Committed to "management" through creativity. | DEJIMAGRAPH Inc. [GOTO-CHI CREATIVE! Nagasaki Edition]

"Copying manga" and "In the beginning was the Word"

Both of you are from Nagasaki, and I understand that Mr. Hayama is from Isahaya City and Mr. Murakawa is from Hasami Town.

Hayama:Isahaya City is about 30 minutes by train from Nagasaki City, and it is home to Nagasaki Nihon University High School, one of the few schools in Nagasaki with a design and arts department. I also attended the design and arts department there.

Murakawa:Hasami Town is located on the border between prefectures, with Saga Prefecture right next door. It is a production area for Hasami ware pottery, and many people are involved in the ceramics industry.

Ms. Hayama, you've loved drawing since you were little, haven't you?

Hayama: When I was little, I spent all my time copying Akira Toriyama's drawings.Toriyama-san is also a graphic designer, and I've been quite influenced by the cover illustrations and fonts he uses. I also like Hayao Miyazaki and Katsuhiro Otomo, but manga might have had a greater influence on me than anime.

During high school, I used the school's Macs to create posters for the graduation exhibition, making full use of Illustrator and Photoshop. When I went to the printing company to submit the prints, I learned about the designer job and ended up getting hired there. Later, at the age of 26, I changed jobs to a design firm in Nagasaki.

This design firm had a branch in Fukuoka at the time, and I moved to Fukuoka a year after joining the company, where I also started working on advertising. We received many advertising production requests from Dentsu Kyushu, and I worked under an art director at Dentsu Kyushu. After that, I went back to a printing company in Nagasaki, and then I became independent from there.

Ms. Murakawa, you spent your high school years in Nagasaki, and then you went to Seijo University in Tokyo for university, right?

Murakawa:I studied Japanese literature during my undergraduate years. Literary works are "made up of words," but words allow us to imagine all sorts of things, from people's appearances to landscapes and even the atmosphere.I was very interested in "how to share with others the 'mental images' and 'feelings' that arise from a work of art without any wavering."

It seems Murakawa-san believed that "words have the power to move people."

Murakawa: The Bible also says, "In the beginning was the Word," doesn't it?In the Manyoshu era, there was an anecdote about someone who didn't tell people their real name because they feared being manipulated if they did. As I read these kinds of stories about "words" through literature, I began to think that words have power, and that I wanted to do a job that involved "words." However, I wasn't really sure what kind of job that would actually entail. I only really learned about the job of a copywriter when I started job hunting, and I specifically aimed for it after a comment from my graduate school professor: "You seem suited for it."

After that, I obediently enrolled in a copywriting training course in Fukuoka, and one of the instructors was a copywriter from Dentsu Kyushu. As a result, I was invited by him to work for him. It was more like becoming an "apprentice" than getting a job, which was my debut into the working world.

I see. Hayama-san does "copying manga," and Murakawa-san does "In the beginning was the Word." DEJIMAGRAPH is a project that these two are working on together.

You can succeed even in a local area, not just in a city.

Why did you both end up settling in Nagasaki after living in Fukuoka and Tokyo?

Hayama:At that time, "local ADCs" were becoming more active, starting with Sapporo ADC, and then an ADC was being established in Kyushu. Later, when I was back at the printing company in Nagasaki, Yoshitaka Okada, who was also working at a printing company in Sapporo, won the Sapporo ADC Grand Prix and the JAGDA Newcomer Award with his "Obake Font".I was impressed that Ms. Okada, who works at a printing company in a rural area, won the grand prize.

Hayama:Back then, I thought that if you were a designer, you could do better work in a city like Tokyo, but when Mr. Okada came along, that idea was completely overturned, and I realized that "you can do well even in a local area, not just a city." Also, I felt that there would be fewer rivals in a local area, so I could stand out.

Previous interviewCOMMUNE in Sapporo, where we had the opportunity to work, also said that after learning about senior Sapporo creators who are active on the world stage, they thought, "Maybe we can do that in Sapporo too." How about you, Murakawa-san?

Murakawa:In my case, my mentor was a star (in the copywriting world), so from the beginning, I was able to see major client projects up close. I was assigned to projects that even newcomers could be involved in, such as radio advertising, and although it was busy, I thought advertising was fun. But, for example, if I were to ask if I could do the same scale of work (as on big projects) for a local company that a friend had taken over, I would say no.With large-scale projects, I sometimes felt like I didn't know how my work was contributing to the overall project.

