Imaginasia Anime Artist's Workshop

Videogames in Japan

2009-08-26T19:29:00.000-07:00

For those of you interested in a career in videogames, check out this article.

http://kotaku.com/5344934/want-to-work-in-the-japanese-gaming-industry-heres-how

Though its specifically on making it in Japan, the advice given applies to the games industry in the US too.

Here's some bits of universal advice that stood out to me:

"Like to draw? Bring a sketchbook portfolio or 3D render. Developers always want good artists. Want to be a designer? Show them some sample concepts and game ideas, or do a "what-if" scenario with their intellectual property: "This is my version of a Lost Planet RTS." Have a management background? Discuss some thoughts you had about effectively managing schedules or budgets."

"Even if some of your offerings are a little off-base, you will have shown that you can grow inside the team to fill a necessary role, not just be the go-to guy for English e-mail exchanges or developer blogs. And, if you can prove that you have knowledge, drive, language ability, and growth potential, then you will be an impressive candidate in this world of global markets and overseas outsourcing.

Once you get the job, make sure you continue to grow and stay indispensable. As you show that you can perform duties that no one else can and have carved out a unique niche for yourself, your "indispensability factor" will grow, leading to more authority and responsibility inside of the team.  "

"Be Flexible

I've been fortunate enough to play key roles in over ten AAA titles, but I've also been on projects that were stalled, rejected, or canceled. Go into it with your eyes open, and know that, no matter how skilled you are, you won't be lead designer or producer on a multi-million dollar project your first time out.

Maybe your first job will be second- or third-string designer on a DS title, or artist on an XBLA or PSN game. Embrace these duties. Working on a smaller team can be incredibly rewarding, and you'll find more satisfaction in saying "I designed this entire game mechanic" or "I modeled this entire level background" than you will in saying "I came up with hit point values for the enemies" or "I modeled the trees in this level," which is what may happen when first working on a huge team.

Many people in the industry here never work on a "true" AAA title, but that doesn't mean that they don't create great games and have a blast doing it.

Even if you do reach the plateau where team sizes are in excess of 100 people, you still have to be flexible.

I've had countless ideas shot down, entire game concepts denied, and months of work put into design documents vanish at the blink of an eye because of changes in a title's focus. Remember, games are a business, and you might have the best idea or greatest character design in the world but if the market doesn't like it, it's not going in.

It's not always about creating what you think is the "best" game (or even what you would necessarily choose to play). It's about making something that will sell, and sell well. I can't count the times that a junior team member has complained that management "doesn't get it" and swears that the game would be 100 times better if only their idea had made it in. It is the creative director's job (or producer's, in some teams here) to establish a clear direction for the title with management and make sure that all game content meshes with that direction.

The larger the team, the more individual compromises will need to be made. Learn to take it in stride and you'll begin to see the big picture.  

Be Tough

This one is deceptively simple but harder in practice. You've got to strengthen yourself both physically and mentally to endure the rigors of a career in game development here in Japan, where the language contains a word meaning "to die from overwork" and many normal salarymen don't even get home until close to midnight.

All development teams around the world experience what is known as "crunch time:" the period right before a title is released to certification where everybody on the team is in a mad scramble to finalize all of the content and iron out the last few pesky bugs.

Some Japanese developers, however, seem to have made it a goal to elevate the ridiculousness of crunch into an art form. Obviously it varies from team to team and title to title, but I've had crunches on two-year titles that have lasted six months. That's six months of having no social life and no free time, limited time with loved ones, and long periods in which you forget what the inside of your apartment looks like because you've slept at the office for five nights in a row.

While I certainly don't condone this practice — in fact I've made it a goal to alleviate it as much as possible — there is just no way around it on Japanese teams and you'll have to accept it as a fact of life. Learn to adapt: make your colleagues your best friends (they should be anyway), because they'll be the only company you have on many a long night spent testing or debugging. Practice living your entire life (food, work, and sleep) at your desk for a month and you'll be on your way.

Learn to be thick-skinned mentally as well. At first you will be demoralized because of perceived failures and because your ideas or designs were rejected.

Know that this happens to everybody, and don't take it personally. Japanese developers, for the most part, take a very strict and regimented approach to dealing with other team members. It's not because they are not kind (you will grow to learn that they are) or are out to get you, rather it is part of a long-standing tradition in production industries to codify relationships in a master-apprentice context.

