{"id":5584,"date":"2023-10-25T12:15:28","date_gmt":"2023-10-25T03:15:28","guid":{"rendered":"https:\/\/test.ptcgic-cr.com\/?post_type=column&p=5584"},"modified":"2023-10-25T17:11:26","modified_gmt":"2023-10-25T08:11:26","slug":"article-8","status":"publish","type":"column","link":"https:\/\/test.ptcgic-cr.com\/en\/column\/article-8\/","title":{"rendered":"Behind Drawing Pok\u00e9mon TCG Illustrations
\u201cBringing an Illustration to Life\u201d (Part 1)"},"content":{"rendered":"\n
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\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n

Atsushi Furusawa<\/strong><\/p>\n

Illustrator. Atsushi Furusawa has been illustrating Pok\u00e9mon cards since 2021. He made his Pok\u00e9mon TCG debut after applying to the first Pok\u00e9mon Trading Card Game Illustration Grand Prix in 2018. Since then, he was in charge of the art for the promo cards given out as early purchase bonuses for the Pok\u00e9mon Legends: Arceus, Pok\u00e9mon Scarlet, and Pok\u00e9mon Violet games. He likes Pok\u00e9mon that have simple shapes, especially Magnemite.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\u300cArcanine<\/a>\u300d Illus. Atsushi Furusawa
\nIncluded in the Pok\u00e9mon TCG: Scarlet & Violet\u2014151 expansion <\/p>\n\n\n\n

\u201cWhat I think about when illustrating\u201d<\/h3>\n\n\n\n

\u2015Please tell us about the guiding principles you follow when drawing Pok\u00e9mon TCG illustrations.<\/p>\n\n\n\n

(Atsushi) Furusawa: When illustrating, I want the players to realize the charm of the Pok\u00e9mon subject in new ways. My goal is to make people think things like, \u201cWait, was this Pok\u00e9mon always this cute?\u201d Or, \u201cWait, did it always look this cool?\u201d<\/p>\n\n\n\n

\"\u53e4\u6fa4<\/figure>\n\n\n\n

Step 1: Research<\/h3>\n\n\n\n

\u2015Please tell us more about how you do research for your illustrations. What kind of materials do you use to prepare before drawing Pok\u00e9mon?<\/p>\n\n\n\n

Furusawa: I make production notes and prepare as much as possible in advance. First of all, I look through the Pok\u00e9dex in the video games, read the descriptions for the Pok\u00e9mon, and write down the keywords that struck me the most. In the case of Arcanine, I penciled out the notes, \u201cIt runs gracefully, as if on wings.\u201d and \u201cIt runs agilely as if on wings.\u201d<\/p>\n\n\n\n

Next, in order to better understand how the players who use a certain Pok\u00e9mon in the game feel about it, I take notes on its attacks, stats, Abilities, and so on. The method for evolving that Pok\u00e9mon is also very important. I also look into the Trainers and other characters that Arcanine appears with and adventures alongside in the games and TV series.<\/p>\n\n\n\n

\u2015So, your production notes are similar to what is usually called a \u201cmind map.\u201d<\/p>\n\n\n\n

Furusawa: Exactly. I have \u201cArcanine\u201d in the center and the keywords I run into during research spreading out from there. Then, when the keywords I have written down make me think of another idea, I write that down as well. As I keep writing more and more about Arcanine, I start considering what I personally feel when thinking of it. Then, I start focusing on how to portray it. I asked myself how I could make Arcanine look as cool as possible. In this case, this led to two ideas: showing it running with clouds down below and having it stand on a mountain top.<\/p>\n\n\n\n

\u2015You don\u2019t just research the Pok\u00e9mon, you also try to select the scenarios and locations that are most appropriate for it.<\/p>\n\n\n\n

Furusawa: I often draw concrete backgrounds*, so I try to think carefully about choosing a scenario that fits the Pok\u00e9mon subject.
(*Concrete backgrounds depict realistic, discernible locations, such as mountains or forests, as opposed to abstract art backgrounds.)<\/p>\n\n\n\n

\u2015Your production notes also include a few sketches of Arcanine.<\/p>\n\n\n\n

Furusawa: The one on the left was my first attempt at imitating an official illustration. The ones I jotted down on the right were an experiment to see how much I could simplify the components that make Arcanine Arcanine. Simplifying it like this helps you understand, for example, that Arcanine is generally spiky but has a round tail. So, you can start thinking of where to place the curve of its tail within the illustration.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Step 2: Drafting and Supervision<\/h3>\n\n\n\n