Around that time, a new way of thinking emerged: "branding thinking." I was inspired by the methodology of an art director branding a small town shop, and while big projects are fun and rewarding, I started to think that I wanted to try something without being too constrained by them. It was a time when the way advertising was done was changing.

Dejima, the only open island in Japan = DEJIMAGRAPH

Amidst all of this, DEJIMAGRAPH was launched in 2011. Who came up with the name DEJIMAGRAPH?

Hayama:It's Murakawa. I started my company on my own first, but when I was deciding on a name for it, I consulted with Murakawa. At that time, Murakawa suggested, "How about DEJIMAGRAPH?"

Murakawa: It would be a waste not to use Dejima when Nagasaki becomes independent.I thought.

Hayama:Considering the historical context that Dejima was "the only place in Japan open to the public at the time," the concept of "disseminating creativity from Nagasaki" is easy to understand. Our customers also refer to us as "Dejima-san."

What do you think are DEJIMAGRAPH's strengths?

Hayama:It's rare to find someone at a local creative firm who approaches things through words,I think our strength lies in our ability to "construct things using words and visuals" right from the start.Our ability to plan and execute TV commercials might be another way we differentiate ourselves from other companies.

Nagasaki has many long-established businesses that have been in business for over 100 years.

I hear that Nagasaki has many long-established companies as clients.

Hayama:That's right. There are places like Kyoto and Nara that have even more long-established businesses, but Nagasaki also has many long-established businesses. In fact, there are still shops that were established during the Edo period, the time of Dejima, and there is even a castella shop with a history of 400 years.Our client, Onohara Honten (a karasumi sales company), was also established in the year of the Ansei Purge (1858-1859), which is the same as a historical event! (laughs).Another of our clients, Sakinaga Shipping, which operates in the domestic shipping industry, celebrated its 80th anniversary a few years ago. There is also a commercial association called "Nagasaki Shinisekai" which is comprised of companies that have been in business for over 100 years.

Murakawa:There are many companies that have been in business for over 100 years. Among them, Onohara Honten often rebrands at "the right time to change in line with the times," such as "We want more young people to eat karasumi (cured mullet roe)" or "We want to create a new product that can be used in cooking, not just as a snack."

Are there any jobs that are particularly characteristic of long-established companies? Also, could you tell us what you keep in mind when it comes to branding for long-established companies?

Murakawa:We are often asked to plan and design products that will make the brand known to younger generations and pique their interest. What we keep in mind is that most long-established companies already have an established brand, so we work with respect for their history and design. Changing something that has been loved for a long time is stressful, for better or for worse, and we inevitably hear from long-time customers that "the old version was better," but we are conscious of not losing sight of our long-term goal of "preserving the brand for the future."

I understand that you've been getting more and more work in recruitment branding in recent years. Is this related to the fact that you're located in Nagasaki?

Murakawa:I think there's a labor shortage everywhere right now,Nagasaki also experiences significant population outflow (for the past few years, Nagasaki has ranked among the top five worst cities in Japan for population outflow: according to the Ministry of Internal Affairs and Communications).Therefore, acquiring talent is a top priority for every company, and not only companies but also local governments are putting a lot of effort into it.

Our company handles corporate recruitment branding, design to attract students to Nagasaki as a tourist destination for part-time work, and creative projects for the prefecture and city, such as promoting U-turn/I-turn migration and creative work for Nagasaki City Hall employee recruitment.

DEJIMAGRAPH's creative

1. Takashima Farm – We even offered suggestions on how to sell their products. Sales increased by 149% in the third year.

Let me ask you about DEJIMAGRAPH's track record. First, let's start with one of their most representative projects, Takashima Farm.

Hayama: Takashima Farm is located on an outlying island called "Takashima" in Nagasaki, relatively close to Gunkanjima (Battleship Island), and was originally a prosperous coal mining island.After the coal mine closed, the "Takashima Fruity Tomato" business was launched as a new industry for the island. It was apparently run by a third-sector company (a corporation established through joint investment by the national or local government and private companies), but its financial situation was not good. When Sakinaga Shipping heard about this, they took over in order to protect jobs on the island.
Our relationship with Sakinaga Shipping began when they asked us to design gift boxes to help increase sales of their "Takashima Fruity Tomatoes."

Initially, the request wasn't for branding, but rather to change the packaging in a very specific way.

