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YOASOBI "Comet" Official Music Video - 映像作家: kadowakikouhei
2D animationAnimationArt workMusic videoShort filmTV

YOASOBI "Comet" Official Music Video

2020, 2021
00:03:40
A music video set in the world of the manga BEASTARS. The first 89 seconds also serve as the ending sequence for the second season of the TV anime BEASTARS. The blue-world portion in the first half was colored frame by frame entirely with watercolor paints. By combining this blue segment with the red-world segment that begins in the second half, which is expressed digitally, the video presents two extremes within a single music video, contrasting the tenderness and happiness that have filled the past in the story behind this song with the cruel reality that is to come. For the production of this video, three-dimensional models of each character were created. Using these as references for the drawings made it possible to depict the BEASTARS characters, whose complex shapes are difficult to express through animation, with hand-drawn animation.
NHK Sing and Learn: "When You're in a Bear-y Bad Spot" - 映像作家: erikasahara
2D animationAnimation

NHK Sing and Learn: "When You're in a Bear-y Bad Spot"

2026
Only Image
Created the animation for “Kuma Toki wa,” broadcast on ETV’s Utatte Manabo. I was in charge of character design, direction, and backgrounds. The content teaches three kinds of measures: measures to take if you encounter a bear, measures to avoid coming across one, and measures to prevent bears from entering town. The aim was to convey these measures in a fun, approachable way, so that children can actually reenact them from the video and learn how people and bears can coexist in their respective environments.
[NHK E-tele] The Wakey Show "Impressionist Song" Marigold [Learning Song] - 映像作家: shizukaamano
Music videoTV

[NHK E-tele] The Wakey Show "Impressionist Song" Marigold [Learning Song]

2025
Only Image
NHK E-tele’s “The Wakey Show” music video for the September 2025 learning song, “The Song of Impressionism.” This song is about a character named “Marigold,” who is well-versed in art, and is themed around “a song that teaches you about the art movement Impressionism.” In the video, the “Motte Pets” dolls, which appear in various roles throughout the program, are dressed up as Impressionist painters, and the piece is edited so that Marigold and the painters seem to be singing together. I was responsible for the direction, character design for the painter costumes, magical CG, and editing, including compositing. Editing environment: Adobe Premiere Pro, After Effects, DaVinci Resolve
[NHK E-tele] Miitsuketa! “Raku-da Katabura” Rakudashi-san - 映像作家: shizukaamano
Music videoTV

[NHK E-tele] Miitsuketa! “Raku-da Katabura” Rakudashi-san

2026
Only Image
NHK E-TV’s “Miitsuketa!” music video for “Rakuda Katabura.” This is a song about “Rakudashi-san,” a traveling camel character played by Toma Ikuta. Written and composed by Rekishi (Takafumi Ikeda), it’s a pop number full of healing vibes that helps ease your mind when you’re tired. We were responsible for the direction, CG production, and editing (including all compositing). Editing environment: Adobe Premiere Pro, After Effects, DaVinci Resolve
NHK Special "2030: A Turning Point for the Future" - 映像作家: whatever
TV drama opening title

NHK Special "2030: A Turning Point for the Future"

2021
Only Image
For the NHK Special series “2030: A Turning Point for the Future,” we were responsible for planning and producing the program logo design and opening title sequence. The program reports on the environmental issues facing the world. It examines 2030, said to be a “turning point” for global challenges. Over the next decade, it considers how we can avoid crisis and achieve a sustainable future. In the logo and opening title, we used animation to portray the importance of confronting the real issues humanity faces and making our own choice at this turning point in the future. https://www6.nhk.or.jp/nhkpr/post/original.html?i=26703

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87 Works
UHA Gummy Supplement "Kento AI ~Ceramide~" Version - 映像作家: kooki
3DCGAnimationTV-CM

UHA Gummy Supplement "Kento AI ~Ceramide~" Version

2026
00:00:31
KOO-KI’s Toichi Shirakawa directed and produced this commercial for UHA Gummy Supplement. The music is an arranged recording of Kocchi no Kento’s hit song “Hai Yorokonde,” created specifically for this commercial. The illustrations are newly drawn by Oshushi Muromuki. To achieve a subliminal effect, the production was designed so that the product package appears in every cut. To present it without being intrusive, the team added touches such as well-timed coordination with the music, a pleasing sense of progression, and small playful elements (the gummy pieces) to keep it engaging and prevent it from becoming dull.
GUNZE “Unreadable, GUNZE.” Calligraphy Edition - 映像作家: kooki
Live actionPromotionWeb CM

