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STAGE 1 - Traditional methods

STAGE 2 - Digital manipulation using procreate

STAGE 3 - Animation / adding movement

STAGE 4 - Editing animation e.g. saturation/contrast

STAGE 5 - Sound design

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For my experimentation with watercolours, I revisited the medium after a long period of focusing primarily on digital artwork in previous years. Having spent so much time working digitally, it was both refreshing and challenging to return to traditional art, requiring me to re-familiarise myself with the delicate nature of watercolours. I focused on capturing the essence and aesthetic of Studio Ghibli’s background art, particularly their use of soft washes, gentle gradients, and subtle textures that bring a scene to life. This process allowed me to explore techniques like layering colours to build depth and leaving intentional imperfections to maintain an organic, hand-painted quality. It was a valuable opportunity to reconnect with traditional artmaking while applying skills and inspirations drawn from Ghibli’s signature style.

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Dysfunctionality in Nature

Investigate how dysfunctionality can be seen in the natural world, whether through mutations, environmental disruptions, or invasive species.

You should engage with the idea of ecological dysfunction, climate change, species extinction, and environmental destruction, consider how these processes can be visualised in art.

Research the idea of "dysfunctional" ecosystems where natural and artificial elements intermingle, creating new, hybrid environments that challenge the distinction between nature and technology.

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Utilising the animation feature on Procreate

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Utilising the animation feature on Procreate

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For the animation process, I explored Procreate's animation feature, Animation Assist, which allowed me to animate subtle changes in my artwork, such as moving elements and adjusting lighting. In the future, I aim to experiment with other programs for animation and illustration to further develop my skills and expand the creative possibilities of my work.

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Cine Excess Exhibition at Margaret Street 

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Cine Excess Exhibition at Margaret Street 

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For this project, I chose the theme of dysfunctionality in nature, envisioning a post-apocalyptic world where the delicate balance of life has been pushed to its limits. In this imagined future, animals have been altered with mechanical implants, and hybrid creatures struggle to survive in a polluted, artificial landscape. The disruption of natural ecosystems has led to a bleak, dystopian world where the line between organic life and technology is blurred, creating a surreal and unsettling environment. This concept explores the consequences of unchecked industrialisation and genetic manipulation, reflecting a world where nature's inherent beauty and balance have been lost to human intervention.

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Building on the storytelling framework, I chose to annotate my robot-sea hybrid creatures to highlight their unique characteristics that enable them to adapt and thrive in this altered environment. By blending mechanical and biological elements, I was able to envision how these creatures might evolve over time and interact with their surroundings, reflecting the challenges of surviving in a post-apocalyptic world.

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OBJECTIVE

The objective of my second micro-project was to create a personal Studio Ghibli-inspired scene by blending traditional and digital methods utilising a photograph that i took. I wanted to capture the serene, nostalgic, and evocative qualities of Studio Ghibli’s background art, drawing inspiration from Kazuo Oga’s use of earthy tones, naturalistic colours, and strong compositional elements. The train served as a narrative element, symbolising a journey, an arrival, or a transition, while the leading lines of the tracks guided the viewer’s eye through the composition.

TARGET

The target for this project was to enhance the scene with atmospheric elements, subtle animation, and sound design to create an immersive and emotionally engaging experience. I aimed to transform a static painting into something dynamic by adding movement, adjusting colour saturation, and incorporating sound to evoke feelings of nostalgia and wonder.

WHAT I DID

I broke the project into five key stages: traditional methods e.g. sketch, digital manipulation, animation, editing, and sound design. I began with a traditional pencil sketch to plan the composition and layout, capturing the initial vision of the scene. I then scanned the sketch into Procreate and transitioned to digital manipulation, focusing on enhancing colours, textures, and adding details to evoke the nostalgic and atmospheric qualities seen in Studio Ghibli’s background art.

While digitally painting my train scene, I intentionally chose not to rely heavily on the reference image. During my research, I observed Kazuo Oga’s intuitive approach to painting—placing colours and details wherever he feels they belong, guided by his instincts rather than strict accuracy. Inspired by this, I decided to approach my work with a similar mindset, painting from the heart and allowing the scene to evolve naturally. This method allowed me to focus on evoking the emotional tone and atmosphere I wanted to capture, rather than fixating on perfect replication.