Murakawa:That's right. Initially, the request wasn't for branding, but we had a discussion about whether simply changing the packaging would necessarily lead to increased sales.

Hayama:When formulating the proposal, we also spoke to the staff working on-site in Takashima,While they are involved in selling and growing tomatoes as a "job," everyone simply "loves Takashima."They not only wanted to revitalize Takashima, but they were also thinking about the island's future. I was also impressed by their dreams of growing melons in addition to fruity tomatoes, and eventually making juice and curry. Based on these "voices from the local community," I made the following proposal.

Hayama:The idea is to create a larger concept, "Takashima Farm," rather than just "Takashima Fruity Tomatoes," and make this the first touchpoint for customers. By incorporating various brands (agricultural products) into this concept, we can brand the farm in a way that also puts our future vision into practice.

Murakawa:With the branding of "Takashima Fruity Tomato," we would have to rebrand it again when we start growing melons.I explained that, in order to do things efficiently, it would be better to brand the business within the framework of "Takashima Farm" and create the impression that "everything produced at Takashima Farm is delicious."Also, change inevitably brings stress, for better or for worse. I wanted this to be as enjoyable a project as possible, so I proposed a branding approach that would allow the staff to realize their own aspirations.

In the branding process, we also proposed strategies for selling the product.First, they made the "sugar content selling" system (classifying brands and prices by sugar content) easy to understand through naming and design, creating a system where the sweeter the tomato, the higher the price. At the time, they were selling or distributing B-grade tomatoes (those that didn't meet the sweetness of the Fruity Tomatoes) at a low price, but even those were still sweet enough to be considered regular vegetables. So, after repeated discussions with the person in charge, they decided to create a separate brand called "Kamome no Tomato" (Seagull Tomato) and "make proper sales of it as a delicious vegetable tomato."

Hayama:In branding Takashima Farm, we created a new logo. Takashima has a history as a coal mining town, and it's a place where you can feel the scenery, with seagulls flying around and fields just a short walk from the harbor. We wanted to cherish that scenery. There's a melon there as a symbol of the future. We've created a logo that's easy for everyone to get to know.

Sakinaga ShippingInterview with President KitagawaI was also impressed by the story of how Mr. Hayama later brought in a different logo design than the one that had been proposed and almost decided upon. It's an episode that really shows his strong desire to "just make it the best it can be."

"I was surprised when Mr. Hayama suddenly said a week later, 'I think this one is better after all.' We even took a vote within the company, and the original logo design had received a lot of votes... As the person in charge, I was honestly at a loss (laughs)."

Sakinaga Shipping Co., Ltd. | Client Interview

Hayama:At first, I wanted to create something cool and stylish. But that didn't capture the earthy feel or the approachable atmosphere you get when you visit the farm. As I looked at the farm's atmosphere and the charming smiles of the staff, I realized, "They're not doing this to be cool." I wanted to convey what makes Takashima Farm unique, including the deliciousness of the tomatoes, so I completely redesigned the tone and style from scratch.

Murakawa:Just when I thought we'd settled on something, I came up with an even better idea. I felt it wouldn't be good for the project to keep quiet, so I told them, prepared to be reprimanded. I'm grateful that they accepted it, and I think we've created something that suits everyone at the farm.

Regarding Takashima Farm, DEJIMAGRAPH has also produced a promotional video, which is one of their strengths.

Murakawa:I created a video that incorporates everything the client wanted to say. The visuals are wild, but the narration is quite sensible and makes you think, "They're saying exactly what they want to say."I wanted to convey all the charm of tomatoes, so to keep viewers watching the video to the end, I came up with the idea of ​​"a person who is running at full speed with deliciousness."

When it comes to videos, we often ask video director Shuhei Shibue to help us, and this time we asked him to "make it like the 'Ajio' from Mr. Ajikko," and he brilliantly delivered within our budget. Every video that DEJIMAGRAPH is in charge of is only possible because of Director Shibue.

Murakawa:The reason we were asked to create this PR video was because, following the "Takashima Fruity Tomato" project, we also started doing branding work for Sakinaga Shipping Co., Ltd.I think a major factor was that they realized, "Creativity really does work!"

*This is a recruitment PR video for Sakinaga Shipping, featuring all employees. It was shown in Nagasaki cinemas before the release of the latest Star Wars movie. It received a great response and successfully achieved its goal.

