Mateusz Urbanowicz: ‘Miyazaki inspired me to put the audience first'

Japan Times

2 days ago

Mateusz Urbanowicz, 38, is an artist and animator from Bytom, Poland, who now lives in Chiba Prefecture. He worked on background art for anime such as 'Space Dandy' and 'Your Name.' Since leaving a full-time career in animation, Urbanowicz has released several art books including 'Imaginary Storefronts,' his latest publication that explores the beauty of mundane storefronts in Japanese neighborhoods.
1. What sparked your career shift from electrical engineering to animation? I always drew, painted and was into computers. I worked at a company in Poland selling drawing tablets and making illustrated demos. Working on digital art brought me to Japan and got me my first job in animation.
2. Who is your biggest artistic influence? Hayao Miyazaki. I watched his documentaries often while working in animation. He influenced me to put the audience first, rather than choose what would be easy to make or sell.
3. How long did it take to find your artistic style? My art is more of a tool for what I want to convey. For a while I was into making things realistic, but still painterly. At some point I started to veer away from that to make my pictures simpler and looser. I am still developing my style.
4. How has illustrating Japanese neighborhoods helped you rediscover Tokyo? It's a two-way process: I get inspired and then I'm inspired to hit the streets again. Lately I try to experience more freely, instead of getting hung up on capturing the perfect frame with a camera. Even if I don't take a photo, an image will still percolate in my brain and end up in some of my art.
5. What kind of preparation and research do you do to draw backgrounds for movies such as 'Your Name.'? For animated movies like 'Your Name.,' there's a team or background director that does the research for you. They provide sketches, photos and color palettes that you have to match. You are like a craftsman making a pot that has to be similar to other pots.
6. How was it adjusting your style to the movie's? I'm not formally trained. I learned all my skills from other people's art. I had an easier time looking at what everyone was doing, or how my art was being fixed by the art director and seeing my art improve with feedback.
7. How do you set boundaries between work and illustrating for fun? I don't do art for fun. Mostly I do art to create something good. And it requires me to be more intentional and focused. There's this pressure that if you aren't hustling, then you aren't really working or aren't really an artist. This is why my partner and I moved to a cheaper place to have more space to spare.
8. What do you do when you are creatively stuck? When I feel stuck, I know it means I lack knowledge about the subject. It took me five years to complete the 'Tokyo Storefronts' book (published in 2018). I wanted to make a book that was realistic enough where the storefronts seemed like they could actually exist, and fantastic enough that readers would want to visit. It was difficult because I am not used to drawing from my imagination. I draw from references.
9. What makes a great storefront? I love the human-designed aspect of storefronts. I think about what decisions they make, like where they would place flowers.
10. Traditional storefronts are increasingly shutting down as Tokyo goes through redevelopment. What are your thoughts on these disappearing shops? Tokyo is fast at redevelopment. They just build a high-rise there and nothing good really happens for the neighborhood's residents or visitors. The city would be better if it redeveloped with more conscious direction from the city and local government, as well as with people who care about the beauty of the neighborhood controlling this process. In your latest book, you create storefronts inspired by real ones you have encountered.
11. Can you tell us about one of your favorites? The ones where I've figured out the human dimension are my favorites. For example, I imagined the owner of a dry cleaner as a guy who once was a master cleaner in a fancy hotel in Tokyo. He is the perfect cleaner. He can erase any stain, and has perfected cleaning sheets. After leaving the hotel, he came back to his old town and set up a small shop. He wanted to be as independent as possible so he has a mishmash of Showa Era (1926-89) architecture with tanks, ducts, pipes and machinery. He likes giving lessons in cleaning. I had fun figuring out the quirky details.
Urbanowicz has a soft spot for fleshing out the 'human dimension' of storefronts by inventing backstories and characters that inform their architecture and design. |
Mateusz Urbanowicz
12. What do you want visitors to take away from visiting Japan? When people visit Tokyo, they already expect a retro-futuristic city. I recommend taking a step back to remember that people live in cramped spaces full of cars and architecture, and still manage to be civil and friendly.
13. What is an underrated anime with iconic scenes of Tokyo you recommend? 'Whisper of the Heart.' The scenes of 1980s to 1990s suburban Tokyo danchi (public housing) living are inspired by Sakuragaoka (Tama, Tokyo). I started watercolors because of the bicycle boy character.
14. What's one art tool you can't live without? A pencil, mechanical or traditional. Even though I paint with colors, I am a line person.
15. What is your favorite pencil? A 1960 Caran d'Arche 1.18-millimeter lead pencil.
16. What are your favorite colors for a limited watercolor palette? Lemon yellow, ultramarine, Naples red or any earthy red color, another red, another blue and orange. I like the combo of ultramarine and reddish brown to make neutral tones.
17. Do you have a sketchbook with you wherever you go? Yes, although I don't think of it as a sketchbook, but a secret journal to draw and take memos in.
18. What do you recommend for a travel-friendly sketchbook kit? Ballpens are great. I have an oil-based one and use it to draw line sketches and take memos. They are reliable, low-maintenance and waterproof. Great for fast sketches cause the line pops on watercolor. Also a small watercolor kit and a pencil.
19. What do you want people to take away from your art? To be more conscious about your surroundings. My biggest dream is that someone will read my books and see my Tokyo storefronts, and when it comes time for them to make a decision about their new house or garden, they will think more about what impact this will have on people when they see it.
20. Where can people learn more about your art process? I have a website and have made a lot of YouTube videos in the past. I also have a Patreon for Q&As about my art and techniques.
To see more of Mateusz's work, find him on Instagram @mateusz_urbanowicz or YouTube @mattjabbar.