Fujitsubo Machine

Instead of having the calendar text printed on the images, 2010 F’s Works Calendar just consists of six A4 size cards of straight illustration.

The first illustration is, from what I know, Lightning from Final Fantasy XIII.

And then we have Ranka from Macross F. One of the best things about this calendar is that it’s all art I haven’t seen before. Think of it as a different angle to Itou Noizi, whose art is plastered everywhere. Creating fan art for anime series and games puts her back in the doujin side of things somewhat.

And Sheryl, also from Macross F. It’s definitely got a different feel when you have Sheryl (you know how her character is) drawn in the Itou Noizi style.

Had some difficulties finding out what this character is, and the handwriting on the explanatory note didn’t help. My digging leads me to think this is possibly Irabu-sensei’s nurse, called Mayumi, from Trapeze. Talk about random.

c

This one is an original character.

As is this.

The idea behind these cards is that in the set there are four transparent plastic pieces with the calendar information on them. You then overlay them onto the pictures to get the illustrated calendar look.

I’ve scanned them in in case you want to use layers and transparency to overlay the stuff onto the pictures. I don’t see the point of doing it though.

Wind Mail (An2A)

In fact, even the cover is a picture spread over the fold. This same image is produced in full as a single pager.

For the most part, Petite fatal 3rd covers stuff Wind Mail has done before, and this is mostly for Touhou doujin music groups.

As such, if you have been a follower of Wind Mail, some of the art will seem familiar to you. For those who are less obsessed however, Petite fatal 3rd represents a good way of getting up to speed with this artist.

We also get a page spread of the illustration from the Remains book, though I think this is a bit more complete than what was available.

Well, this book also saves the obsessive from the trouble and expense of getting albums for the art on their cover (I used to do this, but don’t anymore, since it’s an altogether dumb thing to do).

And so it ends with a number of artworks which I don’t recall seeing before, but these are apparently just from Wind Mail’s blog.

komizumiko (コミズミコ)

blue colors’ page count is 20, including front and back covers. The book has true A4 size dimensions (which I have noted before are larger than the typical doujin releases). Printing quality is not pristine, but very good – it does not have the screening effect.

From the start, we get a very good idea of the style of this artist. If you have seen pictures and footage from the original game, you’ll know what Chihaya looks like. She’s not chibi-looking at all.

Blue and white are of course complementary colours, well suited for the season during which blue colors was released. komizumiko makes good use of this as well as the fact that Chihaya’s hair is blue.

That is note to say there are no summer themes in this book, but note how by using water and sky, and even a plain white bikini, komizumiko concentrates the warm colours on only Chihaya’s eyes and skin.

blue colors is pretty much a work of love, exploring the different aspects of the character, in different situations. For example, the swimming costume one was pitched as a gravure shoot.

And I think the dark atmosphere as in the above two pictures also works quite well.

In the imagined world of the Idol, she also takes on “Campaign Girl” roles for various franchises. I suspect this is just an excuse for komizumiko to draw her in cosplay, or to present a bit more variation in her appearance.

The “Come for me” image is based on the actual image song for Chihaya (though I’m not sure how much of it is official, or whether it’s a fan creation).

There is then a bit of a Christmas colour manga section, but it’s fairly short.

And it all ends romatically. The guy is probably Producer-san.

EOB.

Kaedena Akino (楓菜あきの)

Bubble Light is actually pretty big in dimensions, being a true A4 size, compared to most doujins. The concept of the cover art is certainly quite novel.

BTW, I just found out the orientation of the 02 cover is wrong in the release. However, due to the nature of the picture (which is not very significant, since it cannot be stitched properly anyway), I have decided to just leave it rather than re-upload.

Kaedena Akino has a style which is quite vivid, with textures almost like water-colour. Character designs are usually cute in a kiddy manner, though that’s not to say she doesn’t do mature characters.

Depending on the picture, we sometimes see the style becoming more crayon-like.

Or perhaps even the typical CG look.