\u2015Why did you create two different drafts?<\/p>\n\n\n\n

Furusawa: During the research step, I came up with different concepts that I thought would work for Arcanine, so I went ahead and drew both. Draft A (on the left) shows Arcanine running with the clouds down below. Draft B (on the right) is an evolution of the idea I originally had of drawing Arcanine on a mountain top. The mountain becomes a background component that highlights Arcanine\u2019s regal elegance.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

On the left is Draft A, showing Arcanine running with clouds down below.
\n On the right is Draft B, showing a majestic Arcanine with a mountain in the background.
\n It was eventually decided that Draft B would be used.<\/p>\n\n\n\n

\u2015The mountain in the background of Draft B is very impressive.<\/p>\n\n\n\n

Furusawa: In mountaineering terms, the sunset hitting a mountain and making it appear red is called \u201cAbendrot.\u201d I think that this is a very cool phenomenon in itself, and the red color also perfectly fits Arcanine as a Fire type.<\/p>\n\n\n\n

\u2015Please tell us what you are particularly careful about when creating your drafts.<\/p>\n\n\n\n

Furusawa: Pok\u00e9mon TCG illustrations must go through supervision at the draft stage. So, I try to draw as carefully as possible, but this can be done relatively quickly thanks to the notes and composition ideas I came up with during the research step.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Composition ideas in the production notes. During this stage, in addition to the placement of the subject, shading is also taken into consideration.<\/p>\n\n\n\n

\u2015What art supplies, equipment, and tools do you use to create your drafts and illustrations?<\/p>\n\n\n\n

Furusawa: I use Clip Studio Paint, which is an illustration and manga production software application. I sometimes use Adobe Photoshop to apply the finishing touches, but most of my work is done in Clip Studio Paint.<\/p>\n\n\n\n

\u2015The supervision of illustrations is carried out by both Creatures Inc. and The Pok\u00e9mon Company. What kind of feedback or advice do they give you to make your illustrations better fit the world of Pok\u00e9mon and the Pok\u00e9mon TCG?<\/p>\n\n\n\n

Furusawa: Most of the feedback I receive concerns the shape and color of Pok\u00e9mon. They give me specific instructions to correct the parts where I interpreted how a Pok\u00e9mon should look differently from the official standards. Something that made an impression on me in the process of creating Arcanine\u2019s illustration was the feedback I received in regard to the background. I was told that the mountain could look like Mt. Coronet* or Mt. Fuji, and that it would be better to use a more generic mountain range that would fit that world better.
(*Mt. Coronet is a huge mountain that is featured in Pok\u00e9mon Brilliant Diamond<\/em>, Pok\u00e9mon Shining Pearl<\/em>, and other Pok\u00e9mon games.)<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Translation for the notes above, starting from the top left in clockwise order:<\/strong><\/p>\n

    \n
  1. \u30fb The pupils and nose (especially the former) look a bit too brown. Try to make them blacker.<\/li>\n
  2. \u30fb Having a single mountain in the background looks like a specific mountain, say Mt. Coronet or Mt. Fuji. It\u2019d be better to have a more generic mountain range.<\/li>\n
  3. \u30fb This part of the mane would probably look better if it were fluffier.<\/li>\n
  4. \u30fb The rear leg should probably be visible from here.<\/li>\n
  5. \u30fb The stripes on its fur should probably be visible here.<\/li>\n
  6. \u30fb The ear to your left should be a bit longer. (Think of it as a squashed parallelogram.)<\/li>\n
  7. \u30fb You should be able to see its fangs when Arcanine\u2019s mouth is closed.<\/li>\n
  8. \u30fb Maybe you could make the separate digital pads on the right rear paw.<\/li>\n<\/ol>\n

    <\/p>\n\n\n\n

    \u2015Revising drafts sounds like a difficult and stressful task.<\/p>\n\n\n\n

    Furusawa: Actually\u2026it\u2019s pretty fun (laughs). When I first started illustrating for Pok\u00e9mon TCG, I was struggling to make my subjects look like what they were supposed to. But if I follow the feedback I get during the supervision step, the subjects suddenly look like themselves. I\u2019m like, \u201cOh! This Pikachu finally looks like Pikachu!\u201d (laughs). A tiny adjustment changes the final result considerably, and this process helps me better understand the meaning behind the way the parts of Pok\u00e9mon are balanced. The supervision step always leaves me impressed by how detailed Pok\u00e9mon designs really are. It has taught me so much.<\/p>\n\n\n\n