Regarding "Takashima Farm," have you actually seen any results from the branding efforts?

Murakawa: Compared to before the rebranding, we saw a 116% increase in the first year and a 149% increase in the third year. The fourth year was tough due to a poor harvest caused by a cold wave, but we still achieved a 137% increase.What impressed me the most was when the president said, "The best thing was that employee motivation increased."

We've gained the confidence to promote our products ourselves. We're happy to receive positive feedback from buyers and customers, and we've also seen an increase in TV and magazine coverage since our branding efforts. When people say things like, "It's delicious!" or "It's cute!", it makes us want to do even more!Even in company-wide meetings, employees from the tomato division, who used to be rather quiet, are now the most vocal and capable of articulating the company's vision. That's the most tangible benefit of our branding efforts that we've experienced.

Sakinaga Shipping Co., Ltd. | Client Interview

I was happy that I was able to propose a place where all the staff could do what they wanted to do, and that the branding attracted attention and boosted everyone's motivation.

2. Minamishimabara City – Creative work that doesn't differentiate itself is meaningless.

This is another project from Minamishimabara City that makes a huge impact.

Murakawa:Minamishimabara City requested a proposal to create a promotional campaign to showcase the city. My first task was to promote "Shimabara Hand-Stretched Somen Noodles," a local specialty of Minamishimabara City, and then to create a creative campaign to promote Minamishimabara City as a whole.

The "Shimabara Hand-Stretched Somen Noodles" PR campaign, aimed at the Kanto region, targeted young people with the goal of encouraging them to keep somen noodles at home like pasta and to use them as an ingredient in time-saving recipes for busy families raising children.While somen noodles evoke a sense of "Japanese tradition," there's no point in trying to replicate the same approach as Ibonoito (a high-quality, hand-stretched somen) in the Kanto region.In some cases, it could end up sounding like an advertisement for Ibonoito noodles, so we decided to develop a unique PR phrase, "My Men, My Regulars," and create an original song (which is actually available on Apple Music, etc.). Shimabara hand-stretched somen noodles are firm and can be used in a variety of dishes, so the promotion is simple and just conveys that fact.

Murakawa:The movie was directed by Shibue, the same director who worked on the Sakinaga Shipping commercial. It was originally planned to run for only one year, but it is still being shown in TV commercials in the Kanto region during the summer and winter, and has even started airing in Kyushu.When the commercial starts airing, there are always a certain number of people who talk about it on X, saying things like, "I saw an amazing commercial," or "It's that time of year for this commercial again" (laughs).We once received a request from someone in Minamishimabara who wanted to borrow a happi coat for a dance performance at a wedding, and it seems that the happi coats we lent out have been used at various weddings and events.

—The PR video for Minamishimabara City is also incredibly impactful, isn't it?

Murakawa: Minamishimabara City has a fertile ground for accepting bold and creative ideas.We ourselves believe that "even if we create something that everyone likes, it's meaningless if it's not differentiated." Many local city promotion videos are the kind that could be used for any town if you just change the name. The director felt the same way, so he suggested to the client, "Let's not just make a video that's all about atmosphere, let's make a proper 'CM for Minamishimabara'."

Based on a local information program that might air in Nagasaki, this program was created with the goal of helping viewers remember three things: "World Heritage Site Hara Castle Ruins," "Amakusa Shiro," and "Shimabara Hand-Stretched Somen Noodles." Hikari Mitsushima appeared in the program.Although it's an unusually long 27 minutes, no matter which part you watch, it's a commercial for Minamishimabara City.

Murakawa:I thought this would definitely become a hot topic, and indeed it had a big impact, so it received a lot of media attention, appearing on shows like "Mezamashi TV" and "Miyaneya," and even becoming the basis for a quiz on "Todai-Oh," so it garnered a considerable amount of publicity.Thanks in part to Ms. Mitsushima mentioning the video during her television appearances, such as on "Tetsuko's Room," the advertising equivalent value ultimately exceeded 8500 million yen. It's one of the most memorable projects for us.

This project also made me truly appreciate the power of teamwork. We were able to cast Mitsushima-san because Director Shibue had experience directing dramas, and the fact that the video ended up being nearly 27 minutes long was entirely due to the director's direction. On set, the cameramen, lighting technicians, stylists, hair and makeup artists, and producers all contributed ideas as professionals.

