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marshmallowgoop · 5 years

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Studio Trigger Live Drawing with Tetsuya Sakurai (02/20/19): Transcript (Non-Verbatim)

Studio Trigger streamed their third Twitch live drawing at 18:00 JST on February 20, 2019. The stream features inbetween animator Tetsuya Sakurai drawing Satsuki Kiryuin from Kill la Kill, as well as producer Hiromi Wakabayashi and translator Tatsuru Tatemoto. A full video of the stream is available on Twitch here.

I’ve put together a transcript of the stream for anyone curious about the Q and A. While the transcript is not verbatim, all the meaning should still be captured.

Transcript

Tatsuru Tatemoto (Tattun): Sakurai started one year earlier than the last live drawing animator, Sato. Sakurai’s first work at Studio Trigger was in DARLING in the FRANXX. He’s been with Trigger for about two years.

Sakurai is an inbetween animator at Studio Trigger. Today, he’s going to draw Satsuki Kiryuin from Kill la Kill. He had some time to practice, so we’ll see what he has for us today. He’s a bit nervous, but he’ll give his best. I hope you enjoy the live drawing.

The producer just came in right now, but he’s going to use the restroom before he comes in.

Let’s get started with some questions on Patreon. This stream is made possible with the support of all our Patrons on Patreon. Thank you. Every bit of support is appreciated. None of the money gathered on Patreon is used as revenue for the studio. All goes to projects or staff and is much appreciated. Thank you very much.

If you would like to participate with questions, we do Q and As with the live drawings. Also, Patrons can vote on who the live drawers draw. We don’t have a link to our Twitch page on Patreon, but we will add it. The Twitch page isn’t too difficult to find and is on other social media, such as our Twitter and official site.

We do have our producer now, Hiromi Wakabayashi. He’s a regular MC for our streaming sessions.

Our first question is from Luke Roberts: “How long does it usually take to draw one frame, and how are the drawings kept so consistent with different people drawing them?”

Sakurai says that it depends on the cut. However, it generally takes about one hour to draw one inbetween frame.

Wakabayashi says that the drawings are consistent along the frames because there’s an animator—I think the direct translation is “animation director”—and they are the ones who kind of direct each frame to make sure there’s consistency throughout the series. There are episode directors who do this work.

We generally try to answer off of the questionnaires, but sometimes, we receive some questions that we obviously cannot answer for various reasons. “Can we expect a global theater release for Promare?” is an example, but I’ll ask for the hell of it.

I was not expecting such a thorough answer! Hiromi says that he would want a worldwide release if possible. There have been multiple announcements about Promare. If the opportunity allows, they want a worldwide release. Hopefully, they will get it.

We were just talking about Kill la Kill, the subject of the drawing. There was a close match between Satsuki and Nonon for this live drawing session. Nonon was just short of three votes for winning. I was secretly voting for Nonon with my own account. It’s unfortunate for the Nonon fans. Sakurai was low-key rooting for Satsuki, though, so I guess it worked out for him.

So, we’ve asked Sakurai what he usually works with. He usually likes to work digitally. When he draws for fun, he usually uses digital. When Sakurai doodles, he likes to color the illustration as well.

The next question is from Manuel Armando Marquez Gonzalez. I’m sorry if I mess up your names. The question is, “How is Trigger involved in the development of Kill la Kill the Game? And how did the project start?”

The answer was pretty long! Hopefully I can answer. Kill la Kill the Game initially started with the character designer at Arc System Works, Mori, who is the designer for BlazBlue. Mori watched Kill la Kill. Early after the airing of Kill la Kill, he pitched the idea to Arc System Works about doing a game. The idea was approved, and the idea was given to Studio Trigger’s production committee. That’s when the game project started.

The offer for the game was given pretty soon after the series ended. It’s been the works for a long time. Trigger’s involvement in the game process is to review character models and the stories. Trigger aren’t professionals when it comes to gameplay, though. Arc System Works are the professionals there because it’s their industry, so Arc System Works does the majority of that work. I hope that was a good answer for our questioner.

I was talking to Sakurai now. I get a lot of opportunities to watch animators draw, and I find it interesting that everyone has their own operation on how they draw their characters. I noticed that Sakurai kind of leaves the characters bald and draws hair later. Sakurai says that that’s just kind of how he’s doing the illustration now. There are times when he draws the hair with the face.

I questioned if Sakurai had ever drawn a fan illustration of Kill la Kill before. Sakurai drew fanart of Satsuki and Ryuko right after the final episode aired. He uploaded the piece on Twitter, so maybe you can find it. However, he makes his Twitter private, so it might be difficult to find the picture.

Wakabayashi and I asked Sakurai what his preferences for drawing are. What characters does he like to draw? Sakurai said that he preferred drawing female characters. He likes drawing female characters in long coats, like a long double coat. I guess that’s his kink!

Sakurai explained that he doodles original characters in his free time.

The next question is from Paul Schmidt, who asks, “Sakurai-san, what is it like being a Douga-man? Is it a lot of work? In a typical half-hour episode, how many frames/cuts do you have to draw? I submit anime staff credits to Anime News Network’s encyclopedia as a hobby, and I discovered your name was not in the database (at least not credited).”

I’ll split the question up.

Sakurai says that he currently enjoys being an inbetween animator, but when he first started working, he wasn’t used to the environment and wasn’t too comfortable with it. Sakurai thinks that the workload is pretty average.

Sakurai explained that it’s very difficult to calculate or put out a number for how many frames he works on per episode because each episode can be drastically different. He can maybe say how many frames he works on a week, which is maybe 50-60 frames because he does about 10 frames a day.

We asked our tech guy to pump up the volume for Sakurai’s microphone.

There’s a question that asks, “Is the iPad good for drawing?” I can’t pronounce the questioner’s name.

The third-generation iPad is very good for drawing. Today, we were planning to use the latest model of Cintiq 16 from Wacom for drawing, but it was broken when we tried to test with it. We had it fixed for stream, but we didn’t have enough time to set it up, so we’re using Intuos 5 today. Fortunately, Sakurai likes working with Intuos 5, and it’s his personal item that he brought with him today. He’s working in a preferred environment. We’re not forcing him to work with unfamiliar equipment.