    Step 3: Final Art Creation and Supervision<\/h3>\n\n\n\n
    \"\"<\/figure>\n\n\n\n

    \u2015How do you create the final data?<\/p>\n\n\n\n

    Furusawa: Once the supervision step is complete, all the issues with the draft have been resolved, so I just need to actually draw the illustration. This is probably the most carefree step of the whole process.<\/p>\n\n\n\n

    \u2015Is there anything you pay particular attention to during this step?<\/p>\n\n\n\n

    Furusawa: I think that Pok\u00e9mon designs are composed of relatively few elements. In particular, the first 151 Pok\u00e9mon\u2014the ones who first appeared in the Pok\u00e9mon Red Version<\/em> and Pok\u00e9mon Blue Version<\/em> games\u2014have a limited number of defining features that require great attention. So, I take care, for example, to make sure that a specific edge is drawn dynamically enough or that a certain shade is blurred in just the right way.<\/p>\n\n\n\n

    \"\u4f5c\u696d\u98a8\u666f\"<\/figure>\n\n\n\n

    \u2015What are your principles for drawing backgrounds?<\/p>\n\n\n\n

    Furusawa: I try to make the backgrounds much more detailed than the subjects to give fullness to the illustrations. Since the designs of the Pok\u00e9mon themselves are so clean and simple, I use detailed backgrounds to create a contrasting effect. Also, I always want to make it look like the Pok\u00e9mon are real, actual creatures, so I often go for intricate backgrounds to enhance that realism.<\/p>\n\n\n\n

    However, the amount of detail for background depends on the specific illustration. For example, when drawing the illustration for Morpeko\u2019s card, I wanted a cuter style, so I drew colorful flowers and bubbly trees, trying not to put too much detail into them. For Staraptor, on the other hand, I went for a more realistic background, with well-defined, cool-looking trees. Just like that, I change the style of the background depending on the illustration itself.<\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    \u300cMorpeko<\/a>\u300dIllus. Atsushi Furusawa
    \nPok\u00e9mon TCG: Sword & Shield\u2014Chilling Reign expansion promo card (June 2021) <\/p>\n\n\n\n

    \u300cStaraptor<\/a>\u300dIllus. Atsushi Furusawa
    \nIncluded in the Pok\u00e9mon TCG: Scarlet & Violet set<\/p>\n\n\n\n

    \u2015How do you apply finishing touches such as visual effects and other adjustments?<\/p>\n\n\n\n

    Furusawa: As I generally try to match the subject with a realistic background, I rarely put an emphasis on visual effects. When I do use them, I always want them to be justified, like putting in snow falling down from the clouds or lightning striking from the sky. For example, I use effects when I show the Pok\u00e9mon attacking, like in the illustration of Lapras.<\/p>\n\n\n\n

    That being said, sometimes I want to go for something flashier. When I do, I often find myself using smoke effects to create the right atmosphere, like I did with Toxtricity.<\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    \u300cLapras<\/a>\u300dIllus. Atsushi Furusawa
    \nIncluded in the Pok\u00e9mon TCG: Sword\uff06 Shield\u2014Chilling Reign expansion <\/p>\n\n\n\n

    \u300cToxtricity<\/a>\u300dIllus. Atsushi Furusawa
    \nIncluded in the Pok\u00e9mon TCG: Scarlet & Violet set<\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    After creating the final draft, there is another round of supervision to make sure that even the smallest details match that Pok\u00e9mon\u2019s design.<\/p>\n\n\n\n

    Translation for the notes above, starting from the top left in clockwise order:<\/strong><\/p>\n

      \n
    1. \u30fb The right part of Arcanine\u2019s mane looks like a ponytail blowing in the wind, so try to make it a bit shorter.<\/li>\n
    2. \u30fb The fur on the rear leg should curl up like on the front legs.<\/li>\n
    3. \u30fb Move the light-colored fur so that it starts a bit farther down. Think of it as growing from the back of the hind leg.<\/li>\n<\/ol>\n\n\n\n

