Perfect Wave

Issue No. 1 of Perfect Wave is now available!  There is a lot of amazing artwork, writing and music stuffed into this first issue!  We weren't able to successfully embed the magazine here yet so you should head over to the site to see the whole thing!  Our illustration is about two thirds of the way in but you can also jump straight to it here.
The music is, once again, by our good friend Rec.tangle, and the piece is another short sketch he wrote for our future Sesame animation.
The illustration is of a typical evening at the cafe/bar, Sesame, where Chim, the owner, works at the counter and Harold, the wandering performer, warms up the customers.
We will put a full version of the panoramic illustration here later but for now enjoy it in its intended, looping form (the ends were created to connect) with music.
Below are some images taken from the main illustration.

ブルックリン発のオンラインマガジン、Perfectwave magazine(パーフェクトウェイブマガジン)、第1号がとうとう公開されましたーー!すっごくいい感じです!

Perfectwave magazine:

Perfectwave magazine/overture brown:

(launch audioという所をクリックすれば音楽がスタートします。)

(ちなみにこれが2006年に作られたパイロット版SESAMEの映像:Sesame Ⅰ

今回、Perfectwave magazineのお話が来てまず作ってみたかったのが、横にスクロールするという特性を生かしたもの。そこから、SESAMEの物語の中に出てくるカフェ&バーSESAMEの店内を360℃見渡しているという設定ができました。




Perfect Launch

The online magazine, Perfect Wave, which we first mentioned last summer, is finally getting a release!  We have one piece of work in this issue, hopefully folks will like it!  Much more on that when the thing is out in the wild.

The magazine is also having a release party on Thursday, January 13 at Zebulon from 7PM with music and readings by magazine-related people.  I don't think we'll be able to make it but it sounds like a wonderful time!  There's even a Facebook Event page.

Oh, and the magazine will be out on January 10th.

オンラインマガジン「Perfect Wave」、これは昨年の夏に出てるはずだったのですが、鋭意編集中…ということで公開が延びてました…が!

会場ではPerfect Waveマガジン周辺&ゲスト(FUTURE SHADOW、NO RECEPTOR、INTERNAL DISMEMBERMENT + TONY MARTIN)のリーディング、ライブ、などなど…私達は会場に迎えませんが、お近くの方はぜひ!


FrizziFrizzi Interview

Recently, we were interviewed for the Italian online magazine, FrizziFrizzi.  The interview, conducted by Ludag (Bruno Colajanni) was published today and though it's in Italian, it is still a beautiful site to just look around on.

Animation by the woods: Aya e Jason e la loro Overture nel bosco

Below is the English version of the interview, in case you are interested:


Animation by the woods: Aya e Jason e la loro Overture nel bosco

インタヴュアーは、ベルリン在住のイタリア人、Ludag名義で活動するBruno Colajannです。

1.Hello Aya and Jason! Where are you right now?

     Right now we're living in Western Massachusetts in the U.S.  Lot's of old hills and forests!

2. In the August 2004 you founded your project, Overture.  What do you remember of that  summer day? Where did you meet for the first time?

   Yes, we remember that day very well!  It wasn't the first time we met, we had known each other through mutual friends for a few years at that time, but it was the first time we ever really talked.  We went on a camping trip with a group of friends to Okutama, a beautiful mountainous area with deep, narrow ravines, not far from Tokyo.  After dinner we found ourselves together and began talking about our interests and found our ideas and thoughts to be amazingly aligned.  Everyone was gathering in a cabin but we went to an empty one and began drawing together.  Talking and drawing we stayed up all night and knew that we had to continue together, something had been sparked. 

3. Do you share a desk or do each of you have your own desk? Can you describe it?

     Our main workspace at the moment is a long counter made of plywood and sawhorses where we have our computers and lightboards lined up.  We recently moved to a cozy second floor studio/apartment overlooking a river and dam, just a kilometer from the camping spot where we thought up the animation we are currently working on.  The river carries the inspiration to us!  We have high ceilings and many books in our apartment, most of them belonging to the owner of the house.  Plus we have a small room for painting and other messy activities.  We used to work facing each other but this new setup seems to be working well!

4. Overture is an "Opera House" where you both sometimes let other people take part in your projects as well. Can you describe how a day goes by for Overture? 
We may be picking up help in the near future but for the most part it is just the two of us working on projects!  Even when we are working on something like an animation, the musicians involved usually don't live anywhere near us and we typically only communicate through email.  In fact most of our work is like that, we really don't do much locally where we live so everything is through the internet - at least during the creation process.  We were fortunate to tour Japan this Summer, doing small performances and holding a number of exhibitions and during this time we were able to actually interact with other artists and musicians in person and that was really great and a pretty fresh experience for us!