There are a lot of questions regarding Inferno Cop season 2 on the chat log right now. Hiromi says that Studio Trigger wants to do it! However, the issue they’re having right now is that they have so much actual animation work to do. Inferno Cop is an animation as well, but there’s so much on Trigger’s to-do list that they haven’t gotten around to Inferno Cop yet. Ideally, Hiromi says, they only want to work on comical series, but to keep the studio going, they have to do actual work.

It has been a while since the studio has done anything with Inferno Cop, so Hiromi has talked to the studio about doing some more Inferno Cop along the line, though.

Sakurai is struggling with the shoulder parts of Satsuki, Wakabayashi says. Satsuki’s shoulder pads are difficult to draw! When Studio Trigger was designing the character, there were parts put in that Wakabayashi thought would cause a lot of problems for animators.

Wakabayashi says that they had some slight hope that some animators would find it entertaining to draw Satsuki’s shoulder pads. They would have to think about how the shoulder pads would move and work at different angles.

Our previous animator, Mr. Sato, likes drawing mechs and robots on top of characters. I was curious if Sakurai likes drawing mechs as well. Sakurai doesn’t like drawing non-organic objects, though he does like drawing the little details in clothing. Sakurai likes drawing the arm portion of coats, like the creases and stuff. He likes the little details.

There’s a question from Oscar Manjarrez, who asks, “How are the figures made? Do you reach out to Good Smile or other companies to make them, or is it the other way around? Just wondering if a Ryuko Figma would be made in her street clothing.”

Wakabayashi says it works both ways. Trigger does approach the figure companies in the pre-production portion of production. Trigger pitches that they’re making a certain kind of animation or series and asks if the company would be interested in making merchandise. If the company is interested in making merchandise, they can start making merchandise earlier and release the figures during the airing of the series.

What usually happens is that the company watches the studio’s animation and series and has their own interest. If the series is publicly well known, a company might make an attempt to make a figure. They want a profit as well, so they might ask to make a figure of one of the studio’s characters.

It’s not a Figma, but there was a jacket version of Ryuko from Medicom Toy. It’s a very big and pretty pricey figure.

There was a question from a user named by nora_soncho in our Twitch chat log. They ask if Promare will get a lot of figures and figurines.

The answer is “hopefully.” However, Wakabayashi doesn’t see a lot of figures being made for original movie titles. They’re pretty confident with the title, and they can only hope, and they wouldn’t be too surprised if figures were made possible.

We asked Sakurai if he likes collecting figurines or buying them. His response is sadly that he has just a few; he doesn’t really have an appreciation for figures. For hobbies, he likes playing games. He likes both console and PC games. He appreciates indie titles on Steam more.

Wakabayashi was curious if Sakurai knew about Indivisible. One of Trigger’s lead animators worked on the opening sequence for the game. Sakurai knows about the game and the company.

JxSam asks, “How did you guys pick Raemz to do some promotional Trigger art last month? It’s pretty inspiring to see someone non-Japanese be featured like that!”

I don’t think Raemz is the first non-Japanese person we’ve asked to do the Studio Trigger illustration of the month. I think we’ve had others. To answer your question, several of our staff, myself included, liked her art. I just approached her in the Comic Market, or maybe a different event. We were fortunate enough that she agreed to draw for us.

Apparently, Sakurai has finished doing the roughs. Now, he’s working on the final draft of the lines.

Evandro997 says, “Do Trigger receive a lot of portfolios from overseas? If yes, what do you think about them?”

Wakabayashi says they receive overseas portfolios from time to time, but he doesn’t think that they receive them often. They obviously do review these portfolios when they get them, though.

We asked Sakurai if he streams drawings on his private time. He says that he draws for fun, but he’s never streamed before. He’s a little nervous and uncomfortable because people can see all the little mistakes he made. People can see his in-progress illustration, which he thinks is kind of embarrassing.

Sakurai is using an Intuos 5 tablet today, the medium size.

Wakabayashi asked Sakurai about how he feels about Patreon and other financial support that Trigger receives from the fans. Sakurai responded that he appreciates Patreon and the financial support; it feels good.

Wakabayashi says that something like Patreon is a very foreign culture in Japan; there’s no culture of tipping in Japan. People don’t give money because they appreciate others’ work. Simply put, Wakabayashi is happy that they receive so much support from everyone.

There’s a question from Patreon, from Bill Erak, who asks, “So, how much power do producers have on a show? Like, oftentimes I see that there were decisions made by writers, others by directors, and others by producers. Writers and directors I kind of understand, but if producers have too much power, wouldn’t that make them straight-up directors, too?”

Wakabayashi says the answer to this question depends on the project. For example, a particular project might be started up by producers. A producer might go and find a director that they want their particular series directed by, as well as the staff that they want. In that case, the producer obviously has an agenda that he wants to pursue. He will probably comment here and there on how he wants the series to be executed. There are times when producers might have absolutely no say, though. A project might be very creative driven, where the director and scriptwriter will basically choose every finer detail of the project, and the producer is just there to make the process as stress free as possible.

Wakabayashi says that he can’t speak for other studios. However, with Studio Trigger, not any one person (scriptwriter, director, producer, etc.) has too much power. That’s just Trigger, though. The situation might be different in different studios.

Wakabayashi says that at Studio Trigger, they also feel that you don’t have to be a director, scriptwriter, producer, etc. to provide input. They welcome input regardless of position.

Sakurai is explaining that he’s making a lot of mistakes right now. However, that’s the benefit of drawing digitally. You can make as many mistakes as you want, CTRL+Z, and it’s gone. That’s not the case in physical drawing. You have to erase, and the paper gets worn out.

I explained this a bit earlier. One of our Twitch viewers asked in Japanese if Sakurai wants to work with… I guess digital tablets? I don’t know the correct term in English, but they asked if Sakurai was interested in working with a tablet like Cintiq.

Sakurai was interested initially. We bought a Cintiq 16 one for this stream and tried to test it out. However, when we tried to test a few days ago, there were problems with the equipment. We had to get the tablet repaired. As such, Sakurai is instead using his own tablet, the Intuos 5, which is what he usually draws with.

What time is it in Ukraine right now?

Would Studio Trigger accept donations and have Twitch stamps? We don’t have plans at the moment, but to be honest, we haven’t looked into it too much.

For people living in the east coast, west coast, or wherever where it’s like 3:00 or 5:00 am, please don’t deprive yourself of sleep. There should be a VOD enabled, so you can watch later.

We had a question if this is the studio that worked on Evangelion. Wakabayashi says not really! They’re the sidekick, like the Robin to Batman!