      Step 4: Completion!<\/h3>\n\n\n\n

      \u2015Tell us about the sense of accomplishment that completing an illustration makes you feel.<\/p>\n\n\n\n

      Furusawa: I think other illustrators will relate when I say that once I’m done drawing, what I feel is mostly anxiety (laughs). “Is this good enough?\u201d \u201cWill the players like this?\u201d And so on.<\/p>\n\n\n\n

      I never finish illustrations right before the deadline. I complete them a few days before the deadline, let them sit for a while, and review them over and over. After fine-tuning them enough that I feel I can\u2019t improve on them anymore, I hand them over to Creatures Inc.<\/p>\n\n\n\n

      What really makes me feel accomplished is getting feedback from the players. Or rather, more than accomplishment, I should say that I feel relief. But despite this relief, I go through my past works and take notes on things that could have been done differently.<\/p>\n\n\n\n

      \u2015Do you look for reactions on social media on the day the cards you\u2019ve worked on are released?<\/p>\n\n\n\n

      Furusawa: Oh, I do! I definitely do! (Laughs). After all, my greatest joy is seeing the players enjoying my illustrations. That positive feedback is what makes me feel rewarded for drawing. Each individual Pok\u00e9mon has lots of fans, and nothing makes me as happy as seeing those fans pleased.<\/p>\n\n\n\n

      \"\"<\/figure>\n\n\n\n

      In Conclusion<\/h3>\n\n\n\n

      \u2015Lastly, what would you like to say to the Pok\u00e9mon Trading Card Game Illustration Contest 2024 applicants?<\/p>\n\n\n\n

      Furusawa: This is the fourth edition of the Pok\u00e9mon Trading Card Game Illustration Contest. [Note: This includes the first Pok\u00e9mon Trading Card Game Illustration Grand Prix, which was only held in Japan.] I’m sure that all of you have seen the winning entries from past editions. I know that seeing those may be very discouraging. Maybe some of you are worried that you cannot draw something on par with them. But remember that just because a certain type of illustration won in the past, it doesn’t mean that you have to follow that specific style.<\/p>\n\n\n\n

      This is a very valuable opportunity to see different people\u2019s takes on the same subject. Even just applying always pays off. Participating will teach you a lot, so I hope that you will all draw to the best of your ability and submit your illustrations. Do your best and click on that application form!<\/p>\n\n\n\n

      \"\u53e4\u6fa4<\/figure>\n\n\n\n

      Composition and text: Shusuke Motomiya (One-up). Photos: Kayoko Yamamoto<\/p>\n","protected":false},"excerpt":{"rendered":"

      Atsushi Furusawa Illustrator. Atsushi Furusawa has been illustrating Pok\u00e9mon cards since 2021. He made his Pok\u00e9mon TCG debut after applying to the first Pok\u00e9mon Trading Card Game Illustration Grand Prix in 2018. Since then, he was in charge of the art for the promo cards given out as early purchase bonuses for the Pok\u00e9mon Legends: […]<\/p>\n","protected":false},"featured_media":5589,"template":"","meta":{"_acf_changed":false},"acf":[],"yoast_head":"\nBehind Drawing Pok\u00e9mon TCG Illustrations\u201cBringing an Illustration to Life\u201d (Part 1) - Column - Pok\u00e9mon Trading Card Game Illustration Contest 2024 - PTCGIC2024<\/title>\n<meta name=\"description\" content=\"Behind Drawing Pok\u00e9mon TCG Illustrations\u201cBringing an Illustration to Life\u201d (Part 1) - Column - Pok\u00e9mon Trading Card Game Illustration Contest 2024 - PTCGIC2024 Official Website. This year, the contest will be open to applicants from six countries, and centered around the theme of drawing magical Pok\u00e9mon moments. We look forward to seeing your exciting and wonderful illustrations.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/test.ptcgic-cr.com\/en\/column\/article-8\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Behind Drawing Pok\u00e9mon TCG Illustrations\u201cBringing an Illustration to Life\u201d (Part 1) - Column - Pok\u00e9mon Trading Card Game Illustration Contest 2024 - PTCGIC2024\" \/>\n<meta property=\"og:description\" content=\"Behind Drawing Pok\u00e9mon TCG Illustrations\u201cBringing an Illustration to Life\u201d (Part 1) - Column - Pok\u00e9mon Trading Card Game Illustration Contest 2024 - PTCGIC2024 Official Website. 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