I really like Kaedana Akino’s work when she embraces the darkness, like for example the first picture in the book, and the one below-left. But then again, I always had a bit of a thing for japonesque.

The colours used by Kaedena Akino (when not doing a dark atmosphere picture) are pretty vivid, and these images which fill up the entire page are quite striking.

Bubble Light, quite reasonably, does not have as many page spreads as some other books I’ve seen, which is a bit of a relief. The spine really does affect how a view receives an image.

The book covers quite a number of series. As seen above, Vocaloid got a look in earlier in the book, and here we have Touhou making its appearance.

Some of these may look familiar, since they appeared in a number of other Touhou-specific works or compilations.

We also get a bit of Rozen Maiden here.

The stuff in Bubble Light does not seem to be organised in any thematic manner (other than the series stuff covered above).

I particularly like the colours and curves in the picture below, left.

Though sometimes I find the faces a bit awkward. For example, I think it wasn’t a good idea to highlight the faces of the two girls on the below right picture.

Another spread, making two page spreads for the whole book.

At the end of the book are two thumbnail catalogue pages which provide the details about where the images came from.

Kinkatou

From the start, we can already see that Kinkatou going to be a very good book. It seems Tohru Adumi put a lot of effort into this illustration. We have the photo-realistic lion, and the extremely detailed textures and such on the girl’s kimono, with an overall golden tone which compliments the gold foil embossed kanji for “Kinkatou” (which incidentally turns out all dark in the scan).

Two types of paper are used in Kinkatou. There is the brown, slightly textured card which comprises of the front and back landing pages, as well as the monochrome section at the back, and there is the normal stock for colour illustrations.

We get a fair amount of page spreads in this book, and in contrast with the rich dark colours which greeted us, the majority of the illustrations in the colour section are of light colour themes, and very airy in feel.

There is a good balance between illustrations of girls, and illustrations of guys. Seriously though, some of these, for example, that below, left, are very nice with the details, the flowing hair and the textures.

While I am not really focused on bishounen as such, one can appreciate the work that goes into making them cool, like early-CLAMP’s-proper-drawings cool. Note how different the character designs are between guys and girls, it’s like one artist mastering two styles.

Hmmm more guys.

Seems to be a series with he same character

Some of these spreads, I notice, seem to be rather “unnecessary”. While aesthetically speaking, I do understand the functionality of white space, it can seem somewhat strange to be scanning a page with mostly white.

Wolf and moon? It looks really cool, but I couldn’t help thinking of the meme.

While I kinda like the dark looks, this very subtle and bright one, with an unusual framing does catch the eye.

Yay, more girls, although these aren’t nearly as epic as many of the other illustrations in the book.

One thing to note with Tohru Adumi is that she utilises textures very well, and this really complements the character designs.

The final portion of the coloured section, we return to bishounen, but can anyone really fault the pure artistic magnificence of these illustrations? The textures and patterns return us to the rich golden themes of the cover, calling to mind the brocades of old Japan.

And the colour section ends with a fuller look at the cover illustration.

The monochrome section are basically comments and notes about the various pictures, where they were used, and such.

With Kinkatou, we confirm the status of Tohru Adumi as a master of her craft. A bit of a pity we don’t get more girls in the intricate artworks she does in the book, but keep following this artist and I’m sure more good stuff will turn up.

The cover of the calendar book has the title in gold foil, and an illustration by Gayarou, a CUFFS artist.

For January, KEN-1 does a Reimu in Japanese scroll style. February has Furuutsu Panchi with a flowery and detailed style. I really like the colours used as well.

March is Juu Ya, while April is Fuyu no Shunjuu, though I must say that colour-wise, this illustration is a bit less subtle than what this artist usually does.

May is by EnHANCE HEART plus (who is on my watch list, but not yet on my buy list), while June, well, you can spot the style from any distance, it’s Shimeko.

At this point, note that the illustrations do to a degree correspond with the seasons of the months they depict. In January, for example, for the start of the year, a Tiger is present. February, mixing flower and snow, is the transition between winter and spring, while March and April are the months for the sakura.