Wakabayashi says that he’ll maybe look into making a stamp. However, if they have to make it, that’s a lot of work that has to go in. They’ll look into it.

It looks like Sakurai has finished the face and is working on the body.

Wakabayashi was the creative officer for Kill la Kill. He commented on Sakurai’s drawing, saying that it looks just like Satsuki!

Wakabayashi is curious about what Sakurai wants to do in the future. Sakurai obviously wants to move up to a key frame animator. Then, he wants to do episodic directing, which is meaty directing on individual episodes. He wants to create something that is highly influenced by his own creative touch. He possibly wants to do a one-man ending sequence where all of the frames are executed by him.

Sakurai doesn’t ultimately want to become a director. He wants to take big steps and go up the ranks of the animators in the industry.

Wakabayashi says that it’s good to have a goal. It’s a motivating factor.

Studio Trigger is a lot more open to ideas, Wakabayashi adds. They try to provide opportunities to the staff. So, if animators keep saying that they’re interested in something and keep telling executives of their interest, sooner or later, it will happen. Wakabayashi says to keep trying.

Blademaster223 asks, “Will Trigger hire more foreign animators if the language barrier problem is solved?”

The question is a little broad, so Wakabayashi’s answer might not be the exact answer you’re expecting. The reason that Studio Trigger can’t hire foreign animators and staff is for a multitude of reasons. Trigger does work with a lot of foreign creators, like with Little Witch Academia and Promare. They don’t come to the studio, but Trigger works with a lot of overseas staff.

There are language barriers, but there are also financial issues. Visas cost a lot of money to obtain. Trigger isn’t big enough to sustain the money for visas.

Again, we covered a similar question in our previous stream as well. In today’s day and age, with all these technologies, you don’t have to be living in Japan to work with a particular entity. You can work online. That’s how Trigger does a lot of transaction with overseas creatives. There are staff like myself, who help with online translations all the time.

I think everyone is too concerned that they have to live in Japan to work with a Japanese studio. That might have been the case like 10 years ago, but I don’t think that’s the case today.

Hiromi asked if Sakurai watches overseas animation. Sakurai watches Disney and Pixar. Sakurai is very excited for Spider-Verse, which is coming out very late in Japan.

It’s very difficult to create those kinds of stunning visuals in Japan, Wakabayashi says. They’re interested in seeing what the movie is like.

Has Sakurai received any influence? Does he like Japanese animation? He likes Evangelion, specifically the reboot. He likes the newer, theatrical Evangelion and appreciates it more because it’s the first Evangelion he saw. The title was Rebuild of Evangelion. The fourth installment is in production right now. Sakurai is curious to see where it goes!

Sakurai doesn’t really have a favorite director, but he does appreciate Mr. Anno’s work. He did appreciate Shin Godzilla as well. Sakurai’s preference is more serious. He likes more serious anime over more comical ones.

Sakurai thinks that Studio Trigger’s method of direction or artistic touch is very American. [Wakabayashi laughs.] Wakabayashi says that is very exclusive to Imaishi’s work.

Are there any favorite Japanese anime series aside from movies that Sakurai likes? He likes the works from Kyoto Animation, though he doesn’t have any particular titles.

I asked Sakurai if he tried applying for Kyoto Animation before Trigger. Sakurai said that he only applied for Trigger, and I asked why. Why wouldn’t he want to work at the studio he likes most? Sakurai explained that he wants to keep what he likes… I don’t know if I can translate well. He wants to be able to enjoy his favorite thing as a hobby and not make it work.

The reason why Sakurai chose Studio Trigger over other studios is because he felt that the art direction seemed like it would be the most interesting to work with. It was the catchiest to him.

Hiromi explained that Sakurai has an interesting perspective. Instead of going to a serious studio and being serious there, it might be good to go to a less-serious studio so that you kind of stand out there.

We asked Sakurai how frequently he draws for fun. He says he draws for fun pretty much every day. At work, he draws in his free time. At home, he draws digitally as well.

This is a question from Zack Gould for Wakabayashi. He asks, “At Anime Expo 2018, you mentioned that if you work on any kind of project along with Imaishi, you would want to do something in the same vein as Panty and Stocking. I personally am also incredibly interested in seeing more hyper-sexual/hyper-violent works from you two, so I need to ask: has there been any discussion about it further than the mention at Anime Expo?”

This isn’t a direct translation, but Wakabayashi says Imaishi likes very orthodox series. He likes working on series like Gurren Lagann and Kill la Kill. He likes throwing in a sucker punch like Panty and Stocking and Luluco and taking turns between the two. Wakabayashi says that he would think that Promare is very orthodox. Promare’s genre is super-lit-mega-action-rescue-human drama!

I’m not going to translate what Wakabayashi just said. I’m sorry! I don’t think it’s possible. It’s too difficult. There’s a lot of play on words that I don’t think is possible to translate. If you can translate it, kudos to you. I’m not going to try, though!

I’ll translate what Wakabayashi said now, however. Promare is made for an all-ages audience. They’re not really goofing around this time. Everyone can enjoy the movie.

Hiromi was curious. Sakurai said earlier that he’s interested in animating his own worldview and making his own directed scenes and such. Hiromi was curious if Sakurai wanted to do concept art as well because that’s kind of exporting your own image into a visual illustration. I guess Sakurai is potentially interested in doing concept arts in the future.

Sakurai doesn’t really draw backgrounds or board-like illustrations in his free time, but he is currently studying how to at the moment. Sakurai explained that he’s not used to drawing and talking at the same time. I can’t even draw with my full attention, so I don’t think anyone can blame him for struggling to talk and draw at the same time.

I guess Sakurai’s self-pitch for his illustration of Satsuki today is that he gave a lot of effort to the shoulder parts, so once he’s finished drawing, check out the shoulders! It would be much appreciated.

“Tattun, are you an animator, too?” I wish! I wish I could draw. I wish I could draw all the time so that I could draw lewd pictures, but that is not the case.

This is a question from RYUUy that asks, “What are your favorite drawing exercises that helped you the most getting better?”

Sakurai says to watch a lot of other anime. Watch a lot of other creators’ illustrations and try to figure out what you appreciate and like drawing the most. When you figure out what you like and appreciate to draw the most, then that helps your own process with getting better at drawing.