After, I manipulated it digitally enhancing the saturation and experimenting with colour hues to achieve a more vibrant and atmospheric look. Animation was then added to create subtle dynamic features, such as the train moving into the frame and flickering lights, which gave life to the composition. To elevate the emotional tone, I incorporated sound effects of train wheels on tracks alongside ambient music I found on a Studio Ghibli playlist. These elements combined to create a fully immersive scene that encapsulated the nostalgic charm I was aiming for.

PEER REVIEW BY Fakhar Sultan MA Viscom Jan 2024

WHAT I LEARNED

Through this project, I learned how to combine traditional and digital mediums effectively to create a cohesive and visually rich piece of artwork. I explored how animation, color manipulation, and sound design can elevate storytelling and bring depth to a scene, turning it into a dynamic and immersive experience. I gained confidence in my ability to evoke specific emotions, such as nostalgia and wonder, through careful attention to lighting, colour, and movement. I was particularly proud that my peers, even those unfamiliar with Studio Ghibli’s style, were able to instantly recognise the essence of Miyazaki’s work and expressed how the scene made them feel nostalgic—exactly the outcome I was striving for.

WHAT I CAN DO IN THE FUTURE

To take this project even further, I could develop a series of connected scenes that build a larger narrative, creating a short animated sequence inspired by the world-building seen in Studio Ghibli films. This would allow me to push the boundaries of storytelling through background art and animation even further.

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Enhances Atmosphere and Mood: Sound design in Studio Ghibli films, such as ambient noises or gentle music, plays a key role in creating immersive environments. It helps bring scenes to life by making them feel real and tangible.

Reason for My Scene: I added ambient sounds and train noises to enhance the serenity and realism of the setting, mirroring Ghibli's ability to evoke emotion through sound.

Supports Storytelling: Sound often acts as a subtle narrative tool, adding depth to the visuals. For example, the sound of rain or distant trains can hint at time passing, loneliness, or anticipation.

Reason for My Scene: I used the rhythmic sound of the train wheels to symbolise a journey, transition, or arrival, connecting sound to the narrative purpose of the train itself.

Elicits Nostalgia and Emotional Response: Studio Ghibli soundtracks, like those by Joe Hisaishi, are known for their emotional resonance and ability to evoke feelings of nostalgia, wonder, and calm.

Reason for My Scene: By incorporating music from the Studio Ghibli playlist, I aimed to evoke a sense of nostalgia and wonder, reinforcing the emotional tone I wanted for the scene.

Balances Stillness and Motion: In Ghibli films, sound is often used to complement moments of quiet beauty or visual movement, enhancing the pacing of the scene.

Reason for My Scene: The sound of the train moving through the frame brought movement and energy to an otherwise still painting, creating a balance between tranquility and motion.

Adds Personality to the Environment: Sound gives environments a life of their own, turning settings into characters within the story (e.g., the bustling bathhouse in Spirited Away).

Reason for My Scene: I wanted my environment to feel alive and filled with personality, and the soundscape added character to the scene, just as Ghibli backgrounds do.

By including sound in my project, I elevated the emotional and narrative impact of my scene, making it feel more dynamic and capturing the essence of Studio Ghibli's storytelling techniques.

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This section highlights some of my past work to give you an insight into what I’m passionate about and where my focus has primarily been—namely, digital art and manga-style illustrations. While I’ve been immersed in digital mediums for quite some time, I am currently revisiting traditional art techniques. I’m inspired by artists I admire who blend traditional methods with digital manipulation, often using hand-drawn elements as a foundation and then refining or enhancing them digitally. This fusion of traditional and digital approaches is something I’m keen to explore more deeply in my own work.

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OBJECTIVE - Explore how background art in anime, specifically focusing on Studio Ghibli's approach, enhances narrative and mood creation through traditional mediums followed by digital manipulation and animation.

TARGET -  Combining watercolour techniques with digital tools from Procreate to produce artwork that feel both alive and unplanned, evoking emotion while supporting the storytelling in the scene.