This creative project was made possible thanks to the coordination skills of Nagasaki International Television, the lead company for this project, and their willingness to help with even miscellaneous tasks across departments.I was also surprised that, after completion, the 27-minute video was aired on terrestrial television "uncut and without commercials."I felt that their motivation wasn't simply because they were a client, but rather because they wanted to "do what they could as fellow members of Nagasaki."

All companies in Nagasaki have a "spirit of contributing to the community."

Is there anything you value in your creative work?

Murakawa:Most clients are thinking about contributing to their local community, so we consider whether our creative work will be truly helpful. Every company, while naturally prioritizing its own profits, has a spirit of community contribution, such as "we must protect local employment," and even though they are in completely different industries, they all care about their local community.

It's interesting that most companies are thinking about contributing to their local communities. In Tokyo, I don't think there are that many companies that focus on contributing to their local communities.

Murakawa:Of course, there are company profits to consider,During meetings, I often hear comments like, "We've been able to get this far thanks to the local community," or "We must protect local jobs."Nagasaki Prefecture has many remote islands, and currently, the population is steadily decreasing on these islands. Perhaps because of this, even people in industries seemingly unrelated to such problems are thinking about their "community." We felt that we too need to work with that kind of spirit, and it was truly a case of "learning by watching their example."

Hayama:The BARAMON series of gifts from Goto, for which our company handled the branding, is a product of Fujioka, a company in Nagasaki City that primarily sells petroleum products.The company president originally loved Goto's local specialties, "Goto Udon" and "Kankoro Mochi." However, there were no products with packaging suitable for taking as souvenirs outside the prefecture.So the company president decided to take the plunge and said, "Fujioka is going to create a brand, so I'd like you to design the packaging."

Similarly, the Nagasaki Soup Curry at Inasayama Kanko Hotel, which our company was also in charge of, originally started with the idea of ​​"developing a souvenir that incorporates Nagasaki's history and culture and can promote Nagasaki."

Murakawa:When I was in charge of the "Goto Hand-Stretched Udon," I still remember how Mr. Fujioka, the president of the company, spoke about the development of remote islands.

I see. So, the idea of ​​contributing to the community is rooted in the reality that Nagasaki is experiencing a large population outflow, and it stems from a sense of crisis that the city of Nagasaki is shrinking, is that right?

Murakawa:I think that's one aspect of it. Most people would probably say, "The population is decreasing, so we have to do something." The reality that the number of young people is decreasing is something that everyone, especially in Nagasaki City, is aware of.

Hayama:Regarding "Goto's hand-stretched udon," I think there was also a desire to properly spread the word about the fact that Goto udon is simply delicious. It's delicious, but not many people know about it.

By the way, Fujioka is also a fairly long-established company.

Murakawa:That's right. It's a company with a 125-year history. Incidentally, Mr. Fujioka opened a restaurant called "Baramon Shokudo" in Nagasaki City as a result of this branding project. You can eat Goto udon there.

In your client work, do you often keep "contributing to the local community" and "promoting development of remote islands" in mind?

Murakawa:First and foremost, I want to fulfill my clients' requests. Beyond that, I believe that having a perspective on "contributing to the local community" and "promoting island development" is crucial for services and products to be loved for a long time, as it often leads to sustained support and ultimately a more sustainable business. I think it's becoming a necessary element not just as a "good thing," but as a "business." There are many companies that naturally and routinely practice SDGs and social good without loudly proclaiming them, and I think that's really "cool."

Creative in Nagasaki, Fukuoka, and Saga

Do you have any dealings with web design companies in Nagasaki?

Murakawa:Yes, we do. We often create websites for our projects, and it's almost always a package deal for branding projects. Especially in recruitment, people don't apply unless they've seen the website first, so we make it a point to suggest creating one if it's beneficial. One of the places we frequently work with is Nagasaki.roots,motto:If it's Fukuoka, then...y2I often ask these three companies for their help.

How about design or branding companies?

Hayama:I think there are design firms in Nagasaki, but if you're looking for a firm with our style, I'm not sure... I have been told that "DEJIMAGRAPH's style is rare even in Western Japan."

In Fukuoka, you see a significant increase in the number of branding and creative companies, right?

Murakawa:That's right. In addition, Fukuoka has several video production companies, and they're all of a high standard. The director of the videos we handle is Director Shibue, whom I've mentioned several times before, and the production company he uses is often based in Fukuoka. Director Shibue also says, "I love the Fukuoka cinematography department!" (laughs).

