- 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.

You have identified Studio Ghibli to frame your study. You talk us through how your Padlet is supporting the organisation of your resources. Great.

The way you present your analysis of imagery is exciting and you then connect to conceptual issues. This is enabling you to study SG approaches in an in-depth way. You show us an essay structure/ framework that is helping you to structure your study. You have a good bibliography that includes primary and secondary research. You are organised and you are working methodically through. You have even designed various PLAN B’s for your primary research methods in case your interview data doesn’t provide all the data.  

You show us a sample of your writing – great! 

Feed Forward 

1. Title – perhaps select a quote or line from Studio Ghibli and play on words. 

2. Visualise your primary research, develop methods and approaches to how you do this. 

3. Be explicit about how your theoretical aspects support your discussions and positions

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.

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.

Culturally, Studio Ghibli’s works reflect a uniquely Japanese ethos, often showcasing landscapes, architecture, and rural settings that are imbued with themes of harmony, nostalgia, and environmental awareness.

In a contemporary context, the industry has shifted towards digital tools for creating background art; however, many animators continue to emulate traditional techniques, inspired by Ghibli’s legacy. This intersection of tradition and innovation forms the foundation of my project as I seek to blend traditional watercolour techniques with digital enhancement to create my own interpretations of background art.

• 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.

• 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

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

STAGE 2 - Digital manipulation using procreate

STAGE 3 - Animation / adding movement

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

STAGE 5 - Sound design

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.

• Key Ideas & Accomplishments:

  • Definition: Nihonga was coined to distinguish traditional Japanese painting from Yōga, the Western-style art that gained popularity during the same period.

  • Purpose: Artists and educators promoted Nihonga to counter Japan’s adoption of Western artistic styles, highlighting the value and beauty of native Japanese traditions.

  • Evolution: Nihonga artists expanded traditional subjects and incorporated elements from multiple Japanese art schools, blending them into a unified, modern style.

  • Western Influence: Over time, Nihonga artists integrated Western techniques like naturalism and perspective while staying true to Japanese materials, themes, and ideals.

  • Cultural Reflection: Japanese art has historically alternated between foreign and native influences. Nihonga exemplifies this balance and remains a respected and enduring art movement today.

- Studio Ghibli films are known for their romanticised depictions of everyday life in Japan.

- Japanese food, customs, and locations are beautifully hand-drawn and visualised.

- Fantasy elements in Ghibli stories are seamlessly combined with realistic ‘everyday’ moments:

- *Example*: Satsuki preparing bentō (Japanese-style lunch) in *My Neighbour Totoro*.

- *Example*: Countryside roads in *Spirited Away*.

- These relatable scenes allow audiences to see their own lives through the enchanting "Ghibli lens," where mundane moments are transformed into something fantastical and beautiful.

An Immersive, Spiritual World for Children and Adults

- Unlike major animation studios like Disney, Studio Ghibli appeals to both children and adults:

- *For children*: Immersive adventures and imaginative world-building that expand creativity.

- *For adults*: Deeper appreciation for layered themes and stunning visuals.

- Ghibli explores complex, mature themes:

- *Example*: *Princess Mononoke* conveys life lessons about the environment, avoiding simplistic “good vs evil” narratives.

- Societal and spiritual themes offer insights into Japanese culture, such as:

- The relationship between humans and nature.

- The influence of Shinto spirituality, providing an understanding of traditional Japanese values and perspectives.

Popularity in the Context of ‘Cool Japan’

- Studio Ghibli’s global success ties into Japan’s cultural branding known as **‘Cool Japan’**:

- ‘Cool Japan’ emerged in the 1980s as Japan’s cultural soft power grew.

- The strategy showcases Japanese culture as attractive to international audiences, including:

- Anime, gaming, cuisine, fashion, and high-tech products.

- The Japanese government later formalised ‘Cool Japan’ to promote Japanese identity and export culture worldwide.

- This ‘cool’ branding has influenced global interests and behaviours, highlighting Japan as a cultural and creative leader.

Impact on the Global Perception of Japan

- Studio Ghibli’s films play a key role in shaping global perceptions of Japan:

- They present a crafted image of “Japaneseness” that blends cultural traditions and modern storytelling.