GUNZE “Unreadable, GUNZE.” Calligraphy Edition

2026
00:00:16
A web commercial produced as part of GUNZE Limited’s 130th anniversary project, marking the company’s 130th year in August 2026. Taking advantage of the fact that some younger viewers may not even be able to read the company name “GUNZE,” the film vividly brings the catchphrase “Unreadable, GUNZE.” to life. The concept was developed by a team centered on KOO-KI’s younger staff, who themselves are among those on the “unreadable” side. KOO-KI’s Tatsushi Yuu, known for his wide range of directing styles, transformed their wildly free-spirited ideas into an entertaining visual piece. In addition to the “Calligraphy” version, the web commercial also includes a “Vision Test” version.
Asahi Solar “East — The Power of the Sun, Blue Sky” Edition - 映像作家: kooki
AIAnimationTV-CM

Asahi Solar “East — The Power of the Sun, Blue Sky” Edition

2025〜
Directed and produced by KOO-KI’s Tatsuhiro Momen, this TV commercial was made for Asahi Solar, a pioneer in solar water heating systems. A sumo wrestler jumps off a roof and dives straight into a bathtub. A shot that would normally require an elaborate setup is rendered realistically yet in a humorous ukiyo-e style using generative AI. In addition to the “East — The Power of the Sun / Blue Sky” version, there is also the “West — Leave It to Us, Peace of Mind / Gold” version.
61 Works
Sculpture Without Mass or Form - 映像作家: teamlab
Art workInstallationMovie

Sculpture Without Mass or Form

2020 ~
00:01:24
Floating in the air, a colossal sculpture is born from a sea of foam, transcending the concept of mass. It neither sinks to the ground nor rises all the way to the ceiling, but drifts somewhere in the middle of the space. The outline of this floating sculpture’s existence is ambiguous; it can break apart into smaller pieces or merge together into a larger mass. Even if a person enters it with their whole body, its existence is maintained, and even if it is broken by people, it repairs itself. However, when the mass is destroyed beyond the range it can repair on its own, the repairs cannot keep up and it begins to collapse. And even if people try to push it or move it aside, they cannot move this sculpture; if people fan wind at it, the sculpture will scatter. No physical action by humans can even move this sculpture. Pebbles, and things humans have made up to now, are objects, and objects have stable structures in themselves. A pebble continues to exist even if placed in a sealed box cut off from the outside world. By contrast, a vortex born in the sea disappears instantly when moved into a closed box. In other words, a vortex does not maintain a stable structure of its own. A vortex is an existence within the flow created by its environment, formed by water that continuously flows from outside the vortex to inside, and from inside to outside. Sustained by the structured order generated by that flow, the vortex continues to exist and changes along with the flow. And the outline of its existence is ambiguous: both the vortex and the outside of the vortex are made of water, with no material difference at all. Instead of creating objects, by creating a special environment, existence is created through the order of energy generated by that environment. Let us call existence formed by this order of energy “Higher-Order Sculpture.” It cannot be separated from its environment and changes as the environment changes. It transcends the conventional understanding of existence based on objects, maintains its presence in midair, and has an ambiguous outline. Even if a person enters it with their whole body, its existence is maintained, and if it is broken, it repairs its own existence. It is a sculpture premised on an open system. In this space, the only matter that exists is water, air, and ordinary soap. By filling the space with foam, creating a singular environment, and generating an order of energy within it, a colossal mass is born from the sea of bubbles, rises up, and remains suspended in midair. In current biology, it is not possible to define life strictly, but for convenience, living things are called organisms if they are composed of cells, metabolize, and can self-replicate. In other words, all living things are made of cells. And all cells are enclosed by cell membranes composed of lipid bilayers. The outside of the bilayer is hydrophilic, the space between the layers is hydrophobic, and both the outside and inside of the enclosing sac are water. Soap bubbles are similarly enclosed by membranes made of lipid bilayers, and the bubbles that constitute this sculpture are structurally the same as cell membranes. However, unlike cells, the outside of the bilayer in a bubble is hydrophobic and the space between the layers is hydrophilic, so both the outside and inside of the sac are air. In other words, if a cell is a sac-like membrane in water, a bubble is a sac-like membrane in air. This sculpture is created from matter with the same structure as cells, the basic units of living organisms, and from the order of energy generated by the environment. Life, too, takes in matter and energy from outside as food, expels matter, and dissipates energy outward while forming ordered structures. Like a vortex, life is an existence within the flow of matter and energy created by the external environment, and the outline of its existence is ambiguous. The structure of life is the order of energy created by that flow, and life may be a miraculous phenomenon found within the flow of matter and energy. Artwork page: https://www.teamlab.art/jp/ew/masslesssculpture-kyoto/kyoto/
Catch and Collect: The Forest of Extinction - 映像作家: teamlab
Art workInstallationInteractiveMovie