Apparently, it’s Shiny Chariot’s birthday today. She’s one year older. I’m not sure she appreciates that!

Hiromi was curious. He just found out today that Little Witch Academia is that kind of series where you choose all the characters’ profiles. That’s not the case for Nakashima’s work like Gurren Lagann and Kill la Kill. That’s because Nakashima doesn’t want people to have a biased opinion of the character because their birthday is on a certain date. He wants the viewers to view his characters in the purest form.

I’m getting a lot of comments regarding the dice for the birthdays. I think I used a Dungeons and Dragons-type template to come up with the birthdays for the Little Witch Academia characters. Some of the birthdays were changed intentionally by the producer, obviously, but some birthday dates are completely random.

This is a question from Familiar Stranger_: “If you could remake any non-Japanese cartoon however you wanted, which cartoon would you do?” Hiromi says that it’s not a cartoon, but he would like to work with Star Wars.

Sakurai explains that he’s not too familiar with western cartoons. He doesn’t have any franchise that he would like to reboot under his name, but he would like to see Powerpuff Girls with Yoshinari’s touch. I agree that this would be nice!

We’re planning to stream for another 90 minutes. That’s how long we have the room for. However, if there are no other people booking the room after that, we might be able to extend if Sakurai doesn’t finish in an hour and a half. So, we maybe have an hour and a half to go!

This is another question from Patreon. It’s from Kikoman589. The original question was from Thorn14. The question is, “Are there seasons (winter/spring/summer/fall) that are easier or harder on anime studios?”

Wakabayashi says that Trigger doesn’t really have a laid-back season. Obviously, this would depend on the studio as well, though. As a studio, they have the most free time available when they finish a series. There’s an interval time between two projects.

Wakabayashi personally wants a project that doesn’t go over New Year’s Eve. He wants days off. The end of the year is one of the very few times that Japanese people get legitimate times off from work. They just want to take a break when allowed to.

We recently announced that we’re selling a Studio Trigger custom suitcase. There’s a question if we’d sell the suitcase to overseas audiences. I believe the suitcase we’re selling is sold through Good Smile Company? Obviously, the shipment is going to be nasty, but I don’t see why not. We’ll look into it! We don’t have whoever’s in charge of that with us right now. Since we’re not using any IP, I don’t think there’s a problem with selling the suitcase overseas, but the price of the shipment would be high.

I think the question was, “Will Trigger ever do Isekai—is that the term in English?—genre?”

Wakabayashi’s answer is that Trigger has so many other things that they want to do that they don’t have any plans to do that kind of series in the near future. If they do an Isekai, they’ll probably do their own original Isekai series, though, not an adaptation.

There was a question in Japanese. “How was the opening and ending song determined in this particular series?”

Wakabayashi says that if the creative staffs for a particular series want to throw in their own opinion or two cents for what opening or ending will be used for a particular series, then they might make a request to the production committee, which usually has a production label company within it, who would be the sponsors for a particular series. The creative team might make a request to the label company, saying that they want this type of music or soundtrack, and the label might try their best to accommodate the request to the best of their abilities.

In the case that the creative team doesn’t really have any preference, the music production label company usually will make the decision themselves. For Studio Trigger, it depends on which production group is involved as well.

Imaishi or Hiromi Wakabayashi’s creative team does usually make specific requests to label companies. What Wakabayashi generally sees from the director is that the director is usually more interested in choosing who is in charge of the soundtrack for the series than the opening/ending themes.

Sorry! I’m taking a one-minute absence from the keyboard. My throat is drying up, and I need to buy some kind of drink.

Sorry, I’m back. I believe they’re talking about the program Sakurai is using right now. He’s using Sai. I’m not sure if that program is well-known among the western community, but Sai is a pretty popular program in Japan. People generally use Sai or Clip Studio in Japan. Sakurai explained that in Sai, it’s easier to paint. He usually finishes all his process of illustration in one program.

Sakurai’s reason for using Sai over Clip Studio Paint is that Sai isn’t too demanding on the hardware. The user interface is pretty simple, too. Sakurai has also been using the program for a while.

This is our third stream. All of our animators so far have used a different program! It’s an interesting showcase. Yoshinari used Photoshop and Painter. I think Sato used MediBang Paint. Sakurai is using Sai. I think we’re only missing Clip Studio Paint now.

If you’re interested in getting into drawing digitally, you can check out our archive on YouTube and see how each individual program functions. You can choose which program works best for you.

We asked what creative artists Sakurai respects a lot. He said Minamino Aki. I guess this particular creator was in DARLING in the FRANXX as well, as an outfit designer.

Sakurai also likes mebae and Uki as well. Uki is obviously known for Cencoroll. Wakabayashi says that Cencoroll is one of those frontiers. It was a title that was early for its time. Uki kind of made Cencoroll by himself. There were other creators mentioned as well, like Shinkai, who is probably very well known by now but who is still working pretty much solo.

Sakurai didn’t really read manga prior to becoming an animator, but if he had to choose a title, it would be Danjon Meshi. I’m Googling for an English title. I guess it’s Dungeon Lunch.

When we asked Sakurai what games he likes, he said Breath of the Wild for Zelda. I asked Sakurai what other Zelda games he played. There was this one Gameboy title. I don’t know what it’s called in English… it’s The Legend of Zelda: Link’s Awakening. The game is being released on Switch soon. I guess Sakurai is playing Splatoon and Smash Brothers a lot as well. Sakurai’s favorite PC game is Cave Story.

There’s a question from maxie721: “Does Studio Trigger have any after-activities after work? Sports, Mario Party, etc.? Or only Nomikai???”

Sakurai says he occasionally goes drinking with his colleagues. Hiromi apparently goes straight home. Hiromi hangs out enough with his colleagues because his work hours are unfortunate for him.

I guess Sakurai doesn’t play games with his colleagues. His taste of games is different from the rest of the crew. He also likes playing the same game for hours. His colleagues like trying out different titles more. At Studio Trigger, Switch is popular. Everyone is playing Smash Brothers.

Maybe we’ll do a Kill la Kill stream once the game is released. I believe it’s available for PS4 and Steam at the moment.

There was a comment saying that we must be playing FGO. I guess Sakurai doesn’t play any mobile games or app games anymore. Hiromi plays a lot of Granblue. I hate app games with a passion and don’t play any of them.