Incidentally, I hear that Saga Prefecture is actively utilizing creators in business and public relations throughout the prefecture. It seems the prefecture is taking the lead in promoting creativity.

Murakawa: In Saga Prefecture, the prefectural government has a design department called "Saga Design."There is a movement to actively incorporate design into regional revitalization, and it even has a function to match top creators, aiming to utilize creativity for the development of Saga Prefecture.

Our company is participating in Saga Prefecture's "Saga Agri Heroes" project as a collaborative creator, working alongside businesses. What's remarkable about this project is that it provides support for four consecutive years. I believe this project is possible because they understand the effectiveness of creative solutions.

Murakawa:Because it's a four-year project, it demands rigorous results and is a highly serious undertaking. In the first phase, we worked with a poultry farm, and currently, in the second phase, we're in charge of Shirakawa Tea Plantation in Ureshino City, Saga Prefecture. We're now in our second year of working together, and the rebranded tea will be unveiled in 2025. While most projects are usually limited to a single fiscal year, I think Saga Prefecture, which is able to implement projects like this, is a "promoting prefecture" for utilizing creators.

Nagasaki's only design-related event, "Digi-Ben"

DEJIMAGRAPH has been running a talk event called "Digi-Ben" since 2017. The topics discussed are diverse, including design, web, movie, editing, and recruitment.

Murakawa: There aren't any other creative events like that in Nagasaki, and we ourselves wanted a place like that, so we decided to start one ourselves.It originally started as a learning space for our clients, a place to share production examples. We also wanted a place for ourselves to learn, and we wanted to improve our clients' understanding of design and branding. There aren't many people in Nagasaki who can teach branding, and company representatives often say they want to know how other companies are doing it. We thought it would be great if we could create a space like Digi-Ben where people could openly discuss these things and build connections.

Hayama:Even when you hear terms like "design thinking" and "branding," most ordinary companies still don't really understand them. They wonder if spending money on design is really worth it. I hope that through digital learning, we can help resolve those kinds of questions and concerns about design. It all started with the idea of ​​communicating the "effectiveness of design and branding" from a designer's perspective.

I see. So, in the initial stages, you were reaching out to what you might call DEJIMAGRAPH's clients.

Hayama:That's right. The event was primarily aimed at our clients and potential future customers. We also sent invitations to those who inquired about it. But when it actually happened, it wasn't just clients who came; people from the same design industry were there too. It was unexpected that so many people were interested in learning about branding techniques or understanding our thought process and creation process.

Murakawa:The 12th "Continued Northern Design, Western Design" event, which we held last time, was aimed at designers and students, and many of the participants were vocational school students. In the recruitment branding session, we had many clients and general business owners.

Hayama:Even people in the same industry are surprised by the number of attendees at "Digi-Ben" (digital learning workshop). They're surprised that people come all the way to Nagasaki. We get about 30 people per session, and up to 90 at our busiest. Some even come from Fukuoka and Oita.

Also, we create company brochures like this, and sometimes distribute them at our digital learning sessions. In Nagasaki, we get a lot of referrals from customers to other customers, so we felt it was necessary to have something like this that we could hand out directly, rather than just something on the web. Surprisingly, even young people will look at it when we hand it out. We feel that having it distributed in book form, in addition to being on the web, increases the chances of people seeing it.

Nagasaki is closer to "Asia" than Tokyo.

One of the advantages of working as a creator in Nagasaki is its proximity to Asia.

Murakawa:I think that's the case in any town,Nagasaki also has its own unique history and character. From that perspective, you can still see in the city the attractive designs that were influenced by Europe and China.From the patterns on Nagasaki flags and Western-style architecture to the Chinese temples and the fashion of the Nagasaki Kunchi festival with its hakama and hats, I think you can find the charm of Nagasaki everywhere you go.

In that sense, not only Nagasaki, but each prefecture in Kyushu has its own unique charm, don't you think? It's often said that all of Kyushu is a tourist destination.
I think Tokyo is the most creative place in Japan and has the biggest market, but I believe there are many creators in Kyushu who feel that they don't need to look to Tokyo for work. Especially since design is a non-verbal art, national boundaries don't really matter, and I think it's an environment where you can get requests from all over the world.

