Anime Industry Watching No.33: Kenichi Yoshida talks about the abilities required for "character design

Kenichi Yoshida is popular for his familiar drawing style, having designed characters for "Psalms of Planets Eureka seveN" (2005) and "Gundam G Reconguista" (2014). He used to work at Studio Ghibli as an original picture man, and has also worked as an animation director on non-Ghibli works, so he is well known for his drawing techniques.
But what kind of skills are required for the job of character design?　Is it simply a matter of drawing cute characters?　We spoke with Mr. Yoshida, who is busy working on "Psalms of Planets Eureka seveN High Evolution," about the nature of the character design profession.

Character design is a "weapon" when participating in a story

─ ─ I believe you are currently working on a new theater animation "Psalms of Planets Eureka seveN: High Evolution"?

Yoshida: There are many new scenes and new characters are being drawn for it. In the announced key visual, director Tomoki Kyoda wanted to achieve a slightly subtle expression. For this reason, I had to work very hard to draw it. The more I attacked it as a picture, the more it still looks different compared to the first picture from 12 years ago.

───Did you use the character list from the TV series of 12 years ago?

Yoshida: Except for the new parts, I used the same character list as 12 years ago.

───While using the character list from those days, do you feel that "it is easier to draw the characters now that 12 years have passed" or "it is more difficult to draw the characters now"?

Yoshida: At the time, I wasn't used to drawing characters, and it was difficult just to draw the character list. Now, depending on the character, it may be easier to control facial expressions. When I look at the pictures I drew back then, I drew them rather solidly. Recently, I have been consciously drawing softer pictures, which may be perceived as "the pictures are different from the old ones.

─ ─ Do pictures change over time?

Yoshida Yes, they naturally change. In the TV series "Eureka Seven," the first half and the second half are completely different. Also, there are parts where I intentionally changed the pictures. When the story enters the next phase after an important event, I thought that if the appearance of the characters did not change, it would not look as if the story had progressed. That is why Eureka's hair was shortened in the middle of the story.

─ Did you change it based on your own judgment rather than the director's order?

Yoshida: Yes. Character design is an effective weapon when participating in the creation of a story from the standpoint of an animator. It is important to supervise the animation, but by designing the characters, you are allowed to take the initiative in the drawing itself. I may not be able to create the best picture required by the director, but I can propose ideas, and in a strange way, I can ask the director to "drink" or "make good use of" my ideas.

─ So you are making suggestions from the standpoint of the artist in order to enhance the work.

Yoshida Yes. When the director explains, "This is how the character looks like," I make a specific suggestion, such as, "Then, how about showing the character in this way? I make specific suggestions. For example, it was my idea for Eureka to wear a hair clip, but I would tell him why she is wearing it. For example, "Eureka is in a state where she cannot break the values she has received from the military, which she first discovered. Then, if Eureka's hair clip is to be taken off, it would be nice if she took it off at the best time in terms of direction. ......


─ Is this related to the fact that you worked at Studio Ghibli?

Yoshida: To say there is, there is. The reason I wanted to change Eureka's appearance was because I saw "Howl's Moving Castle" (2004) in a movie theater. Ghibli films are more interesting after I quit (laughs). In "Howl," the heroine, who has been turned into an old woman, is often rejuvenated, and I thought that was a direction that could only be done by an animator who drew and controlled her own work. Moreover, it can be changed freely within a scene, just like an equalizer, right?　Thanks to the impact of "Howl," I was convinced that a TV series of 50 films should be able to change the appearance of the heroine.