Hiromi is saying that the selling point of the app games is that you can pick them up any time and enjoy them whenever you want. You don’t have to go through the hassle of turning them on and stuff. It’s an easier version of “plug it in and play.”

I won’t name it, but one of my favorite titles was ruined by app games, so I don’t like app games!

I guess Hiromi was saying that the more passionate gamer tends to hate app games. Sakurai says it’s an interface issue. You feel like you have to get the controller-in-hand feel better.

My favorite game ruined by apps wasn’t Diablo, by the way. I gave up on Diablo after Diablo III.

This is a question from Patreon, from Alex B, who says, “Tweeners are the most interesting job! So excited to have an inbetweener doing this! The real heroes in anime! How did you get into the job? What about it do you find interesting? Would you prefer to have a different role in the animation production process?”

We’ve covered a little of the question already, but I think it’s interesting to ask why Sakurai was initially interested in applying to Trigger.

Sakurai wanted to be an inbetween animator or become an animator because he wanted to get better at drawing. He initially started drawing in his high school days. He was trying to draw his favorite character from a social app game, and things got out of hand from there.

When you’re an inbetween animator or an animator in general, you’re not always drawing what you want to draw. There’s also a high level of skill required because you have to draw a lot of different angles, etc. Being an animator is the right place to be to get better at drawing.

We got confirmation that our room is extended for five more hours. I don’t think this stream will take that long, though. I don’t want to keep you guys deprived of sleep for that long, either. I think Sakurai will finish in maybe another 30 minutes or so. Sakurai is adding highlights and shadows now, so he’s prepping to finish up the job right now.

We’re explaining now that even younger animators these days are getting really good. The level of technique that younger animators have now is unmatched to what we saw when we were younger. When Yoshinari was younger, Hiromi doesn’t think animators were as good. It’s like the Olympics. 30-40 years ago, the demonstrations at the Olympics were still outstanding feats, but you can see how much humanity or mankind has improved since then.

There’s a comment being made right now saying that the animation budget was higher in the 80s. Hiromi claims that this is not true. Budget doesn’t really equal quality, I guess, if that’s the right term. There might have been a high-budget project here and there, but the general consensus is that the budget was the same in the 80s as it is now.

There’s a lot to put into consideration, though. There’s a lot more staff working on a project now compared to in the 80s. There’s a different amount of budget allocated at a different time. What determines the quality of the project more is the passion of the creators. Passion has a lot more to do with the quality than the budget, Hiromi says.

However, I would like to note that more budget will obviously help. With more budget, Studio Trigger can maintain a larger staff, which helps with quality. What ultimately affects how fun and entertaining a project is is how involved the staff is in the production.

axelsaurus asks, “Sorry to ask again, but can we hope for some Trigger ‘Parallel Works,’ like the TTGL ones? KLK spin-off shorts are in my wet dreams.”

If you’re looking for a spin-off of Kill la Kill, Hiromi believes that the game, Kill la Kill the Game: IF, will satisfy your thirst for a parallel work. It’s going to feature Satsuki as the main character. It’s a “what if” story examining if Satsuki was the main protagonist for the series. If you’re interested, Hiromi thinks it is well worth the money. The script is also done by Nakashima himself.

There was a question regarding how artists keep themselves motivated in drawing. Sakurai explains that keeping an old archive of all of your artwork and trying to compare it with your more recent work to see how much you’ve improved is a good way to see if you’re making any progress.

Also, Sakurai likes posting on the Internet and receiving feedback or praise. That’s always a plus.

There’s a question from syworks: “Is there any secret to keep your wrists from overstraining from working so long and so many hours?”

Sakurai says that he doesn’t really have any secrets for that. If you work too much in a single day, his hands do get sore. He has to take breaks in between and relieve the stress in the middle. He doesn’t really have any secrets.

We asked Sakurai if he has a Twitter or pixiv account he would like to share with the community. He says he doesn’t want to show it and is a little uneasy right now, but maybe one day, he’ll make it public.

Another question is, “How great is Studio Trigger’s snack/bar pantry? What delicious treats do staff have access to?”

I guess that Studio Trigger doesn’t really have a bar/pantry. They want one. People do receive snacks or gifts from fans that is available for anyone in the studio to take in the middle. As such, there’s not something specific that they always have.

Studio Trigger do want a kitchen or bar. In the studios that Trigger was able to tour overseas, they found that every studio had some kind of pantry, even if it was just a cereal buffet. Wakabayashi thought it was cool and wanted one in Trigger, too. Maybe when Trigger has more money.

Hiromi is saying that, knowing himself very well, even if there was a pantry, kitchen, or bar, he’d probably get bored of the menu or whatever is available pretty quickly. He’d probably only use it once or twice.

I disagree, though. I know Hiromi likes coffee. I would use the snack/pantry if we had one!

We probably can’t do a studio tour stream. It’s probably not possible. We’d have to tear down a lot of the studio to avoid anything being leaked!

Maybe we could put the GoPro on a Hot Wheel and have a quick, short tour, but it probably wouldn’t happen. There would be too much risk!

There’s a question from luluraoul in Japanese: “Are there any plans for future streams?” We usually communicate with our Patreon for our streams. The goal is to stream once a month. That’s a goal, but we don’t always do a good job on it. We have had three streams, and the Patreon has been active for longer than three months. We do a stream about once every 2.5 months. We will have a stream in the future, and we’ll continue to do so until our Patreon dries up.

We actually have our next participant chosen, an outside creator. She’s kind of not Trigger, but she works with us very frequently. She’s Mago, the character designer for Space Patrol Luluco and our mascot characters. She was supposed to stream this month, but there were schedule conflicts, so she’ll stream next month. Our fourth stream is very, very soon. We’ll make an announcement about that stream early next month.

I don’t know Mago’s Twitter account off the top off my head, but I think it’s magodesu. She’s pretty active on Twitter. She’ll probably come up easily if you search. Yes, it seems magodesu is her Twitter.

I guess Sakurai is using a very unique method of adding this lighting gradation.

There’s a question from EiGi696969 that asks, “Recently, the Studio Trigger documentaries have been focused more on the voice actors and less on the artists (Kill la Kill or LWA or Kiznaiver and FRANXX). Have you guys switched the documentary production team? Would you mind in the future if you can make sure there’s more into the art stuff in these documentaries?”