So when the lead designer takes the paper containing what you believe is your best game mechanic ever and throws it into the trash (yes, I am speaking from personal experience here) or the art director has you redo a render for the 100th time because the sheen on the shoelace holes of a character's sneaker are not perfect, know that they do these things because they truly believe that you will learn and become better as a result. Hang in there and you may gain a wonderful mentor with whom the bond of friendship and camaraderie is not easily broken.  

Be Patient

Last, but certainly not least, is patience. You must realize that things won't always move as quickly as you'd like them to. This advice works on both a micro and a macro level.

On a smaller scale, you will no doubt wonder why your feedback is not carrying as much impact as you would like it to, particularly when you are new to a team or the project is in its infancy. You may feel (with good reason) that you have great ideas and designs and they are being brushed aside with nary a second glance.

I've talked already about becoming indispensable to a team, carving out a niche for yourself, and earning the trust and respect of team members. All of these things take time. To quote a Japanese figure of speech, most developers here prefer relationships that are "narrow and deep" rather those that are "wide and shallow." In other words, they intend to connect with fewer individuals on average, but when they do, those connections are profoundly strong.

If you persevere in your duties, remain dedicated, take criticism whether you feel it's deserved or not, and show everyone that you are a harmonious member of the team, you should find that your feedback and ideas will gradually carry more weight with those around you.

On a larger scale, realize that you may not initially advance in your career as much as you might hope from project to project. Japanese companies are notoriously difficult to move up in, and it will take a mountain of hard work and a great track record to convince team leaders that you are ready for an official promotion.

You will, of course, be asked to take on more and more responsibility without an change in title or increase in salary, and you must learn to work through these hurdles, just as you must overcome the "glass ceiling" that still hampers foreign developers at some companies.

You may feel that your contribution to a title was astronomical and that you fully deserve more say in the creative process, but don't be surprised if you find yourself in a similar position when the next project rolls around.

Just know this: if you have chosen the right team to work for, I will guarantee that someone is silently watching and observing your endeavors. You may not get much feedback or indication of an impending expansion to your role in the team, but it will come in due time and it will feel great because you will know you have truly earned it."

Drawin' clothin'

2009-08-14T16:34:00.000-07:00

Here's a good one, clothing! We all wear it, and it comes in all kinds of shapes n' sizes, but drawing it... that can be tricky. Especially with say, ruffles on a cape or a skirt. As with all things, approach by breaking own into simpler components.

Or just copy, (i mean 'learn') from an artist you like, or a photo.

Like hair, clothing follows gravity and movement. How much it wrinkles and is swayed by movement gives us an idea of how thick or thin it is, what sort of material it's made of.

To begin with, draw the figure in a pose you want. Think about what movement they have to make for such a pose. The lines in clothing will follow that movement.

Things like cloaks and skirts will trail behind movement.

Adjust the number of wrinkles and lines based on what material it is. A thick cloak will usually have fewer wrinkles and more soft lines than a thinner material.

[IMAGES PENDING (tablet broke)]

PONYO!!

2009-08-11T23:55:00.000-07:00

Request for the Sheppard Boys, on the movie Ponyo...

A trailer of Ponyo can be seen here http://www.apple.com/trailers/disney/ponyo/

My good pal Weigy also saw him in person at San Diego Comicon (picture above)

check out his blog @ http://blog.weigy.com/meeting-hayao-miyazaki/ !

Really, if you are a Miyazaki fan, check it out. Weigy also has a review of the movie Ponyo @ http://blog.weigy.com/ponyo-on-the-cliff/ !

It's a great spoiler free review that talks about the sort of emotions and ideas Ponyo inspires.

Now I was lucky enough to see Miyazaki in person a few months ago, and Ponyo was one of the things he talked about briefly. The interviewer had just seen the movie the day before, so he decided to talk about spoilers for the rest of us.... So if you don't want to know anything about the movie, don't read ahead.

I still took down some notes though.

On event in the movie is a giant tsunami wave that threatens the human settlement. The interviewer asks Miyazaki about this, and mentions Nausicaa's sea of corruption. Miyazaki responds that humans often believe they are seperate from the rest of nature, living in houses in cities and such, but we are not. The tidal wave in Ponyo though is of a different nature than the deadly force of Nausicaa's Sea of Corruption, it is the way that Ponyo is introduced to the humans. In this way Miyazaki shows nature as a near magical force that brings humans an unexpected perspective. Disasters shouldn't always be equated with evil.