July and August, by Aka Ringo and Takeshi Mizu, correspond to the summer seasons.

And we have some very recognisable names for September and October: TOKIAME with the denizens of the moon, and sino, for the nostalgia of autumn with Kochiya Sanae.

And another familiar name for November, Ueda Ryo, with a long-haired version of Shameimaru Aya. Lastly, December’s Christmassy picture by Morii Shizuki.

The last two pages in the booklet contain artist comments on the illustrations they did.

I must apologise for the rather long period between the previous post and this post. Things have been rather busy, especially on the photography side, and when they were not busy I was catching up on anime. Still, the pile of books beside me does not shrink, so I will be putting in some more effort in covering them all!

fragments

Either way, fragments is not a comprehensive documentation of Ryo Ueda’s illustration career. It only covers three titles, presumably novels: Demon Parasite, Scar/edge, and ParallelTroublers. Noticeably, despite the Alice cover, it does not have any doujin content.

However, due to the nature of novels, illustrations for them are usually quite hard to come by, unless one buys the novels, and even then, the small form factor and printing considerations means images are of a pretty low quality.

This means that fragments is actually an invaluable part of any Ryo Ueda collection, as here you find clean versions of the pictures done for the novels, with high quality, high resolution printing on good paper stock.

In fact, the printing was of a very high quality, with slight grain as the only noise at 600dpi, and no screening effect. The paper was also fairly thick (almost card).

In terms of contents, well, you wouldn’t be blamed after all the previous Comiket releases by Ryo Ueda to think this artist only does pastelly Alice stuff. Since these novels seem to be fairly action driven, what we get are some strong colours and lines, even copious amounts of blood in some instances.

It is also a good resource for seeing how well Ryo Ueda draws guys. It’s a different style to the girls, but they look pretty cool.

The three novel titles in fragments are arranged in reverse chronology. That is, the end of the book represents the earlier work by Ryo Ueda, and stylistically you can see the maturing of this artist. However, it does not extend all the way back to the era of My Name is Domino.

Wow, the close-up kimono picture! I think Japanese style Ryo Ueda is certainly something which could be very worthy of expanding on.

One of the things you learn about Ryo Ueda, if you didn’t already know it, is that he does well in both cool and cute female characters. The range is actually quite unusual, and not one you will find in normal moe artists. Most illustrators just do cute, and we love them for it, but this artist is on another level.

Sometimes the illustrations and palette remind me of Keiichi Sumi.

Post extended:

And coming with fragments in the FancyFantasia Comic Market 77 package, is the 2010 Calendar, themed, following the 2009 Calendar, Alice’s Adventures in Wonderland. [Release] [PNG]

With two months per flip, we get 9 images in total, including both covers. As per the previous calendar, Ryo Ueda has chosen to illustrate based on seasonal themes.

Once again, we start with monochromatic line art. Note the colour variation: whereas the 2009 calendar was themed pink/red (including the flower petals on the front cover), the 2010 calendar is themed green/blue.

For the beginning of the year, unlike the epic feel of the 2009 calendar (which someone suggested emulates a certain image by Type-Moon of Saber looking off into the distance), we have a bit of a more homely feel with Alice waking up to greet the New Year, surrounded by the presents and excesses from the close of the previous year. Also LOL @ the Cheshire' Cat’s sleeping face.

I must admit I really liked the Spring picture for the 2009 calendar, and it’s really hard to top a sakura mankai picture with a blue-green theme. Still, it’s a great illustration, and Alice is so cute.

For the rainy months, we once again have Alice and the White Rabbit, but this time Alice has shelter. The illustration has frozen the falling raindrops in place, a promissory rainbow visible from the long angle, which allows the miniaturised Alice to dominate the frame, despite being dwarfed by the grass.

One cannot go past bikinis for the summer months. While we still get Alice and the Cheshire Cat (albeit the latter somehow losing a part of her costume), the third character this year is the rabbit in female form.