Hiromi is saying, just FYI, at least half of the documentary for FRANXX was focused on the artists. The focus on voice actors is… they want to focus on their creative process more, but it’s straining to the studio if there’s an entire camera crew filming all the time. It’s detrimental to the schedule. That’s maybe why there is less footage of the creative process portion. I guess it’s something that we want to focus on more, but we might not have been able to. It didn’t really come up to our minds until it was just mentioned now, Hiromi says.

Wakabayashi says that a lot of the staff don’t like being recorded or photographed. Also, the documentaries are more entertaining if the camera crews come in without respect of the creators. That kind of footage is more entertaining, but we can’t do that because our creators are delicate individuals. Personally, Hiromi wants more documentaries focused on the creative process, though.

Sakurai apparently finished his illustration. We’re asking him to zoom in a little bit right now.

That was it for the live drawing. For those who are interested in the Sai composition files for this illustration, if you’re part of our Patreon, you’ll have access to this and our previous illustrations as well. If you had a great time, feel free to support our studio and creators. We much appreciate it!

Thank you, everyone! There are about 1,200 of you at this weird, awkward time on a weekday. Our next stream is with Mago in early March. Thank you for joining our stream! We’ll be wrapping up our stream now.

#kill la kill #satsuki kiryuin #studio trigger #hiromi wakabayashi #tetsuya sakurai #tattun #apologies if there are any glaring mistakes; i was really tired and never transcribe that long by myself #i did go over anything i was really unsure about though #think i'll keep doing these because it's good practice for my job!#sorry i wasn't doing 'em before

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akysi · 5 years

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Always wanted to do one of these, and now I have. :D 8 years of improvement, wow! I’m also really bad at picking things so I don’t know if I picked the ones that best represent my progress, but eh. I did some edits, but the original base for this can still be found here. Extended thoughts about each year below, it’s a lot! Here’s to bigger and better things in 2019 (please ;_;)

2010: I started drawing digitally in 2006, though regrettably I didn’t save any of the art I did back then. 2010 was when I joined DeviantART, and thus when I started uploading art online. I had frequented DA well before that though (from about 2007 I think), and influence from the artists I followed are pretty evident. A few notable ones were ShaloneSK, Fourth-Star (now SeaSaltShrimp), and thazumi, all primarily dragon artists. Though none of my traditional art is showcased here, this was still a time when I did it often, usually via doodles in class when I was bored. The digital art you see here was made with my first tablet, a Wacom Graphire 3, and Photoshop Elements 3 that came with it. I had little knowledge of file quality, layering, colouring, and other mainstays in using Photoshop properly. Humble beginnings are these! My art education at this point was limited at best, but art was always something I did in my spare time. And like all of the art years leading up to 2010, I drew almost entirely dragons. Aside from practicing foxes for a story I had at the time, I wasn’t interested in drawing much else. I didn’t draw people at all until college, but we’ll get to that. 2011: Christmas 2010 / New Year’s 2011 marked the time I got Photoshop CS5, a version of PS I still use today. For a while I was obsessed with the idea of PS’s Pen Tool, as I saw it could give me much cleaner line art than what I could achieve on my own. I was finally able to test that when getting CS5, and while it worked well for the time, I soon learned the tenets of line weight and tapering, something I would have to practice myself. Up to this point all of my lines were either shaky or fabricated via the Pen Tool, and it shows. This was also a year of trying to mimic Fourth-Star’s dynamic perspective...without any knowledge of how it actually worked. Not a lot of improvement happened here outside of that. 2012: This was the year I bought my Bamboo Create tablet, something I still use with my laptop nowadays. I remember trying it out at my friend’s house before I bought my own, and really loving how I was able to do the line tapering without the pen tool. It still took a lot more practice, but looking back now it was easy to see I was on the way to making line art one of my art’s strongest qualities; something that stays true today. I find it ironic that line art used to be one of the weakest aspects of my digital art, but I suppose that speaks to how far I’ve come. I did more fanart this year, oddly enough. I’d always done it before but I guess I felt shy about sharing it. Notable fandoms were Danny Phantom and Sonic. I didn’t grow up with either, but ended up liking them both a lot, and would doodle them as much as my dragons. 2013: I graduated high school and started my first year of art college, specifically Art Fundamentals at Sheridan College. At this point, everyone I knew pointed to that school (and only that school) for anything related to what I wanted to do; if it wasn’t fine art, go to Sheridan. So I went into college with a bit of tunnel vision at first, but I knew from the start that I would be gunning for animation. Not to animate specifically, but to do character design / concept art for animation. I would learn later on what having this tunnel vision would mean for me, but we’ll get to that later too. This is about the point where more expansion of design and subject matter occurs, albeit slowly. The art featured here doesn’t include my schoolwork, but the much needed increase of anatomy, structure drawing and other college level art courses started me on a path to better things. I still had a long way to go though, and Fundies could only do so much. Unlike most people I actually got decent practice from it given my limited art background, but I still can’t say it was at peak efficiency. This was the first year I actually started drawing people, and it certainly didn’t come without its growing pains.

2014: Surprising no one, I didn’t get into Sheridan after my first year, though that didn’t stop me from being disappointed at the time. I took what was effectively the second year of Fundies, called Visual and Creative Arts (VCA). This was the year that sparked my interest in graphic / logo design, an interesting turn of events all things considered, and that would stick with me a lot more than I expected. This year also featured a few smatterings of character designs, or more specifically design sheets with multiple views, costumes, etc. Character design was a required segment of the animation portfolio, so this is likely what spurred my practice in it, aside from my pre-existing interest. That does not mean I knew how to rotate a character though, yikes! At this point I’d gotten pretty good at clean line art in Photoshop with my current tablet, as well as the merits of high quality imagery. There was a lot of purple in this year and 2015, though that’s nothing really new for me.

2015: This was easily the busiest (and most path altering) year. Second semester of VCA happened during this time, but also what would be new beginnings for me. If I didn’t get into Sheridan animation, I had a choice to make for a plan B: Either stay at Sheridan for VCA Year 3 and try again for animation, or try to get into animation at another school. My buddy Amelia then dropped Seneca’s name in one of my elective classes, and I had no idea how much of a fateful conversation that would be. She mentioned it was considered a second to or even better than Sheridan, and that at least provided a clearer answer for me. A lot of trepidation followed: I didn’t get into Sheridan animation for the third time, and thus applied to Seneca (and a few other places). I was pretty scared of being a first year again at a new school with new people, and while my art definitely reflected the time I spent at Sheridan, I had no confidence in it being good enough for a portfolio given my track record. But low and behold, I got in! I was on my way to a three year rollercoaster of all-nighters, amazing ride-or-die classmates, and relentless, rigorous training. The art from this year does reflect this, both in quantity and quality of uploads, though in more of a “transition period” kind of way. This was the year I really started to draw human characters, most notably with the creation of my first comic project: Starglass Zodiac. This was the first time I had a story idea with a primarily human cast, much less a comic idea, though the designs for them didn’t start appearing in my uploads until the following year. As you might expect I didn’t have a lot of confidence in drawing people. Ironically, my first year of animation taught me all the skills I initially needed for the portfolios!

