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00:00["Dio e Zingaro by Municipale Balcanica plays"]
00:31I can't pull this out.
00:35What should I do with this?
00:41His first job as a designer.
00:48Osamu Torinomi has been reflecting on the design of his letters.
00:54I just need to make something good.
00:59I don't think this is self-satisfying for me.
01:05I'm sure you're familiar with the letters he's worked on.
01:14If you look closely, you'll see a variety of Mincho and Gothic.
01:19Do you know how these letters are made?
01:30I think it's best to write down the standard letters by hand.
01:43First, he writes down the letters.
01:49Then he outlines the letters.
01:54He uses computer graphics to balance the letters.
02:02Even a small difference can make a big difference.
02:09Hiragino's first design was voted cool by Steve Jobs.
02:15It's been on Apple computers and smartphones for over 20 years.
02:26When you listen to it, it's clear and easy to read.
02:36You can even see it on the highway signs.
02:45The first design starts with two characters, Higashi and Kuni.
02:51This is the standard for all Kanji characters.
02:56Higashi is the standard for vertical, horizontal, and diagonal lines.
03:01Kuni is the standard for determining the size of the characters.
03:08This one is wider.
03:11This one is only three-thousandths wider.
03:15This one is even wider.
03:18We care a lot about these things.
03:23For example, this part here.
03:26The length is different here.
03:29There's a taper here.
03:32There's a slope here.
03:35There's a slope here, too.
03:37The slope is different here and here.
03:44It's a job that makes you feel distant.
03:50This is the one in the computer.
03:57There are so many of them.
04:00He creates 23,000 characters and symbols with a single piece of paper.
04:06It's like, is there still this much left?
04:10But what does it mean to have to double it?
04:17This is Watanabe's pot.
04:20There's a lot.
04:22There's a mouth and a body.
04:25People made all of this.
04:28The first designer, Kyoji, hides in the depths of unknown effort.
04:36He's not conscious of the characters.
04:40He's not conscious of the characters.
04:43But it's not a thin character.
04:47There's something there.
04:51The person who secretly creates the characters.
04:57I don't want to say this, but...
05:02I want to put my soul into it.
05:12This cigarette sign is completely different from the ones in Tokyo.
05:19It's a little elegant.
05:23It's in a good shape.
05:28The man who is obsessed with characters.
05:31His tough and frivolous days.
05:34Invite us to the unknown world.
05:38The man who is obsessed with characters.
05:42His tough and frivolous days.
05:44Invite us to the unknown world.
05:55He moved to Nagano from Tokyo four years ago.
06:02His morning routine is unique.
06:05This is the first time I'm doing this in front of people.
06:14Let's go.
06:17When you think about what started,
06:20you think of Tibetan gymnastics.
06:27It's been going on for 10 years.
06:34Breakfast is around 8 o'clock.
06:38He lives with his wife, the first designer.
06:45It's okay.
06:47I ate ginger tea the other day.
06:50It's good for the stomach.
06:53He wanted to live a leisurely life while looking at the Northern Alps.
06:57But his work is chasing him everywhere.
07:01Retirement is just around the corner.
07:05Painting.
07:11I'm going to check this.
07:16What he was working on was a renewal of the first model, which was made 50 years ago.
07:23When the modified data arrives from Tokyo,
07:27he revises everything and makes minor adjustments if necessary.
07:32I set a limit of 700 characters a day.
07:42700 minutes for each character.
07:46That is, from morning to night.
07:51Of course, there are also frames.
07:56There aren't many frames.
07:59I'm looking at the flow of the lines.
08:04It's okay.
08:09But I wonder if this scene is okay.
08:18This part is thick.
08:21I added another thing here.
08:23This part is thick.
08:26It looks like it's leaning to the left.
08:29I want to make it a little thinner from here.
08:34If you look at it like this, it's going to jump in somehow.
08:39Will it jump in?
08:41In my eyes.
08:48I'll do two of these and one of these.
08:51This is the thin one, and this is the thick one.
08:56What?
09:00I'm going to overlap this.
09:04It's so different.
09:07No, no, no.
09:08It's so different.
09:10Two dots of 1,000.
09:13That means I'm going to make it 0.1mm thinner by 50mm.
09:20It's 5cm, right?
09:23But you don't use letters that much at 5cm.
09:27But I've been doing that kind of correction all the time.
09:30Analog.
09:32I can't draw.
09:34The basis of the mold is to carry the brush of the brush.
09:37For example, I'm going to draw it like this.
09:40That means I'm going to hold down the brush, put in the force, pull it out, and put it in.
09:46That's how it bounces.
09:48When I look at it, I want a little more nuance.
09:55So if I make it this thin here, it'll come out a little more.
10:02If I make it thinner, it'll come out a little more.
10:09It's different.
10:17How is it?
10:19I just want to make it the perfect first design I can think of.
10:29You can think of it as a one-man job.
10:34But isn't that important for those who make things?
10:42For those who make things.
10:50The car manufacturer was looking for a corporate font to use in his own car.
11:01The project is also supported by bird farming.
11:08New letters used in all kinds of places.
11:12All kinds of prints, from the original to the panel in the car.
11:23I want you to make it a font that makes you feel the will.
11:27I've been receiving requests for nearly a year, and I've been giving out presents.
11:31The main point.
11:33For example, when you look at information, you can see the curve of the letters.
11:42How about that curve?
11:46Is it just right?
11:54There's a little more peak in the lower third.
11:58There's a little more peak in the lower third.
12:01It may be a car, but there's a lot of peaks in the front and back.
12:09It's a lot of momentum.