WHAT HAVE I LEARNED -  During this process, I have learned how to capture the organic, unintentional aesthetic of Studio Ghibli's watercolour backgrounds, utilising loose brushstrokes and leaving space for "imperfection” as well as gaining more digital manipulation experience in using tools such as Procreate to add depth, texture, and atmospheric effects (e.g. sunlight rays) that elevate traditional watercolour art. After adding the details in Procreate, I took the next step by incorporating animation to bring the scene to life. I animated the sun ray lights to flicker, creating a sense of movement and atmosphere, and added subtle motion to the leaves making them fall gently in the breeze. This animation not only enhanced the overall mood but also gave the scene a more dynamic, immersive feel, allowing it to feel less static and more alive. These small animated elements helped to further emphasise the natural, organic quality of the background, giving it a more vivid and engaging presence. After editing the video, I increased the saturation to enhance the colors, giving it a more vibrant and lively feel that aligns with the iconic Studio Ghibli style. I thoroughly enjoyed this process and found it to be a very valuable way to connect with the artistic techniques i’m studying. Furthermore, the process made me develop a deeper connection and understanding of how significant background art is for enhancing the overall story, emphasising emotion and narrative.

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I chose to use Kaze no Toori Michi from My Neighbor Totoro in my personal scene because its gentle, nostalgic melody perfectly complemented the serene and whimsical atmosphere I aimed to create, enhancing the overall mood and bringing the essence of Studio Ghibli to life.

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I utilised a combination of Procreate, Photoshop, and Camera Roll tools to edit these digital paintings, allowing me to experiment with color grading, lighting adjustments, and overall composition to effectively capture the varying tones and emotional atmospheres of each time-of-day version.

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Deciding the case study / Draft essay structure plan

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Deciding the case study / Draft essay structure plan

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'Crowds of people are not miserable faceless bunch. They makeup society, so draw them properly" - Miyazaki

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'Crowds of people are not miserable faceless bunch. They makeup society, so draw them properly" - Miyazaki

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Colour scheme analysis - Bathhouse (spirited away)

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Colour scheme analysis - Bathhouse (spirited away)

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What is the context of the brief that you are investigating?

This project investigates the art of background illustration in anime, primarily focusing on the incredible works of Studio Ghibli. Background art, while often overlooked in favour of characters or plot, plays a critical role in shaping the narrative, atmosphere as well as emotional tone. Through this project, I aim to explore how these artistic elements serve as significant components of storytelling, particularly in the context of Studio Ghibli’s films, which are renowned for their visually intricate and emotionally resonant backgrounds.

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Kazuo Oga Painting in Poster Color Ghibli Studio Anime Background 男鹿 和雄 At the Master's Workshop

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Kazuo Oga Painting in Poster Color Ghibli Studio Anime Background 男鹿 和雄 At the Master's Workshop

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Kazuo Oga Painting in Poster Color Ghibli Studio Anime Background 男鹿 和雄 At the Master's Workshop

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During my experience at the collagraph workshop at my university, I explored the process of creating textured prints through layering materials and inking techniques. I began by carefully adhering fabric, plastic pieces, and other textured materials onto a thick board, which would act as the printing plate. Once the board was ready, I rolled it in a light-coloured ink, which would later serve as the base tone in the final print. Using a sponge, I wiped away any excess ink to ensure the textures remained defined. Next, I selected a darker ink to add depth and contrast, carefully rolling it over the board and again wiping away the excess to highlight the intricate details of the materials. Preparing the printing paper was equally important; I soaked it in water to achieve the ideal dampness, then rolled it to drain any excess moisture and allow for optimal ink transfer. Finally, I placed the prepared board and paper into the printing press, using the machine to apply pressure and reveal the final print. This hands-on process allowed me to experiment with texture, layering, and colour, offering a deeper understanding of traditional printmaking techniques.

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From Traditional Pencil Sketch to Digital Canvas 

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From Traditional Pencil Sketch to Digital Canvas 

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Primary data - Interview questions for Shaun Magher and Murray John

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Primary data - Interview questions for Shaun Magher and Murray John

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Backup plan for primary data - Murray John 

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Backup plan for primary data - Murray John 

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- Introduced to Murray John, a professional in the animation industry since 1997, working at Birmingham City University

- Extensive experience as a Director, Animator, and a Storyboard Artist.

- Specialises in creating sequential backgrounds and environments.

- Conducted an interview to gain insights into background art

- Received valuable insights that will be integrated into my essay to deepen analysis and understanding.

Questions and answers:

1. Do you have any particular techniques or artistic tools you rely on when creating detailed backgrounds?

I use Photoshop for nearly everything painted or drawn, only because it was the first application I learnt, now days anything with textured brushes gradients masking capabilities and most importantly layers will suffice.

