One of my favorite releases of his so far was 2008's Viva Il Ciclissimo, a two volume, joint project between Terada and Katsuhiro Otomo (who has to be mentioned on this blog at least once per post, apparently), centered on the Giro d’Italia cycling tour. The first (hardback) book is centered around the tour itself, filled with beautiful illustrations from both artists, chronicling not only the tour itself, but some really wonderful moments of imaginative daydreaming that only the two of them could create. Both artists being avid cycling enthusiasts, the second (softcover) book is full of sketches and ideas, and the looseness of the presentation is fun and exciting to look through, and it keeps the reader pouring over each single drawing, eagerly in anticipation of what awaits them on the next page; and while the first volume is split in two, giving each auteur equal measure (as well as their own opposing covers), the second is a mishmash of ideas, even including Hiroyuki Kitakubo, properly illustrating the enthusiasm many Japanese illustrators have for professional cycling (who knew?). There was even a neat little cycling bag featuring an illustration by Terada thrown in with the early limited edition printings of this book.
Though I'm not really as much of a fan of his comic works than I am of his illustrations, I would be remiss if I didn't mention his Monkey King series, published by Dark Horse in the US. While I don't realy dislike it, what I enjoy in illustrations is not always what I enjoy in comics, and his ultra-detailed digital illustrations don't work for me as much; my feelings are much the same for guys like Alex Ross, who, although are great painters and draftsmen, just use too many colors on a page and it always appears as if they worked on a painting, and then made it fit onto a page with other paintings; they lose the sense of flow a page should have, and while each individual painting is great, they have only managed to fit more than one on a page and I find it incredibly difficult to focus on any real action (basically, one has to readjust what their looking at in each panel).
I know this article seems a little fragmented or less focused than some previous posts, but to be honest, that is kind of Katsuya Terada. The man has managed to be incredibly prolific while also being in so many different illustration fields. I wish, in a way, that this article was purely images, but even then, it is hard to grasp the full picture of what Terra is capable of. The most I can recommend is that if you are interested in his work, or you find anything of his striking, find his work. He has more out there than even I am aware of, and he always surprises me with something I never knew existed. He has a wide range of interests, and he does a wonderful job of taking advantage of his position to include those interests in his work, so I find it hard to believe that there is someone out there that can't appreciate his work on some level.