5. Can you tell me about your studies and experiences in your countries? (I guess Aya comes from Japan). When did you decide to become artists?
A: Yes, I am from Japan!  I didn't go to art school but I was an artist's assistant for a while.  I've just always drawn, since I was a child.
I think I decided to become an artist when I was with a real artist, working as an assistant or participating in a project.
J: I also didn't go to art school but have always just been making things.  I did puppet shows when I was little and wrote stories.  I don't think I've ever had a moment where I thought I wanted to be an artist, just a never ending drive to create.

6. In another world what would Jason Malcom and Aya eventually  be?

A: I think I would be an animal that could do little detailed things, like a raccoon or squirrel.
J: a taveler on the Silk Road.

7. It seems music plays an important role on Your creation. Does Aya or Jason play music too?

A: We both play a bit of music, though less recently than a year or so ago.  
J: I grew up playing a few instruments and singing in school through highschool.  When I came to Japan I played in a number of bands and when we moved to the U.S. the two of us would meet with local friends and play music almost once a week.  Especially when we are working on an animation, music is an excellent exploration tool and can be a freeing, spiritual release.

8.You did wonderful videos for indie musicians such Haushka, KiraKira and Mùm.  Are there other artists you would like to work for too?

    Yes, there are many artists we would like to work with!  We are constantly looking to expand what kind of music we work with, looking to possibly do more rhythmically oriented pieces or possibly some kind of noise-related animation - although it really depends on what we come upon and who we meet and what the moment holds.
We are also interested in doing more performance based animation and would love to work with people like Cirque du Soleil or Royal de Luxe.
We would also like to work with live film directors for creating short pieces in films or possibly opening/closing animations.  Although we are also looking to create our own feature length films in the future - animation and possibly live action as well.

9. First time I saw your creations I found your style unique and in the same time very related to Japan and North Europe imaginary. Maybe because when I was a child I used to watch cartoons as "Tanoshii Moomin Ikka"  (from the lovely swedish comics series Moomin by Tove Jansson) or "Tongari Boushi no Memoru", both of them with the character design by Yasuhiro Nakura for Key Animation. Can You tell us in which way the the place where you have lived influenced your imaginary?

A: I'm not sure how much influence it had on my style, but I was born in Beppu, a city famous for its onsen (hot springs) and this certainly has been a big influence on my creations.  I read a lot of books, both Japanese and foreign, as a child and over time this has become nutrition for my style.
J: I grew up in the area we live in now, spending a lot of time in the winding woods around my house and also sometimes visiting the labyrinthine hydroelectric stations my father worked at.  I spent a lot of time playing by myself.

10. What about your favorite artists?

There are so many great artists who we love and who have influenced our work!  We typically find ourselves drawn more to artist writers and folks with stories and ideas than visual artists, but here is a mix of some of our favorites:
Jan Svankmejer, Susan Pitt, Rene Laloux, Friedensreich Hundertwasser, Tezuka Osamu, Michael Ende, Tove Jansson

11. If you could do a remake of a movie, fairytale, book, which ones would You choose?

Hmmm...we would definitely like to do an animated version of Michael Ende's Momo... we would also like to do some simpler fairytale stories, like the Billy Goats Gruff, and possibly something a bit more heavy and recent, like Nakagami Kenji's, The Immortal.

12. On "Bless", the video for the icelandic musician "Kirakira", there are  a lot elements about religion, nature, fate and destiny. On the end you can see the Parcae (the Fates), that in Greek mythology were Cloto (the Youth), Làchesi (the Fertility) and Atropo (the  Oldness), that can decide when it's time for you to die. Each time I see your animations I feel a deep feeling about nature, religion and mystery as something we should not be scared of. Can animation be a sort of antidote against sadness? 

Certainly!  Although, we don't necessarily intend anything in the creation of the animation.  We do think up the stories and characters and guide the narrative, but we also try to let ideas and themes arise from our unconscious - this was especially true in Bless.  Our animation reflects in many ways our lives at the time of creation, our thoughts, outlooks, activities.

13. What made you scared when you were a child? To be alone in the dark? What was your antidote?
A: I was frightened by the expanse of universe and time, especially the idea of existing in the vast space after death.  I didn't have an antidote, although these feelings have dulled as I've gotten older.
J: I was afraid of the void and dangerous potential in the shadows.  I have had night terrors (sleep paralysis/ kanashibari) since I was little and often thought I was being attacked or punished with electricity by monsters or the Christian God.  I had a theory that whenever I thought of nice things before I fell asleep I would have bad dreams so I would force myself to consider scary thoughts in the dark of my room to hopefully have a reverse effect.