2016: When I mentioned a path altering year for 2015, I was referring specifically to the path in my art education. 2016 was a path altering year for everything else, and a polarizing one at that. 2016 was a year that was kind to no one, and while the details of what happened to me are not really relevant to this post, there’s no denying what effect it had behind the scenes. This was the year that I fully realized I’d developed symptoms of depression, and with my increasing anxiety to match, this didn’t (and still doesn’t) go so well. I don’t think that’s really reflected in my art, however. Regardless of my mental state, the outside view of my art still features the colourful characters that they always had. By this point I was in my finishing first year / starting second year, and this was easily the best time for me. My time to shine, if you will, at least when it came to character design class. We had an overarching story project that was perfect for SGZ, so I used that time to develop the characters. The double-edged sword of troubled times is my escapism is cranked to 11, so this was probably the year that spurred the most story ideas out of me. This year (and part of the next) started both Id Pariah and Feather Knights. I got my iPad Pro for Christmas this year too, and that proved to be a game changer in the amount of art I could make. I was already used to the Cintiqs at my school, and I was lucky to finally have a screen tablet of my own. 2017: The end of my second year and the beginning of my third and final year of animation. Classes split, streams chosen and a world of missed opportunities began. I didn’t do a lot of art at the beginning of the year, aside from the beginning of my Feather Knights stuff. On top of that, my college had a 5-week long teacher’s strike that literally no one wanted to be a part of, effectively derailing all hope for a good semester. Attempting to do a short film project with this happening was a recipe for disaster. During this strike was the start of my first month long challenge though: Huevember. It was an uncertain time, and most of us were not compelled to get much school work done. Completing Huevember did feel like an accomplishment though, as I was actually able to keep up with it even when school started again. I’d say this art year focused a lot on colour for this reason. What art I was able to complete outside of my schoolwork saw a lot of expansion in that area. In all honesty 2016-2018 tends to blend together for me, for better or worse. 2018: My graduating year. The strike did its damage to my final semester too, but ultimately I survived. Despite completing 5 years of college, my path became the most unclear. Third year taught me a lot of things about myself and how I approach art, but most were not positive revelations. The expectations set out for me are ones that I cannot achieve. However, I have more time than ever to do art, making this year the most art I’ve made to date. I also participated in Inktober, which reminded me how far I’ve come as an artist, despite not doing traditional art for what felt like a century. My illustrative work for Inktober ended up being some of my best art this year, and the prompts made me get creative in more ways than one. The dark cloud hanging over my head has not disappeared since 2016 however, and the toll that has taken shows more everyday. As far as my art was concerned I did more of what I loved, mostly in the form of character sheets and designs. It’s all I can do, for now. 2019, I have one thing to say: Don’t you DARE.

#art #artists on tumblr #art improvement #Akysi #Art by Akysi #Katie MacKenzie #Katie MacKenzie Art #digital art #2010-2018 #my OCs

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saturdayam · 7 years

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A COMIC LIFE: ERIC MERCED INTERVIEW!

WELCOME TO A COMIC LIFE Episode 3!!

OUR NEW BLOG SERIES FOR MANGA BEGINNERS, A COMIC LIFE, COVERS THE BEST TOOLS FOR CONQUERING THE WILD WILD WEST OF SELF-PUBLISHING AND WEBCOMICS. LAST TIME OUT, WE ADDRESSED HOW TO MAKE YOUR OWN COMICBOOK COVER WITHIN THE COMIC LIFE APP by Plasq.

Today, we interview comicbook artist and Comic Life/ Comic Draw user, Eric Merced!

Saturday A.M: From what I understand you were born in Puerto Rico. What town are you originally from?

Eric: I was, yes. I was born in Rio Piedras but was brought to the U.S. when I was still a baby. So most of my childhood and teenage years were spent living in Brooklyn.

Saturday A.M: What was it like being raised by a Puerto Rican family in New York?

Eric: It was normal. I mean, I never noticed a difference between me, my family and my friends and their family. We spoke Spanish mostly to each other but the majority of the time I spoke English with my friends and cousins.

Saturday A.M: Which of the two cultures do you most identify with and why?

Eric: I think because I was raised in N.Y., I identify more with the American culture. I know this because when I visit P.R., I stand out like a sore thumb. Not in a bad way, but they can easily tell I'm not from there, even though I was born there.

Saturday A.M: How did Walt Disney's THE LITTLE MERMAID influence you to become an artist?

Eric: That movie was incredible the first time I saw it. I had seen plenty of cartoon movies but that one was magical. I remember being awed and just thinking to myself, this is what I want to do for the rest of my life. I want to be a cartoonist. While I had dabbled in drawing on and off in the past, after seeing that movie I became dead serious towards working on realizing my dreams.

Saturday A.M: Did you ever consider a career in animation?

Eric: I did. Like I said, when I saw THE LITTLE MERMAID, I wanted to be a Cartoonist and work for Walt Disney. Later I found out what it takes and I chickened out. Lol. Drawing comics are not easy but they are way easier than animating.

Saturday A.M: How did your love for Disney animation transition into a career in comics?

Eric: Disney, and in particular, the Little Mermaid, were my subtle introduction into story and style. I was able to see, feel and experience the power that the Artist has in capturing the imaginations of people. Comics were a more accessible medium to tell a story versus animation for me. I was already into randomly buying an occasional Comic here or there but, after my desire to become a cartoonist, I began to gravitate towards them, almost naturally and instinctively. That's when my focus towards becoming a cartoonist for Walt Disney shifted into becoming a comic book artist. The constant practice, sweating, and struggles have paid off time and time again when I've gotten the opportunity to do work professionally.

Saturday A.M: What is it like being a professional cartoonist? Is the job what you originally thought it would be?