Miyazaki also mentions that, in the town he grew up when a heavy rain fell, water could seep into the house, sometimes rising to knee height. It's not a deadly disaster, but he finds in these sorts of situations people are nicest to each other, coming out to help one another with the problem. He then mentioned that when he rebuilt his house, he and his wife opted to keep it at the same level as everyone else, so they would flood together too.

He then joked that sometimes, standing on a skyscraper in Tokyo, he imagines what it'd be like if the ocean swallowed up a few buildings along the edges. Miyazaki likes saying apocalyptic things like that.

Miyazaki then talks about how in his films, there's really no pure evil character. The antagonist in Ponyo is more of a troubled man than evil. "Making an evil character means you have to draw him, and that's never pleasant"

Noburo Yoshida is art director of the film, and drew the backgrounds. At first, he drew perfect backgrounds, but Miyazaki insisted that he let his childishness through, and jokes that Yoshida, after the feat of Ponyo, has yet to re-enter our ordinary reality.

When you watch Ponyo, keep this in mind, look at the background, see what Miyazaki means by "let your childishness show in your art."

As an adult I see that a certain way, but I wonder how kids will interperate that?

The colors of Ponyo are brought up, saying that it takes them to a whole new level.

Miyazaki says of Yoshida that he loves the colors red and green (these are contrasting colors, by the way, think), that when he draws clouds he always places down five, nicely spaced. He has a childish enthusiasm from his drawings, and it's this essence that Miyazaki wants to convey in his films.

The interviewer tells Miyazaki that, though Ponyo is a goldfish, she doesn't look like a real goldfish, and a Totoro is not an animal you can find in an encyclopedia. Miyazaki then talks about how originaly, Ponyo was a red tin frog.

I guess I can see a resemblance.... maybe

He couldn't think of a story with a tin frog though, so Ponyo became a goldfish. Miyazaki then wonders what a story about Ponyo the tin frog would've turned out like. Miyazaki then talks about, when designing his inhuman characters, he thinks about how their eyes are done.

Totoro for example. His eyes are large and.... vacant? Thinking? Miyazaki says that nature is not completely comprehensible by humans, so he wants to convey that feeling with his creatures. When looking at Totoro's eyes is he deep in thought...

or not thinking at all?

Arceus: Conquering of Space & Time

2009-08-10T20:27:00.000-07:00

So the 13th Pokemon movie is set to come out in Japan soon.

General information can be found on www.bulbapedia.bulbagarden.net

So boring things like the synopsis can be read from there.

Now, let's look at the art direction behind the movie, and the elements that make up this movie.

Damos, one of the protagonists of the movie. Let's look at his character design. His clothes are modelled after the Greeks, wearing a toga and sandals. The toga is not white, but a warm creamy color that's a little darker than his light skin tone.

Looking at his hair, he stands out amongst most pokemon characters with long sideburns, thick eyebrows and hairy arms.

He has a muscular build as seem with his thick forearms and calves, but is not a gigantic man (his shoulders are a relatively normal size for a pokemon human).

His somewhat plain clothing emphasizes his necklace, which has a circular blue symbol. I'm not sure what meaning the symbol has at the moment.

This fellow here, Gishin, you guessed it, is the badguy, from the tip of his evil red hair to the bottom of his open toed sandals. Instead of blue and creamy colors, his pallet uses a dark red, greys and blacks. While Damos is dressed rather plainly, Gishin wears a decorated robe, sash and an elaborate headdress. His frame is thinner, and the length of his arms emphasized by horizontal bands. Gishin's eyebrows are thin and pointed, and his pupils are smaller. All in all this is a bad guy lookin' badguy

Sheena is another character that appears in the 12th movie. She comes from the present time and is a descendant of Damos. You can tell by their similar eyebrows and complexion. The clothing colors are similar, but not exactly the same, hers are a cool tone compared to the warm creamy color Damos wears.

The land this takes place in is called Michina, which resembles Greece. The screenwriters for this movie actually travelled to Greece to gather information.

2009 IMAGINASIA ANIME ARTIST'S CONGRATS!!!

2009-08-06T08:21:00.000-07:00

It was a great time teaching all y'all little ones, I learned bunches myself too (That's what clever teachers say to their students)! But remember, if you've got any more questions...

Send an email to chaisiri87@gmail.com!!