I always start with a rough layout for staging, composition and plotting the animation shot.

Detailed Background with no characters, like wide shots are easier to compose and I make sure they work on their own, with or without environmental effects.

Plan and compose your scene backgrounds with characters in them by making a layout overlays, these backgrounds always feel unbalanced and sometimes simple without the animation.

I love to draw pans and tilts as distorted perspective; I feel it adds a lot of personality to the artwork and is something you don't get in camera or 3D.  (Cam_Pan_01) attached.

Harsh contrast will draw your attention, so I find it best to steer away from solid blacks and line art.

2. Are there any particular artists or styles that influenced your approach to background art?

I love comics and like simple process, primary colours but I can always change this, job dependent.

So nobody in particular.

I grew up watching films by Ralph Bakshi, I think most of these are photocopied photographs coloured with ink.

Terry Gilliams Monty Python Backgrounds for simplicity.

Ghost in the shell 01 for an absolute painting master class.

So again I think it is look and feel or job design dependent rather than one particular style for everything.

3. Which Studio Ghibli film’s background art resonates with you the most, and why?

This is hard to choose, however a firm favourite of mine is Princess Mononoke, because the backgrounds play an integral part to the character animation of the forest creatures. The quality of the backgrounds and animation seamlessly marry together, which generates, empathy and gives the environment its own personality.

4. Do you think background art can carry as much narrative weight as dialogue or character expressions?

Of course, seeing the aftermath of a battlefield or a spot of blood on a floorboard, or the opening wide shot of an enormous desert, can deliver the same message animated characters or dialogue can, just with visual depth of interest. I would say this would be an editing choice to balance dialogue visuals and action in the entirety of the scene.

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Oga Kazuo Animation Studio Ghibli Artworks 2 Japan Edition - Book

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Oga Kazuo Animation Studio Ghibli Artworks 2 Japan Edition - Book

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We’re working on the problem and expect to resolve it shortly. Please note that if you were trying to place an order, it will not have been processed at this time. Please try again later.

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A Kazuo Oga background for Only Yesterday

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A Kazuo Oga background for Only Yesterday

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A still from My Neighbor Totoro, featuring background art by Kazuo Oga

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A still from My Neighbor Totoro, featuring background art by Kazuo Oga

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Bus Stop - My Neighbor Totoro

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Defining the World of ‘My Neighbor Totoro’

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How Studio Ghibli Makes Animation Feel Alive

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Color Grade Like Studio Ghibli in DaVinci Resolve - Day 21

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In this tutorial, I decided to take a break from drawing the human figure and push myself out of my comfort zone to draw a small landscape in the spirit of Studio Ghibli backgrounds.

Looking through the artwork of Kazuo Oga and other Ghibli background artists, I wondered how exactly do they represent nature in a beautiful, colorful, and serene style.

Ghibli artwork has been on my mind for a while. One day driving from my parents' house, I saw a scene that would be a great fit for a Ghibli-like landscape painting. So I took a picture on my phone.

Here you can see I used artistic liberties to change the time of day, and to try to paint the idea of the tree instead of every single detail in the picture.

In fact, I think Ghibli background artists do just that, they paint an impression of their subject matter (something that feels like their subject) instead of painting their subject directly. Much like the artists of Impressionism.

The difference here is while simplification and stylization take place, in the case of Ghibli background paintings, simplification is done on a more micro level than the paintings of impressionists, leaving the viewer with much more detail to look at.
Disclaimer: the goal here is not to copy Ghibli background artists' works, but to explore their beautiful visuals as a guide and inspiration for the creation of our own work. Ultimately, I want to believe that we all aspire to make creations uniquely personal to us. To my knowledge, Ghibli backgrounds are painted in poster color, I, however, painted the demo in this tutorial digitally in Procreate on iPad. This tutorial is not about the Ghibli Studio Art process but rather about how I achieved a Ghibli style look in Procreate and what I learned from it.
Without further ado, let's look at the steps and go over the things I learned in the process of trying to paint a Ghibli style painting.

Ghibli Inspired Background - Step 1: Block in masses.

Here I blocked in the masses representing the shadow side of the tree and the light side of it.

