DGM Artbook: Noche

[Teeba]

I recently got my copy as a gift from my sister, and let me just say that Hoshino-sensei is adorable and amazing in every sense of the word! I LOVED her conversation with Akimoto-sensei. It was just so unexpected yet so chillax. Hoshino reminds me of an old soul.

My favorite part was how irked she got at Akimoto admitting he preferred Lenalee with long hair. xD Everyone does except her, it seems.

Also, to answer Niko-kun's question about whether or not Obata's interview mentions plagarism -- it doesn't. But the interview is well worth the read, it's full of drawing geekery! I'm really happy Furenshi is taking the time to scan her copy to share with us.

[Niko_kun]

I recently got my copy as a gift from my sister, and let me just say that Hoshino-sensei is adorable and amazing in every sense of the word! I LOVED her conversation with Akimoto-sensei. It was just so unexpected yet so chillax. Hoshino reminds me of an old soul.

My favorite part was how irked she got at Akimoto admitting he preferred Lenalee with long hair. xD Everyone does except her, it seems.

Also, to answer Niko-kun's question about whether or not Obata's interview mentions plagarism -- it doesn't. But the interview is well worth the read, it's full of drawing geekery! I'm really happy Furenshi is taking the time to scan her copy to share with us.

haha thank you! I think that he didn't mention it because he doesn't considered like plagiarism.

[Furenshi]

It is such a nice read But I'll need to type it over, my scanner sucks And I'm afraid you guys need to wait a few more days. My pc sucks right now, so I'll have to format it.

[Bloody Queen]

Hello there New member here! I bought Noche in English months ago and I'm planning to post the interviews (which are mostly about drawings but some funny jokes included, well it is Hoshino ). Which one you guys and gals want first?

[Niko_kun]

HoshinoxObata pleaseee! I want read it xDD (And the one with akimoto was already translated for Furenshi

[Bloody Queen]

Okaaay! This take some time because the book is insanely huge and the letters are so small...

Noche: Hoshino/Obata Page 1

"A manga by Obata Sensei was the first manga I ever saw that really impressed me!" (Hoshino)

--- This time we're at Hoshino Sensei's workplace for a talk with Takeshi Obata, an author whom she respects like a God!

H (Hoshino): All I can say is how thankful I am for this opportunity! Among the manga I read early in elementary school is Obata Sensei's Lamp Lamp. It made an incredible impression on me. It was the first manga I ever saw that really impressed me, and ever since then Obata Sensei has been someone I place on a level with Hayao Miyazaki. When it comes to manga, I like Obata Sensei, and when it comes to anime, I like Miyazaki Sensei.

O (Obata): Please don't compare me with Miyazaki Sensei! (sweat) And Lamp Lamp is a little embarrassing too!

H: Really?! I read other manga back then, but I just skimmed through the stories. Only Lamp Lamp made me stop and look at the art and wonder, "How did he draw this?" I stared, full of interest, at how you drew the Dogon Punch. (laugh)

--- Obata Sensei, is this your first time at Hoshino Sensei's place of work?

O: Yes. I've been looking forward to talking with her today.

H: Thank you! I actually designed my workplace to look how imagined yours does!I heard through my editor at the time that your workplace is stylish, with white as the base tone.

O: Where'd that information come from?! (laugh) It isn't stylish! My room is actually a horrible wreck. There's manuscript paper all over the floor!

H: Really?!

O: Yes. (pointing at Hoshino Sensei's white bookshelf) Did you pick out this shelf for materials yourself?

H: Yes. When I ran out of space for materials where I used to live, I bought a bunch of the cheapest stuff I could find through mail order. I chose white for this, with your workplace in mind.

O: Huh?! I use cardboard boxes for bookshelves! (laugh)

H: Huh? Really?! When I picked out a desk and shelves, I'm certain the editor told me all kinds of stuff. That's weird... (sweat)

"I still haven't found my idea pen." (Hoshino)

--- Hoshino Sensei, during the discussion for the D.Gray-man fanbook, you said that you didn't know about dip pens until your debut,

H: Yeah. A pen that you dip in the ink before drawing... I though, "No one uses those anymore, do they?!" (laugh) When my editor told me that everyone in manga draws that way, I couldn't believe it.

