Few artists can count among their achievements to be the influence on an entire generation. And for sure, Japanese illustrator Akemi Takada is one of them. Her prolific career in character design includes many popular animes from the 80s, such as Patlabor, Creamy Mami, Kimagure Orange Road, and Urusei Yatsura (1981).
That’s why Lucca Comics & Games prepared an entire exhibition titled Akemi Takada: the fascinating fantasy path, dedicated to some of her popular vintage works. Even more, in recognition of her legacy, she was included in Lucca Comics’ Walk of Fame.
Despite her busy schedule at the festival, we got the opportunity to ask Takada-sensei about some of her major works.
Q: We are very excited to have you here, as your works are very appreciated. What do you think were the key factors for such popularity?
A: Perhaps because my characters are kawaii (cute), which is something that everyone can understand and feel the same. Kawaii is a typical Japanese style, but lately it has started to get out of Japan. Slowly, it’s reached out to Western culture, and everyone is starting to get to know it. My drawings don’t have a modern style. They actually do have a more traditional fashion, but I think that’s why people like them.
Q: Aside from manga and anime, your skill set includes works for jewelry, clothing, and even wine labeling. How has this variety helped you to grow as an artist?
A: It’s not that these things let me grow as an artist, because I tend to stick to my own style. But my objective is to give some of my style to these diverse activities.
Q: Your works include a wide range of genres, from sci-fi to fantasy and magical girls. How did you approach each one? Did you have to change your mindset according to the genre?
A: It’s important to change your mindset when approaching different genres. Besides the mindset, I also change the materials I work with. For example, my drawing setup changes from one series to another.
Q: One of your famous works is the first anime adaptation of Urusei Yatsura (1981), to which you added your personal style. How important was this adaptation to your career?
A: The anime had a big impact on my career because it was the first TV series I worked on from the beginning after I left Tatsunoko [animation studio Tatsunoko Production].
Q: In the anime adaptation of Kimagure Orange Road (1987), you were also in charge of the character designs. In fact, many fans still remember the cute details of Madoka Ayukawa. What was your approach for this adaptation? Did you imagine it would leave such a strong impression?
A: The difference is that a manga is made of vignettes and separate drawings. In a TV series, you have to give a flow and sense of continuity. It’s about giving movement to the characters. I work to give these characters their own personality, and to extrapolate the essence of the manga to make them alive, fun, and likable.
Q: What criteria or principles do you consider when aiming for a compelling character design? When do you consider a character “beautiful”?
A: Yuji Nanokawa, the president of Studio Pierrot, used to say that a character is beautiful when it’s recognizable just from the silhouette. If you erase the lines of both Hikaru and Madoka from Kimagure Orange Road, you can still tell it’s them.
Q: Finally, can you please share a message for your overseas fans, and for starting artists inspired by your work?
A: My message to those who are getting closer to becoming a designer, illustrator, or artist is to nourish yourself. Be curious about reading, watching movies, and doing a lot of input work. And you have to draw so much that once a month, you get a callus, and you have to remove it.
We want to extend our thanks to Akemi Takada for taking the time to speak with us during her stay at Lucca Comics. As one of the artists who set a standard in anime design, we are happy to share with younger audiences more about Takada-sensei’s perspective on her legacy.
You can read more about Lucca Comics & Games in our general coverage article.
Photos provided by Lucca Comics and Games. Photographer: Arzá Damaride.
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