Amano Yoshitaka
Japanese artist and illustrator Amano Yoshitaka has worked in everything from film to scene design to anime, but is perhaps best known for his iconic anime characters and his work with videogame franchise Final Fantasy. In the 90s, he successfully struck out into the fine art arena, holding exhibitions all over the world. He tells Leanne Mirandilla about his career.
HK: Could you tell us about your current exhibition?
AY: In the game industry, a lot of my work revolved around different mythologies. I’ve always been fascinated by them, and this is what I want to draw. I’m mixing different mythologies here, and I convey them in my own style. These works are all based on Devaloka [a plane of existence where gods exist, according to some Indian religions], which I’m very interested in. This art piece here (pictured below) is the birth of the Greek goddess Venus. For people who understand the original birth of Venus, it’s very easy to understand [my version].
HK: What’s the biggest difference between working with anime and video games, and working with fine art in galleries?
AY: The difference between these two worlds, I think, is that for manga, anime and illustration, I create something and they are turned into the cover for books or they are published or made into games. I basically got requests from [the animation and game companies], so it’s clear what they wanted from me, and I just created work for those purposes. But in the art world, the creation [of the work] itself is already the purpose, and it has a value and can be sold. The thing that I make is already the final piece. And in fine art, I can do what I like and want to do. I find this very attractive.
HK: What was it like working with animation and games companies?
AY: I’ve never had problems with working with people in the anime and gaming industries, because we respect each other. I trust them, and they trust me. Whatever I made, if I did something extra or did something I’ve never done before, they would be excited about it and interested as well.
HK: You created some hit anime characters in the 60s and 70s—which do you consider to be your biggest accomplishment?
AY: I would pick Gatchaman [a superhero anime]. I intended to make Gatchaman for Japan; it was never for Westerners or overseas people. But in the end, people from overseas also liked them, so I’m proud of it. When something becomes a hit, there will be lots of similar things on the market, but at the time I did Gatchaman [in the 70s], there was nothing similar to it at all. It was like an adventure to me. I didn’t know what would happen, I didn’t know if it would be a hit or not, I was kind of worried, but at the end it turned out really well. It’s quite outstanding that it became a hit. So in that sense it’s very special to me.
HK: I read that you’re a fan of Western comics. What comics and artists do you like?
AY: I like Batman and Superman. For comic artists, I quite like Neal Adams. For Batman, there are a lot of comic artists drawing him, but I particularly like Neal Adams[‘s version]. I believe that there are a lot of artists like him who draw really well, but I particularly like Neal Adams because of his expressions and the way he draws the poses—everything.
HK: Are you working on any new projects?
AY: I’m working on a new project right now, it’s called Zan. I originally started it for the purpose of making a CGI anime movie, but next January Dark Horse will publish it as a visual book. And then I’ll make it into a movie as originally planned. When I think about how to convey my ideas, I think movies are the easiest way. It’s a new myth that I want to create. There will be Japanese samurai in the story fighting enemies. But it’s about the future, so it’s science fiction.