- Critical questions arise:

- How is this “Japaneseness” constructed?

- How has Ghibli and Japanese pop culture influenced global views of Japan?

- While Ghibli films convey powerful messages, deeper analysis reveals their significance within a broader cultural context.

- Understanding these themes allows us to move beyond surface-level interpretations and appreciate the films’ wider cultural impact.

1. Practical Work and Experimentation

• I will continue creating background art inspired by Ghibli’s techniques, focusing on watercolour painting for its soft, organic aesthetic.

• Larger scales: Moving beyond small canvases to create immersive, large-scale environments.

• 3D work: Exploring the idea of converting them into 3D scenes for a more dynamic experience.

2. Narrative and Storytelling

• I will aim to incorporate subtle storytelling into my paintings, experimenting with how background art alone can evoke emotion, mood, and narrative—just as Ghibli does so effectively.

• This might involve creating a series of linked artworks that follow a visual storyline or theme, connecting to nature, spirituality, or everyday life.

3. Research and Analysis

• I will continue analysing key case studies, including *Spirited Away*, *My Neighbour Totoro*, and *Ponyo*, to deepen my understanding of composition, colour, and atmosphere in Ghibli’s background art.

• To enhance my contextual understanding, I will incorporate feedback from peer critiques and tutor feedback to refine my artistic approach.

4. Exploring New Outcome

• Inspired by my undergraduate experience creating books, I’m considering designing a small illustrated book or visual diary featuring my artwork and creative reflections.

• Alternatively, I may explore how these visuals could work as part of a short animated sequence or even as a foundation for a future manga project.

By experimenting with these ideas and combining traditional and modern techniques, I aim to create work that reflects the immersive quality of Ghibli’s art while pushing my own artistic practice further.

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.

The purpose of this project is twofold: first, to critically examine the role of background art in anime as a tool for storytelling and mood creation, and second, to develop my practical skills in creating background art that resonates with emotional and narrative depth. This project also serves as an opportunity to push the boundaries of my creative practice by experimenting with both traditional and digital mediums, with the potential to expand into animation or manga creation. I aim to contribute to a deeper understanding of how background art enriches visual storytelling and inspires immersive audience engagement looking closely at Studio Ghibli.

The target audience for this project includes animation professionals, illustrators, and enthusiasts of anime and Studio Ghibli. Additionally, this project will appeal to students and academics with an interest in visual storytelling, as well as creatives exploring the relationship between traditional and digital art forms. By addressing this audience, I aim to highlight the often-overlooked significance of background art and provide inspiration for others to explore its potential in their own practices.

1.When I was about 11 years old I read the manga<Ranma 1/2> by Rumiko Takahashi.It's such a great manga.I was fascinated and I started to learn by myself how to do it.I didn't know anything about manga,the tools,the rules,anything.

There was no school or teacher of manga and anime in China at that time.

So I simply copied Rumiko's style and try to do my own manga.It took me a long time.Until the age of 20 I finally learned the basic skills.I put my works online for people to see them.Then a manga magazine contacted me.I started my first manga.

I'm still very much influenced by Rumiko Takahashi.She is my favorite manga artist.

2.To be honest,I'm not very good at drawing backgrounds.

In anime the background is very important in almost every frame.But in manga,It's not the same situation.There are a lot of empty frames in manga,as you can see in many frames there's only a character's face and speech bubbles.Sometimes there's only a speech bubble on a blank background.

When we watch anime,the background is a part of the whole experience.If there's no background,you'll notice.

But in manga,you don't.

So I think there's a difference between them.

Anime,like a movie,is pushed to you.You don't need to do anything,just sit,listen and watch.

Manga in the other hand is different.It needs to be read.Your brains must make an effort to take in the informations.However,the amount of informations our brains can deal with in the same time is limited.If there's a lot of informations in every frame,your brains will be tired.

So for manga,background should only be there when you need people to notice it.

Of course this is just my opinion.:)

3.When I do manga I use a software called CSP(Clip Studio Paint).

For background,I like to go out and take photos,then use CSP to adjust the photos into B&W lines.I do draw backgrounds by myself sometimes.I find the rulers and tools in CSP are very useful for that.

I attached a sample page of my newest manga and the photos I took for the background in it.