UPDATE: OK, questions to answer

- Pokemon Arceus movie info, more drawing info

- Drawing clothing, hair, eyes, blowing in wind and such

- Designing Transformers

For these two, whoever emails me first gets their lesson first!

more to come (pictured is the Japanese concept model for Transformers movie sent to America)

***K, working on pokemon, expect update by Tuesday mornin' (I have a cold now because of all the hard painful work I put into that program so be grateful of my sacrifice!!)

Gods & Demons

2009-08-06T04:36:00.000-07:00

Pokemon's not the only series to be inspired by mythology of course. One of my favorites is the Shin Megami Tensei RPGs. Some of these designs also appear in the Persona spinoffs.

Which character appears more heroic, more villanous? Why?

Think about their silhouettes and what kind of lines make up their shape (sharp vs blunt, round vs squared, segments vs solid, etc.)

What kind of colors are used between these two?

How many heads tall is this figure? What kind of feeling does that give you?

How are the silhouettes different between these two female figures? Which one is more reserved, which one is more active, why?

...and down here, we have a regular sort of girl (quite fashionable clothing)

...transform into a demonic form

What features about her changed from 'regular' to this 'demon' mode? How did the hair change, what kind of feeling do you get from her normal hair vs the demonic hair?

You can find more images at:

http://www.dokuganryu.com/scans/megaten/kanekoIII/

enjoy!

Pantheon of the Pokemon World

2009-08-05T21:01:00.000-07:00

There are many Pokemon called legendary, possessing godly power. Here are the legendary status pokemon that lead to the creation of the world as it is now.

Diamond & Pearl

Arceus the Original One was born before existence. He shapes the universe with the creation of...

Time (Dialga) and Space (Palkia). Existence begins to form and time flows through it. They are balanced by a parallel world where time does not flow and space is distorted (Giratina)

Now that the physical world is given form and place, the spark of sentience is also given in the form of...

Omniscient Knowledge (Uxie) Omnipresent Emotion (Mesprit) and Omnipotent Willpower (Azelf)

Creation and sentience gives way to new Gods that further shape existence.

Ruby & Sapphire

Creation is parted in three, the Sky (Rayquaza), the Oceans (Kyogre), and the Continents (Groudon)

The World is given Solid, Liquid, and Gaseous forms.

Gold & Silver

The flow of Time is parted into Light (Ho-Oh) and Shadow (Lugia), the cycle of Days is formed

Red, Blue, Yellow

Fire (Moltres) and Ice (Articuno) churns the oceans, mixing with the atmosphere. Lightning (Zapdos) strikes the boiling seas and Life is created.

Pokemon: Johto legendaries

2009-08-05T17:35:00.000-07:00

I got a good question today "Why are the legendaries in Johto?" Well, the simple answer would be " 'cause the game takes place in johto!" but I figure, there's a reason for everything

East of Kanto, the locale of Pokemon Red & Blue, is the land of Johto first seen in Gold & Silver.

The legendary trio that appears are...

Suicune of water Entei of Fire Raikou of Thunder

and the legendary duo consists of....

Ho-oh the rainbow winged phoenix Lugia, who slumbers in the ocean

Now, why are these pokemon in Johto? Obviously, yes, they're there because the game makers wanted them, but how do they fit in?

In Gold and Silver, there are locations called the Brass and Tin towers. Generations ago Lugia resided in the Brass tower, said to be the place pokemon awaken, and Ho-oh upon the Tin, which symbolizing a place of rest. but 150 years ago an event lead to their dissapearance.

A lightning bolt struck the Tin tower, causing Lugia to leave. The lightning bolt burned down the tower, killing three pokemon in the process. Before his dissapearance, Ho-oh took pity on the dead pokemon and revived them; they became Raikou, Entei, and Suicine. Raikou is said to represent the lightning bolt that struck the tower, Entei the fire that broke out, and Suicine the rain that put it out.

Interestingly, there is a Buddhist temple in Kyoto, Japan known as the 'Temple of the Golden Pavilion' which had a counterpart in the 'Temple of the Silver pavilion'. The golden temple has on its roof an icon of a golden phoenix (Ho-oh's name is based on the Japanese pronounciation of phoenix) . This temple had also burned down in the past, but has been restored since.

So the legendaries of Gold and Silver have a historic background, but... when it comes down to it, pokemon is just a game, right?

So there is also a gameplay reason for them being in it!

