Obviously, keeping snowboard work within the snowboard community is both engaging and fulfilling for everyone involved, but there’s always something exciting about working with an artist who exists outside our space. They aren’t bound by whatever trends snowboarders are interested in that week, and there’s usually a reverence too, almost like a nod from one creative to another. For Peko Asano, the Japan based illustrator who designed the 26/27 Burton Process, that creative nod was felt.
Asano is no snowboarder, though he understands the intersection between snowboarding and art. And while his work usually falls into the realms of advertisements and book covers, board graphics were a natural next step. It’s all storytelling. The same thing that can bring a person to pick up a book or buy a product is the same thing that can draw you to a snowboard. It’s about creating a world and inviting somebody else into it. And with this year’s Process, there are two worlds to step into: The good and the bad. Asano was responsible for the good side of things—Good Dog, as the graphic is known. And when you look at it, you know it’s a world you want to be a part of: a warm red base with his signature Pochi dog character in place of the “O” in BURTON. In a life that seems to grow more complicated by the day, there’s a welcomed simplicity in Asano’s work here. It’s a sight for sore eyes.
"I really like how the orange stands out against the snow. It looks really cool. I also love that the dog feels like a companion who is always there by the rider’s feet, riding along with them."
Norm: Can you start by giving us an introduction: Your name, what you do, what kind of art you create, and what your connection is to Burton.
My name is Peko Asano, and I’m an illustrator based in Japan. I usually create illustrations for book covers, editorial projects, advertisements, and other various media. Recently, I’ve also been working on creating my own original characters. This is my first time working with Burton.
Are you a snowboarder?
No, I’m not.
I know there is a big intersection between snowboarding and art, many snowboarders are artists themselves, and they’re both extremely creative outlets. As someone who does not snowboard, how did it feel to enter this community?
Since I’m not part of the snowboarding culture myself, I wanted to approach it with respect. Snowboarding has a long history and has developed into a unique culture where style, music, fashion, and art are all connected. At the same time, I feel that art also values individuality and freedom of expression. I think the attitude of making your own choices and taking on challenges is something that snowboarding and art have in common. I really like the idea of finding your own style while embracing both new things and the things that remain true to you. Being exposed to a culture that is different from the world I usually work in gave me a new perspective on my own work.
Who are some of your artistic influences and how do you think they fit into this snowboard that you’ve created?
I find inspiration by seeing all kinds of things in different places — things I notice while taking a walk, stories I hear from friends, memories from my childhood, and so on. For this artwork, I was inspired by a sticker that is often placed near the entrance of homes in Japan. There is a custom of putting up a sticker showing that a dog has received its required vaccinations, and the idea of creating my own original version of one of these stickers became the starting point for this artwork. Japanese illustrators such as Osamu Harada and Taku Tashiro, as well as Sanrio characters, have also had a big influence on me. I also love films from the 1980s and ’90s, especially adventure and horror films from the ’80s. I’m also drawn to films that place a strong emphasis on cinematography and camera work, such as those by Robert Bresson. I think all of these different elements have come together and shaped the style I have today.
"Since I’m not part of the snowboarding culture myself, I wanted to approach it with respect. Snowboarding has a long history and has developed into a unique culture where style, music, fashion, and art are all connected."
What inspired the Good Dog, Bad Dog idea?
That was actually an idea from the Burton team. I think it’s really interesting that the two designs work as a pair. I was responsible for the Good Dog.
I feel like you really embodied the two sides of this, the snowboards are so different from each other, but so great in their own way. Do you have a favorite detail or favorite part of the design process?
I really like how the orange stands out against the snow. It looks really cool. I also love that the dog feels like a companion who is always there by the rider’s feet, riding along with them.
How do you feel about the design now that it is out in the world? Are you satisfied with the work?
I’m very satisfied with it. It’s exciting to imagine this dog riding and flying through snowy mountains all over the world alongside riders. This dog is going to see a much bigger world than I ever will.
Endlessly playful, the Burton Process is the snowboard Mark McMorris chooses when he wants one deck for the whole day. A true twin shape means the Process rides the same regular or switch, and an updated lighter core makes it feel snappier underfoot, with more pop on takeoff, and more life between turns. PurePop camber gives you the spring needed for unrestricted freestyle progression. Trust the Process.
