow his clients to trust him completely.
It all started for Yoshida when he saw Star Wars and Close Encounters of the Third Kind in elementary school. In the summer of his second year in the Special Arts program at Hokkaido University of Education, he attended an event featuring a well-known special effects artist from Tokyo. He was invited to come to Tokyo afterwards, and that’s where he went whenever he had time off from school. As he helped on various jobs, he ended up on the set of Japanese film, Teito Monogatari. This industry debut brought him attention in Sapporo, starting him off working before he even graduated.
He started a company the instant he graduated. Since then, 20 years has gone by. Modern special effects are dominated by computer graphics, but Yoshida doesn’t even own a computer. “In any time period there will always be people who appreciate the realism of a hand-made prop,” he says.

Written by Yuko Sato
Photos by Akihito Yamamoto
Translation by David Neptune

Born in Sapporo, Ishikura has been making oil paintings since she was in high school. She went on to art school and has focused on representational painting ever since.
“I get more creative ideas when I’m miserable than when I’m happy,” she laughs.
Her leading piece is a paired nude self-portrait called “confession,” a raw telling of her biggest fear – confessing her true feelings toward someone she loves. She is saying “su” in one painting and “ki” in the other, forming the Japanese word “suki.” Simply put, “I like you.”

After graduating from art school, Ishikura decided to become a painter without hesitation. She was selected for an over-seas residency program by an arts non-profit organization in Sapporo and went to Shanghai for two months to paint.
Her first experience overseas brought her challenges, but the art she created was remarkable. Focusing on one self-portrait and a daily journal that includes a short phrase and painting about the day, the Shanghai children enjoyed seeing what she came up with.

Her parting words with the staff in Shanghai still leave a resonant pang in her heart: “Your work lacks sociality.”
On this observation Ishikura says, “I don’t clearly know what sociality means, but I’d like to accept their advice and pursue an answer straightforwardly.” We all look forward to new elements this thought process will bring to her work.

Ishikura’s Shanghai exhibit. The center-piece was her “dressed in my best costume… Me”


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Ishikura Mimona
http://www.office339.com/jp/artists/mimonaishikura/
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Written by Eiichi Sato
Photos by Akihito Yamamoto
Translation by David Neptune

Independent, short animated films sold by a major label on Blu-ray and DVD. Sounds like a dream to many small production companies, but for one Sapporo company, it became a reality. Ota Makoto (photo center) leads a group of elites he has dubbed ‘Picograph.’ Four Hokkaido University of Education graduates compose the group.
    Their film is called “Tail Enders.” In October of 2007, they sent in their treatment and were picked up by a movement that supports anime production called ‘Anime Innovation Tokyo.’ In March of the following year, they released a trailer at the Tokyo International Anime Fair. They were surprised to find that Takeshi Koike, a recent animation genius, also announced his latest film. It was also a story about a futuristic car race. “The instant we saw it, our hearts sank,” said Yusuke Hiroshima (photo left), artist on the Tail Enders film. The Picograph team held an emergency meeting and decided to develop their worldview even further for their story. Their idea developed into not just a race with a victor and loser but also set on a massive “wheel city.” That is, a city that is on wheels and moves around. The completed Tail Enders was released at the local Sapporo International Short Film Festival, at which Kadokawa Group Publishing first noticed the film. They offered to release the film on Blu-ray and DVD. “We didn’t want to take this great opportunity and make it our end goal. We still plan on selling Tail Enders proactively ourselves,” says editor and shooter Masaru Kawahara (photo right). “We want to use our ‘Hokkaido brand’ as an advantage for our anime,” he says.

Tail Enders – Blu-ray and DVD currently on sale from Kadokawa Group Publishing.

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PICOGRAPH
HP : http://www.picograph.com/
JIZAITOYS http://jizaitoys.seesaa.net/
mediakiosk http://mediakiosk.jp/
mebae on Twitter   http://twitter.com/mebaeros
(ye)　http://ye134.sakura.ne.jp/
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Written by Yuko Sato
Photography Akihito Yamamoto
Translated by David Neptune

A large felt bag stands out among the “Sapporo Style” art pieces crowd. The motley colors come together in a bird-like theme - attracting many a passersby. This handy excursion partner and unique piece of art was created by Kumiko Tanji.
Tanji moved to Sapporo fifteen years ago from Sendai. She was taken by a felt art piece that had no seams at a gallery. After talking with the artist, she later began researching felt making, which utilizes sheep wool’s tendency to shrink. The main ingredients for her research were sliver, which is rough pieces of wool, and soap water. First, pieces of sliver are laid on top of each other so that some are horizontal and others are vertical. Soap water is splashed on the material, making the fibers tangle together and shrink. More layers are added and little by little the felt thickens.
She uses some of her favorite words or memories as titles for her works - “Time Travel” and “Mulberry Scenery” to name a few. She has amassed fifteen different styles for these handbags. Even seemingly coincidental effects like the use of silk and cotton that shrink in a very different way than felt were used for these bags only after many months of trial and error. They were first perfected to the exact length and thickness that Tanji desired. “I wanted to find my own expression because felt is such a simple material that anyone can make,” she says.
When Tanji created a handbag that she was satisfied with, ten years had passed since her work with felt first began. Now, she’s busy creating plastic educational toys with the same bird motif. “The handbags are traveling birds, and these are learning birds,” she says. No doubt her new series will take flight in the coming year.