Pay attention to the separation of the shadow from the light as it is going to be key to creating depth in a Ghibli style painting.

Don't worry about the values in the middle, just separate the entire subject into light and dark sides. You can add mid-tones to the light side at a later time.

Ghibli Inspired Background - Step 2: Darker shapes recede, brighter shapes step forward

In Step 2, I started adding more detail and experimented with a variety of brushes to try to emulate the expressive brushstrokes of Ghibli art. I settled on opaque brushes and later steps used the smudge tool to blend shapes together.

Added detail, and definition to the tree trunk.

I added even more detail. Notice in this image that everything that is darker steps back and everything that is lighter steps forward in space. Areas that you will push back and bring forward must be identified early on.

In this example, the darker the area the further inside the tree it sits, as it is being blocked from the light of the sky.

Ghibli Inspired Background - Step 3: Context helps get closer to the heartwarming Ghibli look

In this stage, I decided that to achieve a likeness to the Ghibli style I need to place the tree in the context of the surrounding environment.

I then added a background (hills on the horizon line in the distance) as well as an indication of where clouds are going to be placed.

Here I used the smudge tool in Procreate to blend some of the clouds together and into the background of the sky.

Here I experimented some more with a representation of leaves in bunches to show overall form and purposely avoided drawing every single leaf.

I then started to paint the clouds and I was thinking about how they will peak through the tree.

The foreground and background should be easily identified by the viewer for an illusion of depth and distance. So I also tried to make sure that the edges of the clouds and the tree do not interact in a confusing way.

Here I added a cast shadow from the tree onto the grass. Adding the cast shadow has really helped properly situate the tree in the environment and I probably should have added it much earlier in the process to help me better visualize the rest of the painting

If you are not sure what a cast shadow is, I highly recommend going over my tutorial on drawing light and form which can be found here.

Ghibli Inspired Background - Step 4: Thinking of color as a storyteller

Here I started to play around with color to get to the colors I envisioned for the painting.

I wanted to see more blues, and adjusted this through the color balance and curves menus in procreate.

While playing around with the overall color of the piece I decided that I'm going to shift the time of day from around noon to closer to sunset so that stars can be visible in the sky.

Working digitally, afforded me the opportunity to change the color palette further in the process. With traditional media, it would be more important to plan colors ahead of the painting.

I tried to think of color and light as a teller of a narrative, it provides for time of day and combined with subject matter hopefully creates a tranquil feel.

The story here is of a peaceful and calm evening delivered by the use of saturated greens and blues.

I finally added a few stars in the sky in this step.

Ghibli Inspired Background - Step 5: details

In the last few process images, you see me adding details to the tree shape established in prior steps. I finally paid more attention to the brushstrokes I left on the canvas as they were likely to be my last layer of (digital) paint.

You are welcome to download the high-resolution Photoshop file where you can see the various tools I applied to the image to have it look like the finished version you see here. I will also make available all of the steps in this tutorial in high resolution at the download link below.

I hope you enjoyed this guide on painting visuals similar to what we find in Studio Ghibli backgrounds. Drop me a line here and let me know if you want to see a part two to this tutorial exploring further into landscape painting.

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How to Paint Ghibli Backgrounds, What I Learned So Far

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In this tutorial, I decided to take a break from drawing the human figure and push myself out of my comfort zone to draw a small landscape in the spirit of Studio Ghibli backgrounds. Looking through the artwork of Kazuo Oga and other Ghibli background artists, I wondered how exactly do they represent nature in a beautiful, colorful, and serene style.

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Bathhouse - Spirited away

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I began exploring variations through digital enhancements, experimenting with how editing and changing the time of day and color scheme in background art can affect the emotional tone of a scene.

By digitally manipulating my artwork, I created multiple variations of the same piece based on different times of the day.

Time-of-Day Lighting:

Morning: Cool blue hues, soft sunlight spilling through trees, dewdrops shimmering.

Afternoon: Warm golden light, long shadows, glowing grass or leaves.

Evening: moonlight night

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Transforming the original artwork into an evening version, evokes a sense of calm, mystery, and quiet wonder. The use of deep blues and rich greens in the colour palette creates a tranquil yet slightly melancholic tone, immersing the viewer in a reflective and serene atmosphere. This transformation shifts the scene from vibrant liveliness to a dreamlike stillness, much like the emotional undertones present in Studio Ghibli films. In Ghibli's works, night scenes often symbolise introspection, peace, and transitions—drawing the viewer into a moment of stillness where the environment feels alive yet hushed. By simply changing the time of day and embracing cooler hues, the emotional tone is transformed, offering a new narrative where the moonlit landscape feels ethereal, enchanting, and filled with quiet stories waiting to be discovered.