Catch and Collect: The Forest of Extinction

2025
00:02:15
An educational project conceived as a way to explore, discover, catch, observe, gather knowledge, and expand curiosity with one’s own body. In the Forest of Extinct Animals, extinct animals live. When you approach or touch the animals, they run away or turn around. You catch various kinds of extinct animals, observe them, and build your own collection encyclopedia. Using the smartphone camera, you look at the animals walking through the space, and when you cast the “eye of observation” at the animal visible on the screen, it flies into the real space. When the “eye of observation” hits the animal, it disappears from the space and enters your smartphone, where it is collected. When you swipe a captured animal to a place visible through the camera, it is released and returns to that spot. Also, if you cast an “observation net” wherever you like, an “observation net” will be spread at your feet. Working together with the people around you and using your body to drive the animals into the “observation net,” the animals disappear from the space and are collected in the encyclopedia in the same way. The collection encyclopedia fills in more detailed information the more times you catch the same animal. Work page: An educational project conceived as a way to explore, discover, catch, observe, gather knowledge, and expand curiosity with one’s own body. In the Forest of Extinct Animals, extinct animals live. When you approach or touch the animals, they run away or turn around. You catch various kinds of extinct animals, observe them, and build your own collection encyclopedia. Using the smartphone camera, you look at the animals walking through the space, and when you cast the “eye of observation” at the animal visible on the screen, it flies into the real space. When the “eye of observation” hits the animal, it disappears from the space and enters your smartphone, where it is collected. When you swipe a captured animal to a place visible through the camera, it is released and returns to that spot. Also, if you cast an “observation net” wherever you like, an “observation net” will be spread at your feet. Working together with the people around you and using your body to drive the animals into the “observation net,” the animals disappear from the space and are collected in the encyclopedia in the same way. The collection encyclopedia fills in more detailed information the more times you catch the same animal. Work page: https://www.teamlab.art/jp/ew/collecting-forest-planets/planets/
Levitation Void - 映像作家: teamlab
Art workInstallationMovie

Levitation Void

2025
00:00:55
Description: This being slowly rises from the ground and comes to a stop in the air. It is not being suspended, nor does it have any power source of its own. This being transcends the concept of mass, and remains still in midair, neither on the ground nor at the ceiling. At times it rises, at times it sinks, and at times it stays motionless in the air. At times it moves abruptly, and at times it falls to the ground. Yet as if restoring its own state, it slowly rises again and comes to rest in the air. It creates a special environment, and through that environment, it produces an order of energy at the center of space. And through that order of energy, it creates a being. Let us call this being created by the order of energy “High-Order Sculpture.” It cannot be separated from its environment, and changes as the environment changes. It transcends the conventional understanding of existence as objects, maintains its presence in midair, and restores its own state. It is a sculpture premised on an open system. Work page: https://www.teamlab.art/jp/ew/levitationvoid-phenomena/phenomena/
A Massless Sun and a Sun of Darkness - 映像作家: teamlab
Art workInstallationInteractiveMovie

