March 11, 2024

PASH! Illustration File 2021-2022 GEAROUS Special Making & Interview

NOTE:

This is a reprint of the interview in the December 2020 edition of PASH! This time we have added an additional segment where we ask GEAROUS sensei about their illustration.

> Creation process for the magazine’s cover illustration with commentary from the artist!

A Japanese magazine cover featuring a digital painting of Lan Wangji and Wei Wuxian from "Mo Dao Zu Shi". Lan Wangji, a poker faced young man from ancient China in multiple layers of white robes sits at a low table. Around his forehead is a white ribbon with a blue cloud pattern. One hand reaches out for a Chinese zither on the table, the other wraps around Wei Wuxian's waist, who sits in his lap. Wei Wuxian wears a more playful expression and a black outer robe with a white undergarment. His robe is split along his breast bone such that the shadow of his pecs is visible, much like cleavage. One hand is wrapped around the tail of Lan Wangji's headband and the other holds a white clay flask of alcohol with a red square label on a diagonal. The label reads "The Emperor's Smile" in Chinese calligraphy. Behind them is a silver lattice structure, and an abstraction of pink flowering trees. Pink flower petals float through the air framing the two characters and onto the table. Dark greens horizontally across the center and white and pinks across the bottom give the impression of a field covered in flower petals directly behind the characters and rolling hills further into the distance.

(Please note these pages are really glossy and OP is not a great photographer; I did not have access to a scanner when I originally uploaded this. All images below are detail shots of a larger magazine page. The step-by-step captions are translated below the image gallery.)

Pencil sketch of the above cover illustration on lined notebook paper.

A digital sketch of the cover illustration in CLIP STUDIO PAINT.

A digital illustration of the finalized rough sketch with background colors blotted in. The upper background is pink gradient, starting in the upper left corner and ending when it touches the characters. Directly surrounding the characters is smudged charcoal gray. The table and zither at the bottom are blocked in with black.

The digital illustration from step 2 with colors digitally blocked in. The lattice structure is blocked in with black. Lan Wangji is blocked in blue, and Wei Wuxian in a pale orange. The zither on the table is black, and the table itself is brown. Wei Wuxian now has a leg bent off to the left.

A digital illustration with a first pass on the background flowering trees. The flowers are impressionistic, white with pink shadows. The negative space between the flowers is a gradient from ultramarine blue on the top right to teal on the lower left. Wei Wuxian and Lan Wangji are now blocked in with light and dark gray respectively instead of blue and orange. The zither and table remain unchanged as black and brown.

A digital illustration with both Wei Wuxian and Lan Wangji's base colored added. Each area of their hair, skin, and clothing, is a flat color. The background flowering trees have been refined with more shades of pink to increase image depth. The lattice behind Lan Wangji is also a flat dark gray color. The zither and table still remain unchanged black and brown.

A digital illustration with additionally refined details all around. Colors are no longer flat on either character. Shading and blending create more pointed lights and darks. The zither is finally visible as a zither. The table has lights and shadows on it reflecting off its sheen. The table has also collected some pink flower petals. Both characters are also framed with flower petals. The background gradient has been lightened and flipped so the blues begin on the left and the teals on the right. Additional horizontal streaks of dark green, white, and pink have been smeared across the center and lower background as well, giving an impression of a layer of flower petals across a green meadow and rolling hills.

The finalized digital painting of the Pash! magazine cover above.

Rough & Sketch
I do a rough sketch on paper. From this, I can figure out how to scale down the entire illustration. Drawing on paper gives me an idea of how it will look printed.
Rough & Sketch on PC
I create a rough sketch in CLIP STUDIO PAINT based on my paper roughs. I make use of the narrow lines on the monitor to clarify the drawing and focus on details.
Rough Color
I complete the rough sketch by adding color, so I can grasp what sort of atmosphere is needed for the illustration.
Creating the Line Art
Using the G-pen in CLIP STUDIO PAINT, I clean up the line work on each character and the accessories. When the line art is compete, I separate the foreground, middle ground, background, and background scenery onto different layers with the coloring tool.
(T/N: I think this is the Fill tool but I cannot swear on it.)
Painting the Background Scenery
After I’ve revised the line art, I use the watercolor brush to color the background scenery. I use blue as the base color for the entire background; first I draw tree branches, then the flowers from darkest to lightest. When you decide on the darkest color, please make sure to add blue. This adds depths to the trees.
Decide on the Characters’ Base Colors
I decide on the colors for the skin, eyes, accessories, clothes, and such for each section of the characters. I also add shadows to the brightest parts of the flowers and additional details.
Adjustments after Coloring
Once I’m done coloring the characters, I apply shadows and even more texture. I also added the flower petals to the background and up front. When I want to emphasize characters, I make them reflect the atmosphere using the background scenery colors.
Finishing Touches
After I finish the illustration, I go to bed and look at it with fresh eyes the next morning. This allows me to look at the illustration objectively, notice parts that bother me, and amend them. I removed Gi Musen’s leg and added “Emperor’s Smile” on the bottle based on feedback.

GEAROUS Special interview

PASH! December 2020 interview

I exchanged opinions with the production staff carefully.

–Please tell us about how you became involved with the “Madou soshi” radio drama.