14. The style of Overture is special also because that beautiful watercolor texture You use. It's hand made or do You use special software for that?

All the watercolor technique you see in the videos are done by hand.  Figuring out how to do that on a computer is a bit over our heads.

15. How long does it take to realize a video such as " Rhubarbidoo"?

Rhubarbidoo was our first kind of music video and we were still figuring out a process.  I think we spent the early part of the Summer '07 on it.  Generally though we plan animations to go one month for one minute.  This changes depending on the type of animation, the amount of time we have to devote to the animation, and other factors.

16. What's the hardest side of your job? 

Well, we only work on projects we feel match our own goals and this usually means there isn't much money involved.  Having to live off very little or having to work for some kind of supplementary income is extremely taxing and drains a lot of energy we could be focusing on our work.  In a similar sense marketing our work is also a side that is very trying for us.
And then balancing a normal life, eating, exercising, spending time with friends, etc. while also spending every free moment on a project is nearly impossible and really wears on our minds and emotions.
Making things, while some aspects are monotonous or difficult to get into, etc. is really a joy compared to these other elements.  And while we sometimes butt heads over certain details, working together is one of the driving factors of our artwork and we love this as well.

17. What about your next projects? Will it be possible in the future to see your video and drawings all together on a book?

We have a number of projects we are currently working on and also planning on for the future!  We are currently working on a new short animation, the reason for our current location (for research and inspiration), which we are hoping to wrap up by the Spring. 
We are also putting together a dance/music/animation performance with KiraKira, while starting work on some book ideas using the water and ink technique we have been honing for the past while.
And then there is a feature length animation we have slowly been planning over the past few years and are currently hunting for funding while fine tuning its proposal package.
We are always looking to work on new animation projects and also want to get more involved in books.  We will have a small artbook/zine released from a record label in Japan and we will see where that goes - but we would love to also put together a book collecting stills from our animations and various illustrations!  We are also considering a DVD animation collection.

© Bruno Colajanni (

Books & Prints, Bits & Pieces

Some bits and pieces here.
We never mentioned this here, but during the Summer we were in an IdN book, The New Twenties, a collaboration between IdN and Society6, where we have some of our work up.  There are a lot of really amazing folks in the book and we were fortunate enough to be invited to the party.
Here's our "Creators" page on the IdN.

今年の夏に発売された、香港発の デジタルデザインマガジン「IdN」と、デザイナー&イラストレーターのショーケース「Society6」 のコラボで作られた本、”The New Twenties”にイラストレーションが掲載されています。


Also, on the topic of Society6, we recently made some the work we did for our Summer exhibitions in Japan available as prints on the site.  These are ink and watercolor portraits of the Dreamers, the researchers who study the movements and messages of the MoonHare.




This is really only pertinent if you can read Japanese, but the wonderful Japanese site, Public-Image, which focuses on artists, designers and other creators just put up an interview they did with us!
It's the top story and really a very nice interview, performed and written up by the talented and extremely prolific Yuki Harada during our Summer trip to Japan.  They actually wrote a bit about us in 2007 when Rhubarbidoo came out, but this is our first interview for the magazine.
The interview is very detailed concerning Overture's beginnings and goals and we are extremely grateful to have this opportunity!  We hope this helps us find more work in Japan and possible exhibitions as well!
Thank you!

Oh, and also out today is an article on Overture in the magazine, Quotation.  Quotation is a Japanese magazine that I think is bilingual... we'll be receiving a copy shortly and will write a fuller report on the article then!







Hairy Scissors in Kasino Creative Annual
This is the spread of the hairy scissors we illustrated for KASINO's new publication KASINO CREATIVE ANNUAL, released on May 1st. As always, the book is beautiful, lovely stories, photos, illustrations and all tied up together in surprising and satisfying ways.
The theme of this Annual is hair and is overflowing with rich locks and itchy little strays, right down to the credits as we are mentioned as follows:
"OVERTURE is a New England based illustrator team of which JASON BROWN has black beard and AYA BROWN has raven-black hair."

Kasino Creative Annual
昨年10月に終了したヘルシンキのKASINO A4が、毎回1つの事にテーマを絞る"本でも雑誌でもない(編集部談)" KASINO creative annualとして新たに生まれ変わりました。
5/1に発売されたばかりの第1号、髪にがテーマの”about HAIR” に「毛むくじゃらのハサミ」のイラストレーションで参加してます。
”Overtureはニューイングランドを拠点とした、黒い髭のJason Brownと烏の黒髪を持つAya Brownで構成されるイラストレーターチーム”

Hairy Scissors

Approaching Waves

It's going to be a pretty crazy summer. We'll be in Japan for most of it, but lot's of stuff will be happening here in the states as well.
For one thing, we're taking part in an upcoming online magazine called Perfect Wave. They have some teaser photos of contributors up on a Perfect Wave diary, but it's going to be a pretty great project. We'll have some new work up there!
It's coming out in June and we'll be bringing it up again soon, so stay tuned!