12:11I'm curious about something.
12:14What is it?
12:19If you bend it like this, there's a peak in the middle.
12:24If you bend it like this, there's a peak in the middle.
12:30You don't have to touch the human hand here.
12:33It's a curve that can be made by holding down both ends.
12:36It's a curve that's pretty good for driving.
12:39It's the best for driving.
12:45Do you want to try it?
12:47Do you want to try it?
12:49Now?
12:52Now?
12:54Now?
12:56It's not C, it's N.
12:58I see.
13:00This is the original.
13:02If you apply force to this area, it will be pulled in the horizontal direction up to this point.
13:09It will go up from there.
13:12Can you raise the peak a little?
13:15Around here?
13:17In between.
13:21It's good.
13:22That's better.
13:24It's more natural.
13:26It's a good point.
13:28It's a good point, isn't it?
13:37The text check for the car manufacturer is also in the final stage.
13:43As usual, he spends the whole day in front of the computer.
13:47He's working hard.
13:51But he's serious about this kind of thing.
14:07What's the most fun thing about this job?
14:11It's fun even now.
14:13It's fun even now.
14:19It's fun to touch the text like this.
14:31That's it.
14:35That's it.
14:37That's it.
14:41That's it.
14:44That's it.
14:47That's it.
14:53His hometown is a small mountainous area.
14:57He liked the shining pavilions and the wind-blown rice fields.
15:01That's where he used to play.
15:06Oh, this is terrible.
15:14Born in 1955,
15:17he was the youngest of four brothers,
15:20who worked at the town's mill.
15:27This is the mill.
15:30You hold a stone here,
15:33and throw it like this.
15:36It's to see if you can go over it.
15:45He admired the design of cars,
15:48so he enrolled at Tama Art University.
15:52However,
15:54when he visited the design office of a newspaper company,
15:57he was shocked to learn about the existence of textiles.
16:02It was shocking.
16:05When I realized that someone was making the text
16:09that I always read in books and newspapers,
16:13I thought,
16:15what kind of world is this?
16:19Words he heard at the newspaper company.
16:22Texts are water and rice.
16:25It's a story.
16:28It overlaps with the landscape of his hometown.
16:33There's nothing here.
16:36It's so modern.
16:40You don't know why people go to the mill.
16:44For example, people who grew up in Tokyo
16:48are motivated to work.
16:51People who grew up in the middle of nowhere
16:55have a different relationship
16:59with what they've grown up with.
17:04So I think it's good that
17:08I don't show off
17:11when I make text.
17:15That's what I think.
17:22TORINOUMI
17:26He's worked with over 100 textiles.
17:30Of course, most of them were commissioned.
17:35But Torinoumi
17:38wanted to create textiles for himself
17:41at the age of 70.
17:52This is it.
17:56I wanted to make it my last work.
18:00That's why I'm doing it in secret.
18:05It's an important event
18:09in my life.
18:13What he's been good at
18:16is being used in novels.
18:19The textiles he creates
18:23reflect the years and experiences
18:26he's had over the years.
18:30His birthday is coming up.
18:41With computers,
18:44anyone can turn handwritten text into textiles.
18:49For 13 years,
18:52Torinoumi has been hosting
18:55a textile class.
18:58Every month,
19:0114 participants
19:04try to make their own textiles.
19:07There are designers,
19:10students, and singers.
19:13The class is designed
19:15to make textiles.
19:26Like this.
19:32Like this.
19:36Draw the hand here.
19:39Like this.
19:41It's easier to draw the hand
19:44if you draw it like this.
19:4860% of Japanese textiles
19:51are made of metal.
19:54It's hard to draw straight lines.
19:57It's easier to draw straight lines.
20:00It's easier to draw straight lines.
20:03It's easier to draw straight lines.
20:06That's right.
20:09On the other hand,
20:12he's hesitant to deny his own personality.
20:22After the class,
20:25the banquet is waiting.
20:28The eyes should be like this.
20:31This is beautiful, teacher.
20:34No, no.
20:36This is good.
20:39This is simple.
20:42This is good.
20:45This is good.
20:48This is good.
20:51This is good.
20:57He has no answer
21:00to his identity.
21:06I'm so bad.
21:14I'm so bad.
21:19I'm so bad.
21:24He was enjoying
21:27the pain of the sea.
21:36Good morning.
21:39Good morning.
21:42Happy birthday.
21:45Thank you very much.
21:48I'm going to do Chibito Taisho.
21:51It's his birthday
21:54as usual.
22:01There was a time when he was
22:03in the prime of his life.
22:06There were many people
22:09who taught him
22:12how to write.
22:15Some of them
22:18have already passed away.
22:22He repeated the fine adjustment
22:25of 0.1mm.
22:28Finally, he completed
22:30Chibito Taisho.
22:35It's a beautiful body.
22:43It's so beautiful.
22:52This body
22:55has no name yet.
22:58Isn't it good?
23:03He has lived
23:06for 70 years
23:09in the sea of birds.
23:14But why was it
23:17his first body?
23:22Until now,
23:24I have done
23:27many things.
23:30But now that I have finished training,
23:33I want to use
23:36all my body
23:39to express
23:42what I want to do.
23:45What do you think?
23:48He doesn't care
23:51who criticizes him.
23:54He doesn't care anymore.
24:01But I'm sure
24:04someone will criticize me.
24:07His spine
24:10grew for a moment.
24:13The next episode is
24:16about actor and model, Oji Suzuka.
24:19His stubbornness, hesitation,
24:22and 25-year-old vision.
24:25I'm an angry person.
24:42I'm an angry person.