A Massless Sun and a Sun of Darkness

2022〜
00:01:45
We do not perceive the world we see. We see the world we perceive. Countless spheres of light. As people approach the spheres of light, they shine more intensely, and the surrounding spheres respond in turn, continuing one after another. If you widen your field of view and stare, spheres of darkness, like lumps of darkness that has solidified, also begin to appear. However, these spheres of light and darkness do not exist. The spheres of darkness do not even appear on camera. Nothing such as glass or any other object is present on the surface of the spheres of light; these spheres are made only of light. There is no material boundary surface, and the boundary between the sphere and the body remains ambiguous in perception. However, in this universe, light does not solidify, and it never forms into spherical masses by itself. In other words, these spheres of light do not exist. These spheres are not present in the physical world, but are sculptures that exist in the world of perception: "Cognitive Sculpture / Sculptures of Perception." Their material consists of light, the environment, the body, and perception. Shaped by the experiencer’s own dynamic body and perception, they appear and exist in the experiencer’s own perceptual world. When they exist in perception, that is existence. And the spheres cannot exist even in the world of perception on their own; they are created by the environment. The phenomena produced by the environment are the existence of the work. Work page: https://www.teamlab.art/jp/ew/masslesssuns-phenomena/phenomena/
4 Works
6 Works
ORANGE RANGE – Mensore feat. Soy Source (Music Video) - 映像作家: takerushibuya
2D animationGraphic designIllustrationMusic video

ORANGE RANGE – Mensore feat. Soy Source (Music Video)

2026
00:02:56
ORANGE RANGE 25th Anniversary Single Inspired by the music video for the artist’s song “Ya-Ya-Ya,” created 15 years ago, this piece was directed and animated by Takeru Shibuya, who was a high school student at the time and a huge ORANGE RANGE fan. The characters return, power-up style. It’s a delight for longtime fans. Takeru Shibuya’s signature pop yet edgy lowbrow style matches ORANGE RANGE’s music perfectly, creating a one-of-a-kind world. Character design by Shashamin, collage animation by onnnacodomo, 3D animation by Ryu Nishiyama, and background design by Hanae Sugi.
20 Works
Nissay MIRAIQA | Brand Movie - 映像作家: shohishiguro
2D animationADBrand movieCMConcept MovieMotion graphics

Nissay MIRAIQA | Brand Movie

2025
Only Image
We produced a brand film for Nissay MIRAIQA, a company 100% funded by Nippon Life Insurance, which operates under the concept of “solving the small questions people encounter in daily life through services and apps rather than insurance.” Centered on the meaning behind the company name—“questions (Q) and answers (A) for the future (MIRAI)”—and the logo concept combining “?” and “!”, we created a story that begins with a question (?) and leads to an answer (!), expressed through a single-line animation. For the visual expression, we blended an analog feel that evokes human warmth and hope, reminiscent of an insurance company, with a digital sensibility that suggests the future and technology. We aimed to create a motion design that conveys a sense of reassurance and stability to a wide range of generations.
1930 SHOWREEL - 映像作家: shohishiguro
Showreel

1930 SHOWREEL

2023
00:01:39
This is the latest showreel compiling client work produced through 2023. #motiongraphics #motiondesign #design #edit #direction #artdirection #illustration #layout #2d #3dcg #ad #advertisement #flatdesign #flat #animation #artwork #brand #cg #cm #motionlogo #movinglogo #onair #movie #image #pr #promotion #pv #vp #showreel #reel #graphicpackage #web #motiongraphics #animation #motiondesign #motion #editing #direction #artdirection #illustration #flatdesign #flat #advertising #art #anime #brand #commercial #motionlogo #soundlogo #onair #video #movie #opening #title #promotion #showreel #reel #graphicpackage #web #1930 #ichikyusannzero #IshiguroSho #umnes #ishiguro #shoh #ishiguroshoh #umnes
PayPay Coupon at McDonald’s - 映像作家: shohishiguro
2D animationADAdvertisementAnimationCMImageMotion graphicsMotion logoPromotionTVTV-CM

PayPay Coupon at McDonald’s

2024
00:00:16
I was responsible for the graphic design and motion design for the PayPay coupon TV commercial at McDonald’s. #motiongraphics #motiondesign #design #edit #artdirection #illustration #layout #2d #ad #advertisement #flatdesign #flat #animation #cm #TV-CM #movinglogo #onair #movie #pr #promotion #モーショングラフィックス #アニメーション #モーションデザイン #モーション #アートディレクション #イラスト #フラットデザイン #平面 #広告 #アニメ #コマーシャル #オンエア #映像 #ムービー #プロモーション #1930 #イチキューサンゼロ #石黒翔 #ishiguro #shoh #ishiguroshoh
15 Works
4 Works
icesawder, levi / day by day – from THE LUV BUGS - 映像作家: takemiwatanuki
3DCGMusic video