Being in Nagasaki makes me feel like "Asia is close." Perhaps because it's physically close, the emotional distance is also close, making it easier to interact with Asian designers.We've had visits from Korean publishing companies, employees from Shanghai, and interns from Hong Kong.

I heard that COMMUNE always has interns coming from overseas, and I wondered if that was because Sapporo makes a special impression on people from abroad. In that sense, I wondered if Nagasaki is also one of those cities that makes a strong impression on people from overseas.

Hayama:In the case of Nagasaki, it can be said that it is a place known worldwide as a city of peace.

Murakawa:DEJIMAGRAPH also has many interns from overseas, and when I ask them "Why come to Nagasaki (and not Tokyo) from overseas?", the answer is usually "Japan is Japan, after all." For example, if it's Florence, a city in Italy, from our perspective, it's "Italy" before it's Florence. It's probably seen as just a nice-looking town within Italy. I think people from overseas probably perceive Nagasaki in a similar way to how they perceive "Kyoto."

What do you think the future holds for creative industries in Nagasaki?

Hayama:There aren't many places in Nagasaki to learn design or creative arts. My high school had an art department, but there are no art universities. When there aren't places to learn, opportunities to interact with young people decrease, and as a result, creativity doesn't flourish.Nagasaki has a lot of cultural things to offer, like Dejima, and is rich in historical materials, but it's almost completely lacking in creativity.I think if the cultural and creative aspects of the town were linked a little more, it would become an even better place.

Considering that, the significance of continuing digital learning is immense. DEJIMAGRAPH, having seen Nagasaki's culture and being well-versed in branding and design, has become a place where many people can learn about design.

Hayama:It would be great if creativity flourished more. A designer from Fukuoka told me that while Fukuoka is a commercial city and the most prosperous in Kyushu, culturally it's difficult to create things like souvenirs. Fukuoka doesn't have many tourist attractions. Nagasaki, on the other hand, has an abundance of resources, but perhaps they're complacent because they have too many resources.

Murakawa:My reason for starting my own business in Nagasaki was that, amidst the changing landscape of advertising, I wanted to help smaller businesses that were more attentive to individual aspirations. With the population outflow from Nagasaki, I think we've reached a point where it's no longer just about big corporations working hard, but more about a total battle of individual efforts.I think we need to work hard to make people understand that "creativity can be useful" in addressing the challenges facing Nagasaki as a whole and in individual companies.

Branding = Commitment to Management

In DEJIMAGRAPH's case, I felt that they are not only focused on creativity but also on business management. Creators often find it difficult to confront results, or to talk about how much revenue they need to generate. But what your company is actually doing is leading to results. I feel that unless you confront that aspect, the value of creativity will not increase.

Murakawa: In our company, we try to get our clients to show us figures such as their annual sales and the cost of goods sold within that.If we don't understand that, we can't propose a sound branding plan. Even our young designers don't know what scale to propose when they make a proposal. That's something they don't teach you in art school. For example, if there are 270 business days in a year, how many products should ideally be sold per day? What percentage of sales should remain as profit? Our designers are working hard to get into the habit of thinking about these things.

Since we're not artists, we believe that we won't have any market unless we properly commit to the business side of things.We are often commissioned to design and branding projects to "increase sales," so if we don't understand business management and financial figures, we might end up proposing unrealistic plans. That's something we are very careful about. 

I usually meet with the client's top executives, but what they talk about isn't creative work. They talk about "business"—how much of each product to sell, which product to make the main source of revenue, how many employees to hire, and so on. Since our clients are business professionals, it's much smoother to talk about business rather than design at that point. My peers often ask me, "How do those kinds of proposals ever get approved?" but it's not that difficult because we start with a business discussion.Building trust and "being creative and committed to management" are at the core of our philosophy.

We want to be a company that can share the years with our clients.

Finally, could you tell us about DEJIMAGRAPH's future plans and your individual future prospects?

Murakawa:As a company, we've started doing some overseas business, and since we live in an age where we can travel to all sorts of places by plane, it would be great if we could do something like the old Dejima (a historical trading post). Sounds fun.

Hayama:This is more of a wish as a manager than a decision made by the entire company for the future, but... I think the mainstream way of working in design firms and creative fields is to become independent after a few years or gain experience at the next firm, and we have done the same, but when it comes to branding clients in our current style,We want to be a company that can grow alongside our clients over time. In that sense, we hope to cultivate people who can work closely with our clients for the long term. People we want to work with for a long time.