Think back, what changed from Red & Blue's generations to Gold & Silver? Yes, they added more pokemon, more moves, better graphics, but what gameplay features?

The big was an internal clock allowing for day and night cycles! So Ho-oh's golden light is representative of the sun, and Lugia's cool tones the night. Interestingly the Sun bird resides in the tower of resting, while the Night bird resides in the tower of awakening, perhaps this represents the connected cycle of day and night?

But not just that, a new kind of environment influencing move was also introduced that caused a weather effect! The legendaries that were born with the Brass Tower's destruction Raikou and Suicune possess such a move, Raindance. Lugia can also learn Raindance, and Ho-oh Sunny Day.

So we see that story wise, the legendary pokemon reside in Johto tied to historic places based off of real world locations, and gameplay wise the legendaries represent new gameplay mechanics introduced in the Gold & Silver generation.

2009-08-05T13:43:00.000-07:00

The above image is rare concept art made for the first pokemon game. Concept art like this is to, well, figure out what the game's going to look like! On the left are small thumbnails with simple designs, because this is a gameboy game so they can only do so much with the graphics.

Despite the limitations of the gameboy though, the concept art on the right is still detailed, to get the feeling and idea of Pokemon fleshed out.

You can see some pokemon designs that are familiar, yet a little different.
At the top right is a turtle battling a starfish, the makings of wartortle and staryu. We can also see a lapras looking monster being ridden on (surf!), but the horn is in a different place.

Beneath them we see a giant gas monster fighting some kind of shelled pokemon. That monster would eventually become ghastly.

Here's ghastly as he appeared in the very first pokemon game.

Ghastly, in the latest pokemon game. Notice that his gasceous body has been given a solid core. Concepts can develope even after the game's been published.

The giant gas bodied pokemon idea wasnt' completely abandoned though, as we can see in...

Spiritomb! The concept of ghastly from the very beginning of pokemon, one that was abandoned in later versions, comes back as a totally new pokemon!

Always keep your artwork. Even if you think it's awful, that's good, understand what you don't like about it so you can improve it. Don't throw out the old version of an updated design either, maybe when you go back to it you can use it in a new way!

Mega Pokemon Thread

2009-08-04T14:24:00.000-07:00

Boy, a lot of the students really really love their pokemon, that's the main question I get.

Finishing up with Tuesday's session, I was sitting on a bench, eating some blueberries. Two guys in the bench across from mine, chatting to pass the time, comment on the birds "pidgy... pidgeotto"

Pokemon is really part of the fabric of American reality now.

It's something I've stewed in my head, there seems to be a theme that each pokemon generation follows. This is based heavily on the antagonist team (Rocket, etc.) and legendary pokemon (Mewtwo, Groudon, etc.) and other details.

The themes are the sources of human conflict: weapons, territory, and energy.

First, the original generation of Red, Green, n' Blue that began it all, the main badguys:

Team Rocket

Their motto: "Steal Pokémon for profit. Exploit Pokémon for profit. All Pokémon exist for the glory of Team Rocket." They view pokemon as tools to be exploited and used. The player encounters them in their various schemes, and is even offered membership, as above all else they prize strength.

Their greatest scheme though is the genetic engineering of a new, powerful pokemon. This is possible through extracting DNA from the fossilized eyelash of the legendary pokemon Mew. The DNA of Mew contains the genetic code of all pokemon. When it falls under human hands, it is used to create the ultimate weapon, Mewtwo.

Team Rocket was unable to control their creation though, Mewtwo destroyed its creators and fled into the wilderness. He is described as a vicious pokemon that lives only to fight.

*Interestingly, Giovanni, leader of Team Rocket is ultimately an honorable man. As he and his organization prize strength above all else, after his defeat at the hands of the player, Giovanni steps down, stating that his weakness betrays the trust his men had placed in their leader. He leaves to train and become stronger.

There are also references to pokemon used in warfare and conflict.

Lt. Surge, a soldier, references that his electric pokemon paralyzed his enemies in a previous war.

Koga is a gym leader and a ninja. His poison pokemon use is inhereted from a long tradition of his ninja clan.

Imaginasia Young Artist's Residency, Day 1

2009-08-03T12:19:00.000-07:00

Howdy y'all, enjoy the first day of the Smithsonian's IMAGINASIA YOUNG ARTIST'S RESIDENCY?

(The Young Artist is YOU, in case you didn't know)

Any questions you have, techniques can be answered Next Class!!