icesawder, levi / day by day – from THE LUV BUGS

2026
00:02:53
A music video combining live action and CG backgrounds. Its theme is the feeling of enjoying music and everyday life beyond reasons or gain, and positively renewing “each day” together with companions and new encounters. It emphasizes the subtle sense of uplift born from daily repetition, bodily sensation, and the pace of the city. The tactile quality of a landscape that changes little by little within an otherwise steady daily routine is highlighted through a chain of shots, shifts in texture, and the treatment of the “human silhouette.” The production was built on Blender, with numerous effect systems created in TouchDesigner using People Segmentation applied to live-action footage. Starting from silhouette information, it layers graphics, noise, masking, and deformation processes. The aim is to achieve both the momentary pleasure of synchronization with sound and the continuity of everyday life.
Yukichi Kasaku/men "Youth" MV - 映像作家: takemiwatanuki
3DCGMusic video

Yukichi Kasaku/men "Youth" MV

2023
00:03:52
This piece, as its title suggests, is centered on “youth.” The artist told us that the song explores youth from three different perspectives, and that the music itself unfolds in three corresponding sections. Based on that structure, we also created the video as a three-part work. We depicted young people moving in groups within society, in a way that seems to resist that movement—or perhaps not quite resist it. The video is built on real-time rendering using Unity. All of the objects are programmed so that they do not collide with one another.
29 Works
Amiwo Une - 映像作家: isshin
2D animationAnimationArt workMotion graphicsOriginal

Amiwo Une

2025
00:00:23
In this work as well, I carried over from my previous works the principle of rigorously applying sound sync, faithfully reflecting even the smallest traces of the music in the visuals, while using no intentionally symbolic shapes or imagery at all; instead, I composed it as simple motion graphics centered on primitive circles and squares. Compared with my previous independent productions, this work explores the limits of motion—moving even faster while remaining intact. In terms of its look, I aimed for a vivid, tactile appearance that, despite not being a 3DCG work, would still feel materially present, by compositing a 3D-like look inspired by Apple’s Liquid Glass—something absent from my previous works—onto flat 2D graphics. Although the work runs at 24 fps, which is visually disadvantageous for fast motion, I aimed for a crisp visual experience with no sense of afterimage, without relying at all on motion blur or similar techniques. I established certain rules for the luminance and hue differences between adjacent frames, as well as for the amount of change in the shapes themselves, though the latter is a subjective evaluation, and this led to an examination of how impressions differ depending on those threshold values. Personally, I also have the impression that in recent years there have been many examples of relying on camera movement to enhance the overall impact and “amount of information” in a video. In this work, I kept camera movement to a minimum based on the principle of not moving along two or more of the xyz axes simultaneously whenever possible, and instead focused on appealing graphic transitions through morphing of the shapes themselves. Especially with fast motion at 24 fps, I was keenly reminded of how long one second is, and how few frames there are to draw the necessary images for the progression of the piece, and I would like to continue exploring the possibilities at the limits of such constraints.
Pre: A - 映像作家: isshin
2D animationMotion graphicsOriginal

Pre: A

2024
00:00:10
I am currently producing a work tentatively titled “A,” and this piece was created as a prelude and foreshadowing for it. Within a short runtime of about 10 seconds, it is filled to the brim with elegant motions evoked by the music. Unlike my usual self-initiated works, this piece and the next one (“A”) aim primarily to express, as purely and directly as possible, the simple emotions that the music calls to mind, setting aside detailed intentions and lines of thought. As a result, while introducing vivid colors with bright yellow-green as the main tone—something I had tended to avoid until now—the rest is largely kept in monochrome, emphasizing that one color even more strongly. Although it is a modern motion graphic grounded in a flat, pop-oriented style, I made heavy use of post-processing such as color shifts and noise, pursuing rich textural expression and aiming for a gap that leaves even this fleeting runtime feeling somehow warm. Around the 3-second mark, I attempted an illusion-like expression in which an X (the bowling strike symbol) encountered after passing through a tunnel transitions into a three-dimensional rotation. Incidentally, in my self-initiated work “Glancent,” released last February, I also created a similar connection in the latter half, where 2D graphics seamlessly transitioned into a three-dimensional structure. Since these kinds of “illusion” effects are not often seen in the realm of 2D shape motion, I would like to actively devise more of them going forward. Now that commercials and visual works making heavy use of motion graphics interwoven with text, images, and video—while incorporating short-form shape motion—have increased dramatically compared with a while ago, is there still room for what pure【shape-only】 or【2D-only】 motion can do? At a time when creators are becoming saturated and are also being threatened by the presence of AI, what more can I do as someone who continues to pursue handmade shape motion in the most literal sense? I want to explore the potential of a short, one-shot shape motion that can be seen as a return to origins. In the end credits, the conventional 【Music】 credit becomes 【つかったおんがく】, and 【Video】 becomes 【今見とる映像を作った人】, flexibly departing even from the format I had maintained as a template up to now, and suggesting prospects for a new style of work in the future.
3 Works
10 Works
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TV Tokyo “Shina Pushu” Monthly Song / “Sukina Kimochi Mochi” - 映像作家: samillia
2D animationAnimationClay animationMusic videoStopmotionTV

