RESOURCES
When illustrator Mizuho Tokumasu Call came all on her own to the United States from Japan, she was only 19, and immediately she was immersed in the whirl of differences and similarities in everyday activities.
“There are so many things that are culture shock to me, like the color of mac and cheese, the size of a bag of chips, and usage of fitted sheets,” she says. “But I also saw many things that are the same, like the smell of the cold winter air, people's love of dogs, and a few Dad jokes.”
It’s small moments like these that give Mizuho’s illustrations an authentic and relatable feeling — whether they are capturing universal human moments, or ones particular to her Japanese heritage and culture.
“I like drawing things that are humble and relatable,” says Mizuho. “I focused on finding happiness, and for a little while I would only draw something that made me smile. I realized that happiness is in everyday life — the moment that the wind waves my laundry line, kids laughing and their sweet voices, cherry blossoms blowing in the wind, and morning light through the window. I was touched by gentle gestures of nature and everyday life. My characters and drawings tend to have a sweet but melancholy feel, just like my life.”
It is a life that was touched by struggles with depression. Mizuho worked for a decade as a graphic designer, but found the corporate grind diminished her spirit over time.
Photo courtesy of Mizuho Call, featuring the artist and her mother. Mizuho is wearing wearing a Happi jacket, a traditional tube-sleeved Japanese coat, worn during festivals.
“I focused on building my career in photography and design, climbing the corporate ladder in creative fields, and never thought that I could be an illustrator,” she says. “But then I fell into a deep depression, decided to quit the job, and started watercolor to nurture my tired soul. Later, I learned about digital illustration and started drawing with a digital pen.”
This tool unlocked Mizuho’s love of illustrating, and she found herself drawn to black and white, doodle-type illustration that pulled inspiration from her mother’s old pen drawings, Japanese manga, and her own previous calligraphy practice.
“I have always had respect and admiration for illustrators,” says Mizuho. “They seemed to be so clear on their calling and have mad skills for drawing.”
Photo courtesy of Mizuho Call, showing kagami mochi. Mizuho says, “This is a traditional Japanese New Year decoration and offered for Toshigami, (年神, lit. "Year God" in the Shinto religion) settled on Tokonoma [Japanese alcove] in a New Year celebration.”
Rediscovering a sense of self through illustration.
Now, Mizuho feels a big difference between working as an independent artist versus working in a company.
“When I worked for a company as a graphic designer, my identity was thrown out the window,” she says. “I designed for clients, customers, and the Creative Director, and learned to adapt to their taste and brand style guide.” Mizuho found the saying: "Death by a thousand changes and designed by committee," was very common in the company where she worked.
“I didn't even know what I was creating in the end,” she says. “From that experience, I learned that it's very important to find something that only I can make, that is uniquely me and original, so that I can serve a much greater calling.”
Mizuho illustrates for clients, but also has self-generated projects that she uses to express how she feels and to connect with her audience. In either case, for her the goal of using illustrations is the same: to communicate a narrative without words.
“[Illustrators can] be familiar with other cultures and relate through humor,” she says. “That's when we can connect. I'm not sure that I'm doing a good job at it, but hope my illustrations can bring people closer.”
Photo courtesy of Mizuho Call, showing an example of Osechi, a traditional Japanese meal served as part of the New Year's Day celebration. In Japan, “people serve this meal and pray for good health and a great harvest for the year,” says Mizuho.
Reaching the next level with support from Adobe Stock.
From her self-propelled interest and development in illustration, Mizuho has now been recognized by the Artist Development Fund, a $500,000 creative commission program and part of the Adobe Stock Advocates program. The fund is designated for artists who self-identify with — and depict in their work — communities and experiences that have been traditionally underrepresented in advertising. For Adobe Stock, the goal is to meaningfully expand the media landscape with more nuanced, accurate stock imagery, while supporting and promoting underrepresented artists.
According to Mizuho, working with Adobe has helped her solidify her relationship to illustrating as a career, as well as her own roots as a source of inspiration.
“I'm still catching my breath from my dreamy work experience with Adobe,” she says. “The first commission works with Adobe gave me a new perspective and hope for my career as an illustrator. And the project with the Artist Development Fund, made me realize that my background and core of myself are very unique. It was a self-realization moment.”
2021 marks her 19th year in the United States, and her Artist Development Fund commission has allowed her to reflect on and preserve something she values deeply about herself: her Japanese culture.
“My collection [for Adobe Stock] will deliver representations of the lifestyle and culture of Japan in the form of heartwarming, hand-drawn icons that my children and other Japanese-Americans can use to learn and inspire,” she says. “I worked crazy hard to be at the top of the corporate ladder for a decade and what I got was depression and missed the opportunity to teach my kids Japanese culture. I don't regret it, but I can't help but imagine how far they would be now, if I had started earlier. The Artist Development Fund allowed me to take action.”
Photo courtesy of Mizuho Call, showing ema. “Ema are wooden plaques that people write their prayers or wishes on and hang in Shinto shrines in Japan,” says Mizuho.
Not only did the Adobe Stock commission allow Mizuho to produce meaningful content, but it triggered her to write a memoir, which she is now desires to turn into a movie one day.
“That's my next goal as a creator,” she says. “When I graduated the college and started to work as a designer, I experienced so much racism and felt isolated because of my presence. I can't control how people act towards others, but I certainly can share a wider perspective by showing my cultures.”
“Right now, the illustrations are my platform,” she says. “There are many things that we can relate to as humans and I feel the urge to tell people about it.”
Marquee animation credit: Mizuho Call.