Just as autumn has always been my favourite season, so too, the autumn pictures for both the 2009 and 2010 calendars are my favourites. Like the 2009 picture, Alice has changed into a red version of her dress, as befitting the season, and she engages in a game of chess against the Queen of Hearts, symmetrically nestled in the boughs of a tree, while red momiji leaves drift gently down. The chess is a rustic version, keeping in theme with the forest, with acorns, momiji and gingko leaves serving as the pieces.

Winter returns us to the town, the characters in fabulous fur coats, savouring the snow.

Once again, a truly stunning calendar. I perhaps find the pictures pale a bit in comparison with the original 2009 one, but nonetheless, Ryo Ueda is a master at his craft.

palette

Firstly, the presentation. palette ~人々が愛した幻想郷~ comes in a fairly large cardboard box, almost like the size of a stack of two and a half DVD cases. Sliding out from the top is a leather-bound binder with embossed gold decorations.

The cardboard box itself has two illustrations, by, I think, HINA.

As you can see, the binder is actually a real binder with ring clips, which hold quite a substantial stack of cards. These are the illustrations, as well as liner notes/lyrics and such. The CDs are given relatively low priority treatment, being slotted in each of the covers.

For this release, since we are focused on the pictorial assets, I have decided to just scan the cards for the illustrations, so I have left the stuff with liner notes and lyrics out, as well as the music CDs and such.

Our first illustrator is sugilight’s sugi. Great colours, stylistically, I think this artist is quite established, although there are signs of instability with oblique perspective angles for faces.

The second illustrator is Tsurukame, who does quite complex pictures which tend to be quite busy. However, I am not a big fan of the character styles.

Third illustrator, Fukahire, for some reason reminds me a bit of Kishida Mel in terms of the facial illustrations. We also see some oil-painting-realistic shading.

Fourth illustrator is one whose images we have seen on the covers of previous doujin album releases. Shiori utilises textures, a very dark watercolour style, and can be both roughshod (hand/arms) and extremely detailed (hair).

A more simple feel from Satsuki. Quite solid colours but note the detailed, almost lineless shading used to create folds and contours.

And of course we have a very good foreign artist who has made inroads into Japan, Archlich, with two excellent pieces, one of Aya, the other of Alice. The unusual sky and cloud effect and framing for the Aya one is fantastic, while the interplay of light in the Alice picture (which catch on the strings she uses to control the dolls) is also very impressive.

Our second-last artist is HINA, who did the cover art. I like the faded palette this artist utilises, which endows a sort of vintage look. It is also an interesting approach to the eyes of the characters, which may sometimes look “dead”.

Last artist is Iwamoto Jaimes, whose illustrations are perhaps simpler than many of the others we see here, but the character style remains quite appealing.

I will note here that the box and cards are printed on quite a stiff paper stock, with a satin-type finish which reduces gloss. As a result, this changes the way the scanner picks up the colours. Additionally, the print quality and resolution is very high, with no screening effect, but rather some grain noise which was easily removed. However, due to the finish on the cards, there was noticeable softening in the scans as opposed to the physical product, so I brought back some of the detail via a high pass method.

Overall, I was really looking forward to receiving my copy of palette ~人々が愛した幻想郷~, and I must say, after looking through it and listening to the CDs, I am not disappointed. Of course, the punched holes in the cards somewhat mar some of the more complex illustrations, but I feel overall that the coordinators chose their (some lesser-known) artists very wisely, with the illustrations giving the set a very classy and “artistic” feel.

Of course the leather binder thing doesn’t hurt either. However, for long-term archival, I do recommend removing the cards and storing them that way, because if the clip rings rust, you’ll be punching yourself.

As mentioned, huke’s Steins;Gate illustration is on the cover of the magazine, then the inside landing page is an interesting one by Pollyanna Graphics.

The fundamental appearance of the game feature does not change (screenshots and such), however, the text is an interview with huke in regards to the game. By keeping with the traditional focus on the Creator rather than on the game proper, it feels less like the magazine is selling out.

Of course, we still have the character introductions and such. It’s a good exploration of how huke applies his style beyond the seminal Black Rock Shooter, and actually an expanded study of his character designs.