TV Tokyo “Shina Pushu” Monthly Song / “Sukina Kimochi Mochi”

2025
00:02:16
This was the “Tsukiuta” video for November 2025, broadcast on TV Tokyo’s infant and toddler program “Shinapushu.” Aiming to create visuals that babies and young children could enjoy intuitively, the piece was produced by combining a variety of techniques, including hand-drawn animation, clay stop-motion animation, and live-action compositing. The main character, the mochi “Mocchan,” was sculpted in clay and animated in real life in order to give it a three-dimensional feel. Inspired by the texture and rhythm of SAKANAMON’s music, the video visualizes the feeling of “liking something” through rounded forms and pleasant motion. Set in a fantastical world, it was finished in the style of a road movie, following “Mocchan” on a journey in a kitchen car. Techniques: hand-drawn animation, stop-motion, clay animation, live-action compositing, After Effects
The Story of the Dreaming Medicinal Cuisine Lab's Beginning - 映像作家: samillia
2D animationAdvertisementAnimationArt workBrand movieClay animationCMConcept MovieExperimental filmFashion filmImageShort filmStopmotionWeb CMWeb movie

The Story of the Dreaming Medicinal Cuisine Lab's Beginning

2025
00:01:42
A world of Chinese medicine where the story loops forever Life spirals infinitely, linked to the natural world A playful expression of the philosophy that we humans are part of that whole With an emphasis on eating in a warm, joyful spirit This film tells the origin story of a restaurant run by an internationally certified medicinal-food specialist, who creates herbal cuisine rooted in the evidence of Chinese medicine and designed to delight both mind and body Using a mix of techniques including craft work, live action, and more, it was finished with playful analog visuals, as well as music Methods: hand-drawn animation, stop motion, After Effects, loop animation
We saw the moon in Melbourne and Tokyo - 映像作家: samillia
2D animationAnimationArt workClay animationExperimental filmImagePaper craftShort filmStopmotion

We saw the moon in Melbourne and Tokyo

2025
00:00:25
Description: Inspired by the episode of the two samillia who, after 20 years, arrived in the city of Melbourne, Australia, I created this animation. Even when we are in Japan and Australia, which feel far apart, looking at the same moon at the same time reminds us that we are living beings on the planet Earth in the universe. Technique: hand-drawn animation, stop motion, After Effects, loop animation
4 Works
Alespec Permanent Staff Dispatch Service Introduction Video - 映像作家: miyukikamamatsu
2D animationMotion graphicsPVWeb movie

Alespec Permanent Staff Dispatch Service Introduction Video

2024
00:01:19
I took part in the production of the animation section (from 0:15). I received the graphic data from the designer, and I was in charge of the motion. As for the movement of the text, the director told me not to make the motion uniform and one-patterned, but to create different images for each section, so I worked to make the movement and visual touches varied so that it would stay engaging to watch.
"TikTok TOHO Film Festival 2024" Trailer Video - 映像作家: miyukikamamatsu
2D animationAnimationWeb CM

"TikTok TOHO Film Festival 2024" Trailer Video

2024
This is a trailer for the vertical film festival “TikTok TOHO Film Festival 2024,” held by TikTok and Toho in 2024. I participated as an animator. Based on the director’s concept draft, I proposed specific illustration designs and methods of expression, and created the piece using digitally hand-drawn animation. The production period was about one month. Since the purpose of the video was to encourage submissions, I made it with the feeling of sharing the joy of creating things, and I was conscious of enjoying the process myself as I worked.

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