Felt bag with bird motif (38cm wide, 23cm tall. Each 52,500 yen)

Written by Yuko Sato
Photos by Akihito Yamamoto
Translation by David Neptune

 Ryota Hattori runs sapporo6h – a website that provides current news about Sapporo. Using his homepage and Twitter, he posts information about events about to happen in 6 hours. With Ustream, he broadcasts talk events and live music shows online. This young producer brought much excitement to Sapporo in 2010.
Back when Hattori worked for a super market, he was so busy that he never knew what to do on weekends or what was popular in town. “I want to bring the ‘now’ of Sapporo to the people who are in a situation similar to the one I used to be in,” he says. Sapporo6h posts information about events starting in 6 hours. It prompts people to think, “I can still make it,” which opens up possibilities for doing more activities.
Hattori was one of the first in Hokkaido to start posting events using Ustream and Twitter. Broadcasting small projects like ‘Destruction Broadcast,’ which streamed live video of the Snow Festival ice sculptures being destroyed, he also accepts projects from corporations, non-profits and the media. This summer he will be broadcasting the results of the election of the House of Counsillors in conjunction with Hokkaido Terebi Housou (HTB). Hattori recently streamed a talk event with the director of the popular HTB show, “Suiyou Doudesho” that 90,000 people watched. “Social media created on the web is attractive to many people because it’s interactive. My job is to give people information in a way that moves their minds and bodies,” he says.
On Christmas Eve, he received a comment from a viewer in Okinawa who was watching a live stream of a program at a Susukino stoplight, “I didn’t know snow could build up in such short time.” To this Hattori says, “Viewers can appreciate something that is normal and mundane to us. Neither of us would have known if it weren’t or the interactive nature of this system.”
Hattori’s goal is to transmit Sapporo to the rest of the world. “sapporo6h is an amplifier that anyone can use. I hope people who want to share or receive information use the service so that we can help it grow together,” says Hattori.

Written by Yuko Sato
Photos by Harebare Shashin
Translation by David Neptune

Born in Sapporo, Yokotani began working for a construction company in Tokyo doing computer data analysis. It was then during the cusp of the multi-media evolution that he began creating CD-ROMs. He took on projects that applied subjects ranging from the popular comic book Tsurikichi Sanpei to photographs by Tetsu Taguchi that he used to create a multi-media fish encyclopedia.
He came upon his first 360 degree panoramic image while surfing through a website by a Danish photographer. It inspired him to begin creating his own panoramic photographs.
He moved his base to Sapporo and began documenting buildings and places that might be lost some day. Focusing on events held at these locations, he began posting these images on his website. His images are created by taking six horizontal photographs and two photographs up and down. These eight photographs are combined to create an image that can be moved in any direction 360 degrees with a simple click and drag of the mouse.

“Photographs take a piece of what our eyes can see. Panoramas give you the entire environment. By capturing everything, the atmosphere and even feel of a place can be documented and communicated. That’s why panoramas appeal to me,” says Yokotani.
He’s currently working on a project with some colleagues that use panoramic images to look back on the pioneering days of Sapporo. Stay tuned; these works will be on display in March this year.
Panorama Journey can be seen here: http://www.panorama-journey.com/

A flattened version of a 360-degree photograph of Sapporo St.Micael’s Church.

Written by: Eiichi Sato
Photos: Akihito Yamamoto
Translation: David Neptune

 Attaching a camera to the tip of a brush, Kotaro Hachinohe shares the brush’s point of view with the audience by projecting it on a screen. The words he swiftly writes are never planned beforehand. He entrusts his brush with the direction, speed, and depth at which it wants to move.
During a live performance this February, an audience member saw the flowing movement of his brush and murmured, “It looks alive.” Recently, Hachinohe has been returning to Sapporo often from New York where he is based. “I want people here in Sapporo to see my work,” he says.
Hachinohe first tried calligraphy when he was five. In his twenties, he saw Treatise on Calligrapny written by Sun Guoting during the Tan Dynasty’s rule in China. He was so moved he was literally frozen to the spot. It’s been 1,300 years since it was written, and it’s still relevant today. Calligraphy holds great potential. “I decided to spend the rest of my life pursuing calligraphy.”
Hachinohe’s calligraphy knows no bounds. An installation titled “Please do not read” covered the entire floor of a gallery space. Looking at the words of the Heart Sutra written all around them, attendees would ask, “What does it say?” But the point of the installation was to feel the letter’s strength, not to comprehend their meaning. Hachinohe says that phenomenon is the “distance from words,” placing it close to his heart of calligraphy. “When I can put everything I have into writing one line I have achieved my goal,” he says.
 