Murakawa:I agree.

Hayama:I want to create a company where employees feel comfortable and think, "Maybe I'd like to take over this business." When it comes to creativity, we're quite demanding, so it's not always fun, but if we maintain that kind of motivation, I'm sure it will lead to good work.

Murakawa:Personally, I'd like to increase the number of copywriters and planners. Because I'm lonely (laughs). Once I have a little more free time, in addition to the work I receive, I'd like to turn my interests and passions into work, such as doing something for the stray cats I see every day, or creating fun places for my generation to enjoy in retirement. I want to weave my daily thoughts into my work.

Hayama:Also, I'm gradually getting more work with overseas companies, and I want to expand that even further. Nagasaki has a long history of deep international ties, and it's geographically and culturally close to other Asian countries.That's why I want to explore more creative possibilities that are rooted locally while connecting with the world.I collaborate with overseas design studios and handle branding for local markets. In fact, when I interact with overseas clients, I often notice differences in how they perceive design and language, and that's what I find so interesting.

At the same time, I also want to create a "space" where people can learn about and showcase Nagasaki's creativity.For example, we could create a space with a cafe and shop, selling products designed by DEJIMAGRAPH, and organizing exhibitions by domestic and international creators. We want this to function not just as a shop or gallery, but as a place where people can learn about design and branding, creating a space where interested people can easily gather and learn practically.

Hayama:Furthermore, I'd like to create a system that allows for interaction with designers and artists from overseas. For example, inviting overseas creators to hold workshops, or providing opportunities for young Japanese designers to take on international projects. By doing so,This will become a place where you can connect with the world while staying in Nagasaki, and new ideas and collaborations will naturally emerge.

A place to learn about, share, and connect with creativity. By creating such a space in Nagasaki, I hope to make design more accessible and increase opportunities to connect with local businesses, creators, and people from overseas. I think it would be exciting to take on the challenge of making Nagasaki a "creative hub."

That's all!

Our series with Web Designing, "GOTO-CHI CREATIVE!", concluded with an interview with DEJIMAGRAPH in Nagasaki for the second installment. We hope you enjoyed it!

Hayama, who specializes in "design," and Murakawa, who specializes in "words," "construct things with words and visuals." That's the defining characteristic of DEJIMAGRAPH, but there's another significant feature beyond just high-quality craftsmanship: their focus on "branding that is committed to business management."

Behind this lies a sense of urgency in Nagasaki, a city with many long-established companies, such as the need to "increase sales" and "prevent population outflow." I believe that unless they can commit to achieving results, it won't be considered a success in terms of branding.

Another thing that impressed me was that Nagasaki has a long history of deep international ties, and is closer to "Asia" than Tokyo. In Japan, where inbound tourism is increasing in various regions after the pandemic, their approach of exploring the possibilities of creativity that connects with the world while remaining rooted in the local community is truly global, and I think it offers a glimpse into the future possibilities of creativity. I am very much looking forward to DEJIMAGRAPH's future activities. Below is an afterword by Kato, who was present at the interview.

●iDID Takuma Kato's Afterword　
There are many companies that call themselves "branding companies!" based solely on their track record of creating logos and key visuals, but there are very few companies that can truly say they are "branding companies committed to business management," and I think there are only a handful of such companies nationwide.

Finance, in particular, which is fundamental to business management, has attributes as a learning skill that are very different from creative skills, making it inherently difficult for creators to acquire.Furthermore, even when dividing roles within an organization, balancing them is extremely difficult due to differing cultures, which I believe is a major concern for companies that primarily focus on branding. Our company has also spent many years grappling with this problem.

DEJIMAGRAPH accepts this as a matter of course, just like "1 + 1 = 2," and deals with their clients' sales plans and cost ratios on a daily basis. I was truly shocked and inspired by their attitude.

In an era where AI and no-code tools make design easy for anyone, those who genuinely engage with clients' fundamental challenges and business needs, and who can find solutions through the power of creativity, may become even more prominent and shine brighter in the future.

This interview gave me much to think about.

If you enjoyed it, we would love to hear your thoughts on social media (direct messages are also welcome).

Now, for "GOTO-CHI CREATIVE!", next time we'll be heading north. I'm thinking of going to interview a certain creator who is based in Niigata but is also well-known in Tokyo. What kind of work style and lifestyle will I find there? I hope you'll look forward to it.
This was the iDID Magazine editorial team!