O: I'm with you there. Why pen and ink this day and age? (laugh) At first, I though they were neat. I though that the shape of a G-pen, for example, was really cool, but I see them every day now, so I've had enough. I want them to come out with something new! (laugh)

H: Who needs that extra gesture of dipping in the ink, right?

O: Yeah, it's unnecessary. Even now, my hand won't take to the pen - I just can't get used to it.

H: Mine either. I;m always changing pen tips. (laugh)

O: And the brand?

H: The brand and the type of the tip. I search around, thinking, "There's gotta be a pen tip that fits my hand!" But I can't find one. When I find out I'm back to the Zebra G-pen I was using at the start, I think, "Darn it! I've come full circle!!" (laugh) I keep repeating that cycle.

O: I do that with paper. If I think a certain kind of paper is difficult to draw on, I switch to a different kind. When I do, I think, "Yes! This is it!!" But as I'm working, I gradually start to think, "No, it's not right." I repeat that and end up with several kinds of paper for a single chapter! (laugh)

H: Do you ever use paper that isn't manga manuscript paper?

O: No, I just change the brand. (laugh) I go around all the high-quality and Kent paper types. I can never find one that satisfies me. It might not really be the paper that's the problem, but my own ability! (wry laugh) What kind of paper do you use?

H: I've only ever used IC's manga manuscript (high quality). I only use normal Kent paper for two-pages spreads. I tend to think that all paper is the same, so I've thought about changing it. I figure it's good enough as long it doesn't get rough when I erase.

O: Oh...

H: Kent paper is a little heavy, so when I'm drawing, it's hard to turn. And the surface is too smooth, so personally, I find it hard to ink. I prefer high-quality paper that sort of grabs the pen tip.

Well... that's the first long and big page of the Hoshino/Obata interview. Since tomorrow is Saturday, I think I'll post the next one soon

[hopeandlight]

hoshino and obata are so funny

they meet and discuss paper

[Mango-chan]

Great minds think alike.... "dip pens are ridiculous!".

[Bloody Queen]

O: I know what you mean. I like the paper to the grab the pen too (something's wrong with this sentence...or is it just me?). But doesn't Kent paper do that better than high-quality paper?

H: I feel like Kent paper is smoother. But Kent paper has lots of different types. I've only used the Kent that the assistant who worked at the art supply shop said was the best, so I can't really say!

--- Obata Sensei, do you pay attention to pen tips?

O: No. I've always just figured pen tips are what they are. (laugh) I use a Zabra G-pen. Are there other brands?

H: There's Tachikawa and Nikko. I've tried them out as I come across them, and I've also tried maru-pens, kabura-pens and school-pens.

--- You each pay attention to completely different things when it comes to art supplies. You should ask each other for suggestion.

H: I think I'll try using manuscript paper from a different maker sometime. I really don't know anything about paper. What do you recommend, Obata Sensei?

O: Hmm... I'm not actually knowledgeable enough about art materials to teach anyone anything! (wry laugh) I do like the way Kent paper grabs the pen tip a little, but I hate it when you do a black fill and the ink soaks too much, so it gets rough. High-quality paper is too smooth, so I don't like the way it feels to draw on it. But filling an area in with black goes smoothly, so personally it's a toss-up. Do you recommend a particular pen tip?

H: Hmm... I still haven't found my ideal pen. I suppose right now I'd recommend what I use the most, a Zebra pen.

O: What makes a pen difficult to draw with?

H: Ideally, I'd to be able to ink with just one pen tip. I keep looking for a pen that will draw a firm line the first time, one that will make a beautiful line even if I don't use much strength. They're all good at first, but when I get tired and I increase the pressure I apply, the pen tip breaks. I may be asking for too much, but I want a pen that draws beautiful lines up to the end even if the pressure on the pen changes. (laugh)

"I'm impressed because Hoshino Sensei's spirit comes across through her art." (Obata)

--- What do you try to accomplish when you draw your manga?

H: I always try to draw pictures that will impress the readers, whether through the character's facial expression or the composition. If it looks like a certain composition is going to turn out plain, I re-draw it. But time runs out that way, so I'm always in deadline hell! (wry laugh) I feel like I have to draw pictures that will impress the fans, though, so I'm always under a strange pressure as I draw.