そのうちの1つ、Overtureが参加する「Perfect Wave」というオンラインマガジンプロジェクト。
ただいま、Perfect Wave diary(英語)ブログにて他の参加者の皆さんの写真がアップされはじめています。今わかってるだけでも、なんだかすごい事になりそうなメンバーです!楽しみ!

Parasol Magazine #6

The sixth issue of the sweet online publication, Parasol Magazine, run entirely (!?) by Yasmine Surovec, came out yesterday and has some pages of Overture work in it! The images used are the some of the watercolor and ink illustrations we created for our Caffeine Exhibition in Shelburne Falls, MA almost two years ago. The originals are still hanging, until the end of the month, as part of our exhibition at Elliot St. Cafe in Brattleboro, VT.

先日公開されたばかりのオンラインマガジンParasol Magazineの6号にCaffeine Exhibitionで展示した水彩&ペン画の作品が数点掲載されています。アリゾナ州在住のYasmine Surovecさんが編集&デザインしています。

この展示ももう2年前の出来事…現物数点が、今も開催中のブラトルボロ(バーモント州)Elliot St. Cafeで展示中です!


The magazine came out a while ago, but this great package just arrived yesterday, so we are only writing about it now!
KASINO A4, the magazine we've had the privilege of working with for the past three years is dead. It committed suicide with its tenth incarnation, pulling out with its most exquisite issue to date, overflowing with all the delicious details that have made the publication so interesting since since its birth.

縁あって知り合い、そこから3年(5つの号)に渡って作品を寄せ続けたフィンランド・ヘルシンキの雑誌KASINO A4

昨年発行された#10 秋冬号 “THE DEADLINE ISSUE” を最後に、新しい形で生まれ変わるために、一旦その命を終えました。



Also, in this final issue is some info on two upcoming tshirts KASINO A4 is coming out with in the near future to celebrate their death. One of the shirts was designed by us! You can kind of get an idea from the images below, but we actually used the original for a group show last fall, so you can see it better there.

そして今回、KASINO A4は自らの終焉を祝う2種類の記念Tシャツを制作しました。



もうひとつのコラボレーターは、これもまた2人組、パリのAHONEN & LAMBERGです。こっちはシンプルでとても美しいです。


The magazine also included us in a group of "Top Employees" which was very sweet.
It was really wonderful working with KASINO A4 and we certainly hope to have the opportunity to do it again in the future!
さら"Top Employees" というページでも、私たちの5周年の写真付きで紹介されていました。(画像:左)
そこには、「このふたりがKASINO A4を助けてくれた回数はもう数える事が出来ないほど〜(中略)〜最高の賛辞は、これから未来に起こるであろうコラボレーションのために取っておこう」というメッセージが。



Plan B & KASINO A4

Recent illustrations!

Illustration for an article on the upcoming Tortoise album, Beacons of Ancestorship, in Plan B issue #46.

今回はTortoiseのアルバム『Beacons of Ancestorship』について書かれた記事に描いてます。

Illustration for an article on Youtube in the latest KASINO A4, the ABC issue. Zombie kid talking about turtles, Bill O'Reilly, Baby Panda Sneeze and some other stuff we aren't really familiar with. Good fun!

そして、フィンランドの雑誌 KASINO A4の最新号、”the ABC issue”にもイラストレーションが掲載されています。

B&K at PlanB / on Youtube

This is a little old actually, but we wanted to wait until the third Bryum & Kapok animation was out in the world before we mentioned this.
Bryum and Kapok make a small appearance in the February issue of Plan B Magazine, looking out over a black sea on a snowy day for a joint article on Hauschka's latest E.P., Snowflakes and Carwrecks, and the new Fennesz album, Black Sea.

And below you will see that all three parts to Bryum & Kapok are now up on Youtube for slightly lower resolution viewing than what Pitchfork has to offer.