Eric: It has been a mixed bag of nuts, to be honest. When you're young and starting you imagine so many things. You basically glamorize it all. And then, reality sets in. The constant struggle to remain relevant to clients, the bidding for work, the client demands, the pressure to deliver beyond expectations, these are things you never imagine or take into consideration when you're young. But, that sounds like I'm complaining and really, I'm not. It's been fun and rewarding and it's been more than I expected at times. It just never gets old to hold a book you've worked on in your hands. And it never gets old to read and hear about the impact your work has on others. It's a humbling experience that I do not regret being a part of.

Saturday A.M: Could you tell us a little about your career as a freelance comic creator?

Eric: Well, I started freelancing over 11 years ago really. I began working on small little projects here and there. As for major projects, that really didn't happen until I got the opportunity to draw two 150 page graphic novels for Zondervan Publishing. Since then I have had the opportunity to work on all kinds of different projects from comics to illustrations to character designs.

Saturday A.M: From what I understand you consider yourself a Christian...how does your religious beliefs influence your work?

Eric: I had to learn what it meant to be a Christian (which is basically a follower of Christ), and an Artist. When I began I thought that I had to categorize myself as a "Christian Artist", and I quickly found this to be very limiting and thinking within a box. I had to learn that this wasn't about categories but about living and being true to who you are. So as a Christian I have values that naturally show through my work. One compliments the other and one is not dominated by the other.

Saturday A.M: What are the pros and cons of producing exclusively family friendly content?

Eric: To be honest, I really don't see any cons involved in it. Only because, like I said, this is part of my core beliefs. Creating content that both adults and young people can enjoy is who I am. It wasn't always who I was, but this is who I grew up to be, speaking in terms of growing up as an artist and not physically in age. I'm by no means knocking anyone else that doesn't do family friendly content, but merely speaking at a personal level. You have to be true to who you are and who I am is a person that has grown to love creating content for everyone and not just a targeted group of fans. I don't do many shows, as a matter of fact, the only events I currently participate in is Free Comic Book Day, and I absolutely love getting the opportunity to talk to both adults and teenagers and younger kids about my work and the impact it has on them. I wouldn't have that experience if I did, let's say, rated R content.

Saturday A.M: What challenges do religious comic creators face in an increasingly secular world?

Eric: I think the biggest challenge to religious creators who want to exclusively work in that sort of material is actually showing their human nature. I think a lot of artists who want to work in comics and do religious comics, exclusively, are afraid to be human. To show that they too are no different and that they have the same struggles as everyone else. We have so many bad examples of religion in the world, people holding hateful signs or saying hateful things in the name of God, or people committing terrorist acts in the name of God, that's not it, that's not true religion. So how do we show what being a true believer is? That's the challenge.

Saturday A.M: Was it difficult transitioning from traditional art to becoming a full-time digital artist?

Eric: It was because I had to learn a whole new set of tools I wasn't used to. I had to learn about menus and how features were hidden in them and I had to learn how to properly export work for whatever I wanted to do. It was a new yet exciting world, and that excitement is what drove the desire to learn.

Saturday A.M: How did you develop your unique art-style?

Eric: Time. Lol. Seriously. I just immersed myself in artwork from artists I loved and a lot of their work began to rub off on me until finally, whatever it is I have now style wise, emerged. The style is something that takes time and patience. I didn't know this at first but learned it the hard way. I'm just happy to be at a place in where people realize there is something there that's recognizable.

Saturday A.M: What makes the iPad Pro and Apple Pencil your weapons of choice?

Eric: Everything! I hit this device so hard when Apple first announced it because, like so many other Artists, I was hoping they would follow in Microsoft's path and do some kind of iOS/Mac OS hybrid. But the first time I tried that pencil, that was it. I was sold. I had already used apps like Procreate and Adobe Draw on an iPad mini before, and so once I experienced that pencil iPad Pro combo, my imagination lit up with endless possibilities. And I wasn't wrong. Keep in mind that before the iPad Pro, I was using a Wacom Cintiq and a smaller Windows Surface-like tablet. But none of those felt the way the iPad Pro and Apple Pencil felt like. It is such an amazing device, I can go on but I won't.

Saturday A.M: What makes the iPad Pro and Apple Pencil superior to other digital hardware? Is it the portability, fluidity or simplicity?

Eric: For me, it's pretty much all of those things. I wouldn't say it's superior to a Surface Pro or any other device in general because it's a matter of choice. What works for me, in this case, the iPad Pro and Apple Pencil, may not work for another Artist.

Saturday A.M: What makes the Comic Draw App unique and how does it make comic creation easier?

Eric: Man, I love that app. It's one of those apps that you have to keep at it to really get. It has so many little, hidden nuggets and the developers (which are a really cool set of guys) are working hard towards making it better. I love Procreate, that's my main app for everything that's not related to drawing a comic. And before Comic Draw, I was using Procreate together with the Graphic app and Medibang Paint to draw my comics. So Comic Draw basically took over the job of all those other apps. That's how great it is. It's not the best app nor is it perfect but man, it's good. It's unique in that it's the first iPad app that allows you to compress a lot of the comic creating process into a single app. You can write out your script, Draw, ink, color and even letter your comic all within a single app. And as if that weren't enough, you can use it as a reader to flip through your comic at any stage. Highly recommend it.

Saturday A.M: What is your favorite feature in the Comic Draw App?

Eric: I love the way it divides all the stages into workspaces. But I'd have to say, the perspective tools are my favorite feature. Not so much the tool itself but how Comic Draw handles perspective on a per panel basis versus the way Procreate does it which is on a per canvas bases.

Saturday A.M: Thus far you have worked for many of the big names in comic book publishing, Is there any other company you'd like to work for if given the chance?

Eric: I did work for Marvel and D.C., on a small scale. I'd love to be able to do work for them on a larger scale. But I also dream of one-day publishing through Image comics.

Saturday A.M: What is the most important quality you believe all artists should have?

Eric: Kindness. It doesn't matter how amazing you are, if you're a jerk, that reflects on your work big time. Kindness elevates your work even higher. Remembering that, if you get the opportunity to draw for a living, it's not so entirely because of your skills, but because of people, who become your fans, come to love your work, and you owe it to them to be kind.

Saturday A.M: Thanks for your time, Eric!

#eric merced #plasq #comic life #comic draw #creator interviews #saturday am #fan art

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