Following this is the necessary backgrounding on huke, including of course his profile and work with Black Rock Shooter. He also did a weapon design in Fate/Extra if my Japanese is to be trusted.

The Girls Style feature this time round is onsen. Of the six illustrations, I only really found one which stood out somewhat, by lunatic joker. Due to the NSFW nature, refer to the archives.

Following this is another short feature on Love Plus (which seems to be a constant thing with magazines nowadays). Nice full page pic with evening light.

Next up, Megami Magazine CREATORS’ second major artist feature, Girls Avenue, opens with a stunning page spread by Tokiame!

Once again, Girls Avenue consists of four pages for each artist featured, and there are six artists, making for 24 pages of goodness just within this section.

One full page for an original illustration, one page with information and interview with the artist. The first is Hinamatsuri Touko.

And then two pages of smaller pictures showcasing the artist’s gallery.

Other artists featured are TENMASO (what’s with the URL?!), Double Dragon, Honjyou Raita (ref: archive)…

Misaki Kurehito! What, don’t recognise the name? How about CRADLE?! The last artist is Tomose Syunsaku.

After another generic game review, we get a random picture from Komatsu Eiji, which appears on one side of the poster. After that, a feature on Horii Kumi, who was involved in Seitokai no Ichizon.

Following some random Queens Blade stuff, we get a small but nice section called Eshi no Hanamichi, featuring artist Shin Aoki, whose style is at the same time watercoloury but with well-defined lines, a very refreshing look.

An ad! The Girls Avenue feature (and it looks like some other stuff too) is getting a compilation artbook! Coming February 2010. Looks like everyone is getting magazine compilation books out in February.

Following that is a feature on “Hello Kitty to Issho!”, and it’s a nifty look at the various art done by artists for the campaign.

Shimeko gets a look in, but not as comprehensive at the other artists, who get a character study too.

The magazine ends with a cutie feature.

“Since then, I have followed dmyo most reverently, in her consistent release of volumes of dmyotic,” continued icie by way of conversation.

“Her latest work, dmyotic 6.0, was released recently at Comic Market 77,” icie offered informatively, “and has seen comparatively consistent availability in the online auction market.”

“Of course, that is in comparison to dmyotic 5, which I do have myself,” icie added conspiratorially.

“In dmyotic 6.0, series covered include Black Rock Shooter, Vocaloid, K-On!, Dogs, Bakemonogatari, Saki, Touhou, Princess Tutu, as well as an original creation,” listed icie breathlessly.

“The relatively high coverage of Black Rock Shooter fires my enthusiasm for this particular volume,” enthused icie.

“I was initially unsure why I liked seeing illustrations of Black Rock Shooter to such a degree, but I think I have realised the reason,” ruminated icie reflectively.

“Black Rock Shooter, a creation by huke in his very own style, could, in a way, constitute a benchmark by which other artists can be measured,” suggests icie with a degree of affected certainty.

“How much can the artist adapt the silent character to their own style, and how will they interpret huke’s texture-driven look?” asks icie semi-rhetorically.

“But Azu-nyan as Black Rock Shooter is really an awesome crossover,” as icie goes on a starry-eyed tangent.

“While there is a degree of pantsu in dmyotic 6.0, its content is much less risque compared to previous volumes, and the fact that dmyo covers less popular characters like Nill from Dogs is an indication of superiority,” analyses icie.

“The pose of Nodoka from Saki leaves a bit to be desired though,” remarks icie thoughtfully, “She seems a bit hunched.”

“Generally, dmyo plus Touhou equals win,” formulates icie with an air of distraction, “and the decision to cover Princess Tutu is a bit of a curveball.”

“dmyotic 6.0 ends with dmyo’s original cat-ear character and her checkered pattern, with the scarlet colouring toward the end of the book juxtaposing against the cover’s green and blue,” theorises icie in a conclusive manner.

Meta: An experiment in writing after the MISAKA style. I won’t do it anymore as I understand it may be a bit annoying, but it’s good to have a bit of variety once in a while.