少し報告が遅くなってしまいましたが、いつもイラストレーションを描いている Plan B Magazineの2月号にて、偶然にもHauschkaのEP Snowflakes and Carwrecks, そして FenneszのニューアルバムBlack Seaの記事のためのイラストレーションを描く事になりました。(と言っても、もちろんアニメーションを作った事は向こうも知っているので、粋な計らいで、です。)

そして、YoutubeのOvertureチャンネルにて、Bryum & Kapok3部作が全てアップされています。

Bryum & Kapok: A Memory

Bryum & kapok: An Idea

Bryum & Kapok: A Lilt





It's been out for a bit but we just got our copy yesterday: Afterhours issue #25!
This time looking at Baltimore, London and of course, some Iceland, there's even a lengthy interview with us inside, featuring some of the highest quality color images of our past work ever printed!
And as usual there's music too: two cds and a dvd of music videos (Beach House, Dan Deacon, HIM and Gaspar Claus and Pedro Soler).

音楽雑誌「After hours #25」にて、Overtureのインタヴューと作品が掲載されています!
昨年の12月に発売されていましたが、先日、待ちに待ったコピーがAfter hoursのオフィスから届きました。


Plan B Magazine#39

Here's the latest PlanB Magazine and the illustration we did for a Final Fantasy (the musician/band) review. A band of instrument people on an adventure in a dark cave! What else?
イギリスの音楽雑誌、PlanB magazineの39号にイラストが掲載されています。
掲載されたのは、Final Fantasyというバンドのレヴューページです。

KASINO A4 #8 Arrived!

The latest and raciest Kasino A4 arrived yesterday! "The Best Sex Issue" it is indeed, with photos, illustrations, stories, tips and tricks all focused around the carnal delights. We did some portraits of spammers as you can sort of see below (or run over to our flickr account to see each portrait individually).

Kasino A4の最新号、#8 "The Best Sex Issue"が家に届きました。

今回、私達が描いたのはスパマー(スパムメールを送りつける業者)達の肖像画。 この記事を書いたライターがもらった実在のスパムメールのタイトルだけを元に、スパマー達の人生を予想した記事で、描いててかなり面白かったです。



12/08 掲載: PlanBmagazine #38//Plan B magazine #38 art work

(English is below)
イギリスの音楽雑誌、PlanB magazineの38号にイラストが掲載されています。
掲載されたのは、Anni Rossiの”Afton”(4AD)と、The Organの”Thieves”(Mint)のレヴューページです。

Here's an illustration of ours in the latest PlanB. It's for a page with reviews of Anni Rossi's "Afton" (4AD) and The Organ's "Thieves" (Mint).

PlanB works

少しの間、イギリスの音楽雑誌PlanB magazineの掲載イラストをここに紹介してませんでしたが、毎月描いてます。ここ数ヶ月のものをいくつかまとめて紹介です。

issue 34
Electric Aborigines (Ecstatic Peace!) by Awesome Color.

issue 35
MOGWAI//Young Team

issue 36
Column reviewing recent spate of Fela Kuti reissues, High Life
compilations, and Afro Funk/Rock collections.

issue 37
*Emeralds* w/ *Raglani, ‘Of Sirens Born’* (Kranky)



より多くの人に見てもらえる様にFatcat UK/USのスタッフ達が色々と作戦を練ってくれています。ありがたや…

VELI magazine

VELI Magazine, from Finland, showed up on in our mailbox. We have no hope of reading it (it's in Finnish) but it is a very cool-looking magazine. We did some illustrations for an article about turning thirty and how thirty is the new age to be. It is the new twenty one or eighteen or what have you. The illustrations came out very nice in the magazine as you will see below.
フィンランドの「VELI magazine」にいくつか作品が掲載されたため、フィンランドの編集部が送ってくれていた雑誌が、今日到着しました。

This little guy was the at the beginning of the collection of articles ours was in. He's letting the readers know good things are ahead.

On the left page there are two human monster amalgamations who have grown to become very powerful spirits. The little creatures celebrate their growth as if they were small gods. They are the new power of thirty - hopefully their shape is obvious.
On the right page are more human monster spirits, not quite as developed and powerful as the thirty. This is eighteen and twenty one, the power ages of yesteryear. Little creatures run from them to join their friends on the left page.



The male three atop a tortoise and the female zero floating above the ground.

Celebrating little guys.

more photos in Flickr

掲載/PlanBmagazine #33//Plan B magazine art works #33

Yesterday Plan B issue 33 arrived - we did an illustration for a review of a collection of Alireza Mashayekhi and Ata Ebtekar's work titled, Persian Electronic Music Yesterday and Today 1966-2006. The article is tied in part to an article on Radio Golha we also did an illustration for a few months back. Photos below!
Plan B magazine #33
ペルシャのエレクトロニックミュージックのアルバム『Persian Electronic Music Yesterday And Today 1966-2006(Sub Rosa)』についてのレヴューに、イラストレーションを寄せました。