O: Wow! In my case, I start with a layout to follow and attach pictures to that, so I work under the exact opposite feeling. I need to resist the temptation to think, "If it were me I would lay out the panels like this." I feel like I want to do something fancy, but if I do, the flow of the original breaks down. For that reason, I choose to suppress that feeling to make the overall work interesting. I'm jealous that you can draw so freely.

H: That's no true! Every day it's like I'm trying wring out a dry cloth! (wry laugh) But when the fans say, "Your art is great!" I know I can't let the, down and have to keep improving.

O: That spirit comes across when I read your manga. I'm always impressed as I read your work.

H: I'm humbled. Thank you.

Well, just a little typing before I put my eye-patch on for the next 6-8 hours (I have a lazy eye, also knows as Lazy Eye Syndrome) so I can't read the Art Book while at it... it's on 90% mark, only a matter of time 'till it reach 100%! (the doctor said don't hope too much, though...) I'll check for spelling mistakes (I posted this using my iPad, no spell check) later.

Hey... I wonder if Lazy Eye Syndrome is the reason Lavi wears an eye-patch?

--- Obata Sensei, is there anything you would like to ask Hoshino Sensei

O: Yes! Lots of things! How do you draw these hexagon meshes? (see illustrations on page 14-15) (also the CP in ch.52)

H: I just used to buckle down and draw by hand, but then I'd be like, "I'll never finish in time!" Now we use a computer. My assistant does them very well, so they look like they're done with a pen. Do you give instructions to your assistants for the placement of tones before you receive the manuscript?

O: Yes. But I do all the black fills and tones for the characters' shadows myself.

H: Have you ever thought of leaving the black fills to others?

O: No, I couldn't do that.

H: I know what you mean. I hate to leave that black fills to others. For example, even if I put an x where I want the assistants to do one, I think, "I want to do it myself!" and "I've got to see it through!" But when I do, the manuscript falls behind, so I get what I deserve! (wry laugh)

O: Your character lines are incredible. (looking at a color copy of "The 188th Night") When I see this, I think, "Ah! What nice lines!"

H: I drew that in a rush right before deadline.

O: This?! In a rush?! Would you give me a copy of the manuscript later? (laugh) You drew this with a blue pencil first, right? And then drew rough sketches over that?

H: Yes. I worry over the lines a lot. I used to just jump right into the rough sketches with pencil, but I had to erase so many times that it was taking forever. I decided to do rough sketches in blue first, and than only use the lines that I liked.

"It would be great if someday I drew the perfect illustration and then just fell over and died!!" (Hoshino) [Me: What?! No, no, no, no! Hoshino Sensei!!]

H: I really like the expression you draw on your characters faces. I feel a chill when I see L's face in Death Note, or an evil expression on Kira. Do you do something to create a mood when you draw a facial expression like that? When I draw a sad scene, I get myself in the mood before going to work. I listen to sad music and start drawing when I'm about to cry.

O: I suppose I do something like that too. You have to really immerse yourself when you draw, so I don't think happy thoughts as I work. I don't allow myself any changes of pace either.

H: You immerse yourself.

O: Yeah. At work, I only ease up during mealtime, but sometimes not even then. I sit in silence and shut out the outside world.

H: So that's how you get those facial expression?

O: Yeah. And if I think of a certain face isn't right, I redraw it. I fumble around until I find what I want.

H: I'm also the type to totally immerse myself, so I'm glad to find out we're a little similar in that way.

--- I have the impression you both draw very detailed art. Is that because you want it to look realistic?

H: No, I'd actually rather make the designs for the Organization's uniform simpler, but it just doesn't go well! (wry laugh)

O: I think simple is better too. Simple designs are best for manga. The ideal is for the readers to recognize the characters at a glance, but I'm not very good at achieving that. That's why I put effort into adding characteristics.

--- So, for example, Akira Toriyama's designs suit your ideal?

O: Yes. I can't do anything as genius as his designs, so I have to put in all kinds of detail.