I’d been obsessed with “Madou soshi” since the first day I heard about it, and constantly supporting it. Then in 2019, around Gi Musen’s birthday, I received an email from the “Madou soshi” radio drama staff. To be given the opportunity to work with “Madou soshi” … I still feel like I’m dreaming.

–How did you first hear about [MDZS]?

My friend would call me every day and translate the novel. That’s how I was able to understand the story. And not just that, I also wanted to dig deeper into the world. So being an illustrator for the Japanese audio drama is a dream come true for me.

–Did the Chinese or Japanese production staff have any requests regarding character designs?

“Madou soshi” has been produced in various countries and various media already, and various character designs already exist. So, in order for the radio drama represented in Japan to feel special, I exchanged opinions with the Chinese and Japanese radio production staff both carefully and sincerely.

–I’d like to ask you something about illustration. Which character was comparatively easier to draw?

No one in particular, but I can draw Ran Bouki naturally. I love Gi Musen too, so I can understand how he feels.

–Then, is there a character who was difficult to draw?

Gi Musen.

– Was there anything you specifically kept in mind when you were drawing Setsu You for the latest episode?

He has an outward appearance so charming it may as well be fatal poison. Setsu You’s poison should also be charming. I put those sorts of thoughts into my illustration.

–Do you have a personal favorite character?

I love Gi Musen the most. He always accomplishes what we cannot do no matter how much we think about it. Actually, if I could meet Gi Musen, I probably couldn’t take my eyes off him.

–What do you think of “Madou soshi”’s popularity in Japan?

I’m incredibly happy! I’m still cheering it on to become even more popular as its biggest fan.

–Have you received any emails or letters from fans?

I’ve received tons of messages from my social media followers since the start of the Japanese radio drama. They’ve been quite encouraging. Thank you everyone.

–Could we ask you for a message to everyone?

As an illustrator, I am truly delighted to be able to walk through the world of “Madou soshi” with the Japanese audio drama production staff. Since I’ve met “Madou soshi”, their world is always in my heart. Everyone, please continue to keep an eye on Gi Musen’s activities together. I am always thankful for everyone’s love from the bottom of my heart.

New interview

I’m obsessed with the illustration for Season 1 Episode 5.

–What sort of theme or image did you use to create this issue’s original art?

I drew it with the theme of after Gi Musen and Ran Bouki are tied together, Gi Musen is getting stronger with his demonic cultivation* and Ran Bouki in the middle of flowers.

(T/N: For the folks curious about what term is used here, it’s specifically madou. 次第に魔道が濃くなっていく魏無羨)

–Out of all the illustrations you have done for “Madou soshi”, which are you most attached to?

Many illustrations come to mind, but out of all of those, I’m most obsessed with the illustration for Season 1 Episode 5. Gi Musen holding a bottle of Emperor’s Smile and laughing with Ran Bouki. I reread the scene in the novel where they first met, and when I noticed that this was the most peaceful epoch of Gi Musen’s life before he died, my heart ached.

–What sort of “Madou soshi” illustration would you want to make in the future?

I enjoy every part I draw, but especially like to draw [a scene that] comes up a little in Gi Musen’s imagination where he covered in mud plowing a farm and Ran Bouki is cooking and weaving. I also want to draw characters I haven’t drawn yet. I’d love the opportunity to draw two-shot of Kou Enri and Kin Shiken, or the Ghost General and On Jou [Wen Qing].

–Could you tell us why you decide to become an illustrator and why you started your job?

I had to move overseas when I was very young, so pictures were the only way I was able to communicate. I could make friends around the world because I drew, I could express what I liked because I drew, and at some point along the way I decided to become an illustrator. I still communicate in pictures now, and I confess my love for my favorite characters through drawing.

–Are there any routines or rules you abide by when you work?

I don’t have a given routine. I have paper and pencils all over my home, so I can draw wherever I feel like it. When I leave my house and feel the urge to draw, I draw on whatever paper or wrapping paper is around. When I do art for jobs, I first read the novel or request details, and draw something that comes to mind while listening to music that suits the atmosphere.

– If something doesn’t go right while you are working, do you have a way to refresh yourself?

I keep drawing, even if the picture isn’t turning out right. No matter how many images I draw, they’re all pictures I drew, so I have come to stop worrying about it.

–Do you have any future aspirations?

I want to come to love more works and connect with everyone in the world through my art. Thank you very much.

A two part banner image of Wei Wuxian and Lan Wangji from "Mo dao zu shi". On the left half, a teenaged Wei Wuxian with his back to the camera wears white robes, and sits on the edge of a tiled roof. Lan Wangji, wearing the same white robes, with a sword strapped behind his left shoulder, stares up at Wei Wuxian. On the right half are detail shots of both boys. Wei Wuxian is facing the camera. His eyes are shut and his mouth is open in a smile. A black clay jar with a red cloth tied with string around the lip sits in between his crossed legs. He holds up another of the same clay jar by the the string in his left hand. Lan Wangji stands behind him, partially obscured by Wei Wuxian's arm and sleeve. The background is a minimalist grey with a dark grey outline of trees on the right and a white tree outline on the far left. The text in the center of the banner reads "Fantasy Radio Mo Dao Zu Shi Season 1 Episode 5".

Image source