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“Almost too beautiful to be true”: Inside Hayao Miyazaki’s genius

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The lauded co-founder of Studio Ghibli has taken animated film to new heights. Now, a first-of-its-kind retrospective pays tribute to the master, inviting us behind the scenes of the mind that gave us Spirited Away and My Neighbour Totoro.

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Studio Ghibli Movies – A Deep Analysis of the Themes

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Hayao Miyazaki is why Studio Ghibli is such a legendary movie production house. He is the master story teller, script writer & director of most of the movies.

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Evening Version – Moonlit Serenity (moonlight ray)

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Evening Version – Moonlit Serenity (moonlight ray)

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The Art of Backgrounds: Creating Worlds in Anime

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The Importance of Background Art in Anime In the world of anime, much attention is often given to the characters, their development, and the overarching narrative. However, the detailed and immersive backgrounds that form the setting for these stories are equally important. Background art in anime is not merely a backd

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Evening Version – Moonlit Serenity (bokeh lights 1)

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Evening Version – Moonlit Serenity (bokeh lights 1)

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Evening Version – Moonlit Serenity (bokeh lights 2)

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Evening Version – Moonlit Serenity (bokeh lights 2)

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Evening Version – Moonlit Serenity (rain)

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Evening Version – Moonlit Serenity (rain)

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Transforming the scene into an afternoon golden hour version creates a sense of warmth, nostalgia, and comfort. The golden light spilling across the landscape enhances the feeling of peace and contentment, as if capturing a fleeting, magical moment just before the day begins to wind down. The glowing grass and long shadows add depth and a soft, painterly quality reminiscent of Studio Ghibli's afternoon settings, such as those seen in My Neighbour Totoro and Whisper of the Heart. Golden hour evokes an emotional tone of tranquility and hope, symbolising moments of quiet joy and harmony with nature, inviting the viewer to pause and bask in the beauty of the present moment.

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Afternoon Version – Golden Hour Glow (animation)

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Afternoon Version – Golden Hour Glow (animation)

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Morning Version - A Symphony of Cool Blues

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Morning Version - A Symphony of Cool Blues

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By presenting the scene in a morning setting with cool blue hues, the emotional tone shifts to one of renewal, freshness, and quiet anticipation. This cool, crisp colour palette mirrors the delicate beauty often seen in Studio Ghibli's morning landscapes, where scenes are imbued with purity and subtle wonder. Much like moments in Spirited Away or The Wind Rises, the morning atmosphere captures the calm before the world fully awakens, offering the viewer a chance to reflect and appreciate the tranquil stillness and gentle beginnings of a day.

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Morning Version - A Symphony of Cool Blues (animation)

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Morning Version - A Symphony of Cool Blues (animation)

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Colour scheme analysis - Bathhouse (spirited away)

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Colour scheme analysis - Bathhouse (spirited away)

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Final outcome - (original watercolour painting with digital manipulation)

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Final outcome - (original watercolour painting with digital manipulation)

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Time Lapse of digital manipulation on watercolour painting 

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Time Lapse of digital manipulation on watercolour painting 

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Flooding scene - Ponyo

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First Formative Feedback 16 Oct 2024

• Look at how narratives in concept art work, it needn’t be just Anime but storyboards in general.

• Good to see the Padlet coming into play, keep developing this as well as your sketchbooks, together they will show the process of research and design thinking.

• Your suggestion of watercolours is a useful exploratory angle, do some tests and see if this is an area you could pursue?

• Remember when researching for your case study, don’t be too broad, looking at two different scenes for example and analyse the contrasts, may be enough, look at different approaches to landscape for example.

• You are doing very well at this stage and I look forward to seeing your developments

• I have arranged a further Teams tutorial

FEED FORWARD

• Focus on your independent creative work as we will want to see this at the next formative assessment.

• Make sure you document all your research and experimentation.

• Start to plan your 3000-word case study.

• Seek tutorials with staff

• explore the workshops around Parkside