H: In my case, it's because I don't have confidence in my art. My editor tells me to get rid of all the unnecessary lines, but still can't generate the right effects unless I put in detail. I want to cut down on the number of lines, but I can't, so there's a constant struggle. When I'm going to draw clothes and I think about the material, I figure the readers will be able to tell the material better if I put in some lighter parts, rather than just marking it all black fill/ I want my art to be convincing. I'm amazed by people who can just dash off good art. I hope that someday I can do that, and I believe that if I keep drawing, the number of lines will decrease. (laugh)

The first part is fixed!

"Obata Sensei is someone I place on a level with Hayao Miyazaki." (from page two and one, I forgot to type it in.)

--- Is that your goal as a manga artist?

H: Yes. I'm never satisfied with my art. I want to be able to draw pictures that are simple, but suit the manga in that they strike home. It would be great if someday I drew the perfect illustration and then just fell over and die! [Me: Again?! Can you hear the screaming fans for you not to do it?! ]

O: Don't say that! Keep going, please! [Me: See?! ] Your art is amazing because of how hard you try to be good. I'm worried that if you keep drawing manga with that attitude, something like that might actually happen! (sweat) [Me: You mean the hiatus(es) is a curse?!] In my case, I'm just trying to scrape by somehow as a manga author! (laugh) I'm only thinking about keeping food on the table and surviving as a manga author. I'm not sure how long I can keep going.

H: Maybe I'm still green. [Me: Can someone explain it to me what this means?]

O: No, I think you need to keep that spirit. I need to work hard myself.

H: I'm happy to hear you say that. I feel like you're way ahead of me. I'm always puzzled–but in a good way–when I see your art. I think, "Oh, that's another way of doing it..." But there are still areas where you want to improve?

O: Nothing but! (laugh) I can't draw good facial expression. I can only draw crying or laughing face, but I can't draw anything that will make readers think, "I want to take this expression home with me." That's my goal right now. The expressions on the faces of in my current title, Bakuman, are changing all the time, so I'm always wondering when I'll draw just the right one. But you're already getting it just right!

H: I don't think so! Not at all! These days–maybe it's just because of developments in D.Gray-man have been intense for a while–but all I can draw anymore is simple eyes. I can't draw eyes sparkling with light like I used to! (wry laugh) It's a manga without many smiling faces, so a problem I'm facing right now is I've forgotten how to draw the characters with smiling faces.

O: But your art is evolving, right?

H: It never comes to rest! (wry laugh) But I'm hardly aware of it myself. When D.Gray-man was weekly, I was absorbed in drawing as hard as I could. When someone told me my art had changed, I though, "Huh? How?" After about half a year had passed, I compared and though, "It's true!"

O: I think you're getting better. No one can draw as well as you!

H: No, no! I want my art to stabilize as soon as possible! (wry laugh)

"When I see Hoshino-san's incredible art, I just want to sulk!" (Obata)

--- When you do a color illustration, do you have an idea of the colors even as you're doing the rough sketches?

O: I have a vague idea of the overall palette.

H: When I draw the rough sketches, I, too, have an idea of the colors. But then, I actually put in the colors in my head, I think, "Huh? I thought this would look good, but it's weird!" When the colors I imagined don't work out, I think, "Then what colors will be good?!" and spend more time avoiding it.

O: I see. You decide the colors in more details as you color it in.

H: I don't have the skill for choosing colors. (wry laugh) It isn't something I've cultivated so far. I never even colored much as a child, so I've been avoiding it. Maybe that's why I like black and white.

O: Me too! I always hated coloring. In my school days, my teachers would say, "Your lines are good, but the colors are another story." Masahiko Ibaraki(3) also told me that.

--- Was that because of the color scheme or your coloring technique?

O: I don't know which. He just told me they were no good. (wry laugh) I went to a bookstore once to find a book of art by the illustrator Hajime Sorayama(4) and they were showing a how-to video about coloring. I watched that for a long time and learned how to do it. Since then, I've worked my hardest at coloring.

H: I first encountered the challenge of coloring when I had to do a color illustration for a cover when I debuted. Until then, as an animator, coloring was outside me area, so I was like, "Uh-oh!"

O: I've noticed that you can color a number of different ways. Liken in a picture book. Or really thickly. When I saw this (top illustrations on pg. 48). I was surprised. [Me: The "Party Mix". It contains 5 different illustrations)

H: I did that in acrylic. It wasn't for the weekly magazine, so I thought I'd be adventurous. I wanted to try changing that art materials, but it didn't turn out the way I wanted and was a big failure. (wry laugh) I decided never to look at it again.