Modern Calligrapher Kotaro Hachinohehttp://www.kotarohatch.com/

Written by Yuko Sato
Photos by Akihito Yamamoto
Translation by David Neptune

 

Yuki Yoshii’s interest in story telling began in junior high when he acted in a play. In high school he was introduced to the world of filmmaking, then worked at a production company in Tokyo for three years as an assistant director. His experiences on set encouraged him to head up his own production unit called Studio REBARD with friends from high school. The unique name comes from the Celtic word “bard,” meaning poet who recites epic tales and the prefix “re” to give a new life to such tales. The scenery, beauty, culture and atmosphere of Hokkaido – in particular the wide open and deep blue color of the skies – has become great source of inspiration for his filmmaking, and has rooted him here in Sapporo. In ’07 he shot his first film, Lia’s Island (58 min). The story revolves around the efforts of young adults and children as they live on an island jeopardized by rising water levels due to global warming.
“To show children a future full of wonder and excitement is our duty as adults. I want my films to show children how to dream,” says Yoshii on his filmmaking philosophy.
His new film, Across the Milky Way was completed this July. A young girl who can’t walk meets a mysterious boy who helps her grow with magic. This 30 minute short film was shot in Sapporo, Otaru, Ebetsu, and Ishikari. All actors were from Hokkaido, making this a truly local film. The film premiered at the 5th Sapporo International Short Film Festival and Market.

"The island of RIA"  by studioREBARD

The latest work "Across the Milky Way" by studioREBARD

"Concept Movie vol.1"  by studioREBARD

This is the new logo of studioREBARD.
 

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studio　REBARD
Official Web Sitehttp://www.rebard.com/
Blog　http://rebard.sblo.jp/
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Article by Eiichi Sato
Photos by Akihito Yamamoto
Translation by David Neptune

Wonder, compassion, respect.
Ranging from a simple piece with the theme of children to larger, motorized pieces, art created by Paper Crafts Artist Keiichi Hayashi strike a chord deep within people’s hearts.

“When I look at an idea for a piece I can always find a theme for it. With this piece, I first decided to perfect items like a backpack, hat or carrying bag. Then I put in the research to make it happen.”
Taking a closer look at Keiichi’s work, what he says holds up. The backpack has a small white hook, the carrying bag has a tiny name written on it, and the amount of detail depicted is astounding.

Keiichi’s new piece, “Ibuki.” The backpacks, hats, and bags are very realistic.

 

 

“Citron” is sure to make you thirsty. It brings back memories of windy summers“

Another charming asset to Keiichi’s works are the “moving paper crafts.”
“First I think about how the piece should look, and I create sketches. Once the idea is flushed out I decide how to work in the moving parts. For these moving pieces, I draw up detailed diagrams before getting to work.”
The warmth of the paper material, the children’s life-like expressions, detailed small items – they all blend to combine a unique world that could not have been created without Keiichi’s engineering technique.

His work has been recognized by many outlets including the TV show “Takeshino Daredemo Picasso,” on which he received three medals – enough to gain him recognition as a talented artist.

A young boy plunges through waves on his raft in “Epic Voyage”

The boy in “Oresama to Tonosama” holds his breath as he gets ready to catch a grasshopper.

How are these pieces – pieces that affect people so much – created?
“It doesn’t take long once I start making a piece, but it takes time until I’ve set on a design. I spend a lot of time sketching the piece first. I make all sorts of different versions to decide on an exact image. Once I decide, it only takes about a month and a half to create a smaller piece.”
He says he takes from his own childhood experiences and images to create pieces with children in them.

Keiichi’s studio is neatly organized with tools laid out in orderly fashion. Complete with worktables, drafting table, and photography room, it’s hard to believe it’s a paper crafts studio.
“Because I use paper, people tend to think that I don't need many tools, but in fact I need many to complete one piece.”
We look forward to seeing another intricate work of art coming from this studio.

n the neat and orderly studio. Many tools are needed to create one piece.

 

“I want to try making a large scale piece,” says Keiichi.

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Paper Crafts Artist Keiichi Hayashi (Studio Gimbals)
K.Hayashi’s　PaperGallery
http://homepage2.nifty.com/papercraft/
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Article by Eiichi Sato (Planners Inc.)
Photos by Akihito Yamamoto (Harebare Shashin)
Translation by David Neptune

 

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