Discover forbidden jutsu!
Unleash your Bankai!!

With a simple email to Empyrean87@gmail.com

next class we'll have a model and focus on character design

2009-08-02T13:51:00.001-07:00

Princess Mononoke is an interesting example of drawing from history to create new designs, making designs that fit in the story. It is a Japanese animated movie of course, from the famous Studio Ghibli, directed by Miyazaki. The setting is feudal Japan, and can be summed up (maybe too simply) as civilization vs nature.

The main protagonist is Prince Ashitaka, and he rides on a great horned animal, named Yakkul

Yakkul is a character in himself, and there was a lot of thought put into his design. For one, why does Ashitaka ride Yakkul instead of a horse?

Director Hayao Miyazaki says in his own words:

"I made Yakkul because I somehow felt it would be easier to draw an imaginary animal. The other reason is that if I had a boy riding a horse with a Japanese sword and a topknot (a typical hairstyle of Japanese in period dramas), he would be a samurai. Then he would associated with the image of a samurai which existing period dramas have built. But I didn't want that. I wanted to have a boy, not a samurai boy, in the movie."
-interview from http://www.nausicaa.net/miyazaki/interviews/m_on_mh.html

So what you aren't is just as, if not more important than what you are. This is actually a pretty big part of the design behind Princess Mononoke, making solid distinctions between the different factions.

And the visual design for Yakkul, he's actually based off of an animal Miyazaki created for a storybook published decades ago!

Always keep your artwork! You never know when you'll need it.

2009-08-02T13:04:00.001-07:00

Here's an original creation using the 3 point guideline

First the inspiration, bronzework from the Freer & Sackler gallery.

appearance:

The face patterns on these vessels have glaring eyes, it's intimidating. There seems to be a horn-like pattern at the top. The wide mouth has fanged teeth. The vessel itself looks sturdy and strong, with a wide base or thick legs.

history/personality:

The design on the vessels that resembles a beast face on this is called a taotie. There's little known about what they represent or the story behind them, except for a record that describes them as "beasts that devour but are never full". They are from the Shang Dynasty of China, far in the ancient past there is still much to discover about them.

utility/ability:

These vessels would have been used for rituals to honor long forgotten spirits, or maybe ancestors. They may have contained offerings of food (maybe the Taotie 'eats' the food given?)

The strongest theme with this seems to be food, eating, devouring. Looking at it, the creature seems to have a wide mouth with some fanged teeth. What we know of its history and purpose, it was a vessel for accepting food offerings.

A devouring beast is the idea. What kind of animal should it resemble?
Perhaps a dog? There are many stone guardian statues in China, called Fu dogs. Maybe basing this idea off of an existing Chinese beast will work...

But then our Taotie looks like a Fu dog, hmmmm. Those bronze vessels are pretty broad and sturdy looking, maybe incorporate some of that feeling in there. Taotie's are big eaters too, make the mouth even wider... hmmm, that sounds kinda like a hippo. Maybe look at how hippo's are built to get a better idea on how to make a big mouthed, big bodied eating machine

There's no better artist than nature, y'know? When trying to get the right 'feeling' for a creature, referencing animals that give that feeling is a good start.

Now, looking at what Chinese artists did with dogs to create Fu dogs, maybe if we apply that to our new animal...

It doesn't hurt to make lots of designs when trying to find just the right one (there's even a goldfish inspired one in there!). Don't erase, keep them all! You can always go back and use what wasn't used, you never know when things will just fall perfectly together.

Ah, now I've got the right design, finishing up... something big, powerfully built, sturdy with a mouth made for eatin'.

...and voila, we have a Taotie, the mythical devourer!

this above artwork comes from www.richmondlee.com
take a look around! It's always good to see the works of as many different artists as you can

2009-08-02T13:03:00.001-07:00

Here's a simple guideline for getting inspiration from history. The character Naruto is used as an example.

click on the thumbnail to enlarge

Anime Artist's Workshop 2009

2009-03-17T15:18:00.000-07:00

Just in time for the cherries to blossom!

Anime Artist's Workshop

Discover how contemporary anime artists draw upon traditions of Japanese masters. Ages 8-14 with adult. Reservations required for groups of more than 8 people; call (202) 633-0461. Categories: 16654. Venue: 17046. Event Location: Sackler classroom. Cost: Free; first come, first served. Saturday, March 28, 2009, 2:00 PM.