O: But it's great!

H: Back when I did this, I was always coloring with Copic. But I could never do it well, so I though Copic might not be the right for me. I tried feeling to a different medium, but failed, so now I'm back with Copic. Just like with my Zebra pen tips! (wry laugh)

--- Obata Sensei, have you ever thought about coloring with something besides Copic?

O: No. I can't do very many different things. When I see Hoshino-san's incredible art, I just want to sulk! Her art is really too good. Mine is nothing compared to hers. My spirit trembles so much I don't want to work! [Me: All authors suffered through that phase, like me, who sulks in the corner all day...]

H: Don't say that, Obata Sensei! When I see your work, I feel the same way!

(3) Obata Sensei's first editor. Current chief editor of Jump SQ.
(4) An illustrator who helped design the robot AIBO.

[Lomahongva]

Thanks Bloody Queen for the interview!!! I'm so happy that I could finally read it!!!

Uhm imo the "plagiarism" thing wasn't mentioned because Hoshino drew Miranda's blow hair in a natural way. I mean, anyone could have done the same thing if his aim in that panel was to show a woman's head with her air blowing. The problem is that shades and position reminded Obata's panel which showed L's in a quite similar position. What's more, the interview was done by Shueisha's team, which is the editorial both authors work for. Putting the "plagiarism" thing in the table again wouldn't have been the best idea because the series' sales/popularity could be affected. So the best thing was forget it.

[Kalyra]

haha xD Obata sulks sometimes too..

Maybe what Hoshino said about being green is like saying shes not ripe yet?. If that helps xD

Also, thanks~

[Bloody Queen]

Um, should I write in a new post when someone post something after my post or should I just edit my previous post to add the next part?

Well, just in case...

"The final picture never matches what I set out to draw!" (Hoshino)

--- How do you come up with ideas for title pages?

H: I draw a bunch of small frames on a piece of paper and come up with several different compositions. But then when I go to draw the real thing, I start drawing something completely different. (laugh) The final picture never matches what I set out to draw! It constantly changes while I'm drawing and turns out in a way I never expected. I improvise...just going with the flow. (laugh) What I first set out to draw will be pretty cool, but it's just a neat idea and may not suit D.Gray-man.

O: Wow. It sounds fun to draw with such freedom. I'm the opposite. I come up with several compositions, but usually I end up drawing the first one I came up with. The picture I want to draw right now just spills right out. That alone won't be enough for a title page, though, so then I add in smaller things, and those additions take a lot of time. Aside from that, I don't think about it too deeply! (laugh)

H: It's about going with the flow. i always think up motionless compositions and would rather draw more active ones, but it;s hard. However, D.Gray-man has a tendency to be dark, so I try to think of bright title pages.

--- The title page for "The 187th Night" (illustration on pages 68-69) is pretty bright. [Me: The ever awesome Allen/Kanda cover that made me spat out my meal and check if it's really D.Gray-man multiple times...]

H: I drew that because I hadn't drawn anything for D.Gray-man that felt modern. Because of developments in the story, I had to put in the Crows, but everyone wouldn't fit! (wry laugh) Then I had the idea of putting graffiti on a wall, and then I thought it would be good to have the background ba a basketball court. It was all on the fly. If I had more time, though, I'd like to think over my compositions more!

O: I know what you mean. I'm buried every day. Not having enough time is a big problem. (wry laugh)

H: I always wish I could go to the Room of Spirit and Time!(5) (laugh)

(5) A facility that appears in Dragon Ball. One day in the outside world is 365 days inside.

"When I saw the advertisement, I panicked and thought, 'Someone really great has come to Jump!'" (Obata)

--- Hoshino Sensei, what are your favorite illustrations by Obata Sensei?

H: I like the one where Sai and Hikaru are climbing a sakura tree. I think Sai was playing a flute (flipping through Hikaru no Go Illustrations: Sai) This one! (See illustration A) This makes a deep impression.

O: Oh! Thank you.

"No one can draw as well as you!" (Obata)

H: I think the part of it is that I like the combination of pink and purple, but I liked this as soon as I saw it. (Me: There goes the reason for all the purple covers...)

O: I don't really remember, but I think I wanted to do something with a lot of pink. And the tree is sort of red.

H: And I like this one with an autumn feeling! (See illustration B)

O: Oh, that's one that I'm even pleased with!

H: Did you do the fan in the background in pencil?

O: No, a gray, fine pen for Copic. I put it in at the end, after coloring it.

--- Obata Sensei, are there any D.Gray illustrations that have made an impression on you?

O: I like this one (illustration on page 7) [2004 Weekly Shounen Jump, no. 26 announcement cut] When I saw this picture in a Jump advertisement, I was shocked and though, " Someone really great has come to Jump!" I'll never forget that. This one's good too (illustrations on page 78-79) [2007 Weekly Shounen Jump. No. 10; 106th Night title page] When I went to an event at France once, this was a hanging display at the size of a whole wall. I remember it was really cool.

H: A hanging display?! That's the first time I've heard of that! But at that size, any flaws would stand out... (sweat) Actually, the editor got mad at me when I drew this. He said, " Why'd you draw something hard like this when there's no time?!" (wry laugh) I'd reading Death Note, though, and wanted to draw something cool.

--- Are there any of your own illustrations that you particularly like?

O: I don't really have the whole concepts of liking my own finished illustrations. But drawing this one (illustration C) was fun. I really wanted to draw this picture, but there was no occasion for it in the Hikaru series. The background is white, and so are Sai's clothes. And I really wanted to show the white snow passing over Sai's body. Which of your own illustrations do you like, Hoshino-san?

H: Hmm... I suppose the illustration from the first graphic novel (illustration on page 40) [Volume 1 Cover], because it was the first time I remember my editor complimenting me. At first, I wanted to draw Allen's and Earl's profile in the exact opposition, but my editor said that the main character has to face the front and scrapped it, so Allen came to the front.

O: The main character does have to be right out in the front for the first graphic novel.

H: Yeah, I noticed that later on. At first, I was just drawing whatever I wanted. (laugh) But now, I draw from the fans' point of view. I think about what characters I should put in to make them happy.

"The underground excites me." (Hoshino)

H: A reference book is fine, but do you have a favorite photo book?

O: A photo collections of hotels in Mexico. The decorations and moldings are interesting.

H: Mexico is where the old men wear hats like this (outlining the shape of a sombrero in the air with her hands), right?

O: Yeah. I'm not especially knowledgeable about Mexico, but when I look at the photo collection, the cathedrals, for example, are really interesting. The people in different regions make statues of Mary according to their own ideas of her and lots of the churches are pretty weird. How about you?

H: I like a photo collection called Japan Underground. It's full of pictures of underground places in Japan. The underground excites me. It's thrilling to know what's beneath my feet.. It's a little magical. I like the feeling of having discovered a secret base when I learn about someplace I didn't know about before - even though it's someplace I'm always at.

--- Now, before we end, I'd like to hear your thoughts on today.

H: Before we started, I was really nervous because I would to get a talk with such a god, and now that we've talked so much, I'm filled with happiness. I've memorized everything you said today, Obata Sensei! Some similarities between us came up, and some of what discussed is invigorating to me, so now I feel like I can keep working hard. I feel really lucky to be able to meet someone I've admired ever since I was a child. I'm glad I became a manga artist!

O: Before our discussion, I was unsure about a number of things, like whether I'd have much of value to say, but it was really interesting. I thought you are naturally a real deal when it comes to manga artist/ I think you're a genius!

H: I'm so humbled I could die...

O: (holding a copy of D.Gray manuscript) Now that I've got so many copies of your manuscripts, I, too, can keep going! [Me: Um... I sense plagiarism... ah, forget it...]

H: You're going to take all that (pointing to the manuscript copy) home with you?! I should have prepared something better!

[Me: Nice last words...]

EXCHANGE ILLUSTRATIONS

To commemorate their first discussion, the sensei exchange illustrations of their favorite characters! Obata Sensei requested Jasdevi, saying, "I really like Jasdevi - especially when they're totally crazy!" Of course, Hoshino requested a character from Majin Lamp, which she liked ever since she was a child!