My exploration into the realm of Japanese commercial animation and its distinctions from American-based commercial animation led me to seek insights from a friend immersed in the Japanese animation industry, actively involved in animation and storyboarding.

Primarily, my friend cautioned me about the practicalities within the Japanese animation landscape. Despite its mainstream appeal, compensation for animators tends to be notably modest. Extended work hours are commonplace, often spanning from 10 a.m. to midnight, contingent upon the remuneration offered by the animation company. Employees on a fixed salary might conclude work by 6 p.m., while those compensated partially based on animation output frequently contend with overtime commitments.

The Japanese animation process bears a resemblance to that of the United States. Initial developmental stages involve project planning, helmed by pitch directors, scriptwriters, and producers. Visual development is solidified, storyboarding—referred to as ‘konte’ in Japanese—is established. Subsequently, the search for voice actors commences, necessitating bookings well in advance due to the actors’ demanding schedules. Storyboard artists are required to provide a rough animatic to synchronize with the dubbing process at this juncture.

During the animation production phase, the episode’s team director initiates the search for layout artists and primary rough animators. Their work undergoes scrutiny by the team director for necessary adjustments before being passed on to those responsible for character movements, under the supervision of the show’s director. Following approval, the second rough animator refines the work, culminating in in-between animations, detailed drawing, coloring, and background creation by the animator.

Post-production involves compositors enhancing visuals through lighting, lens adjustments, and other effects, while considering sound effects, music, and dubbing to finalize the project. The Japanese animation process unfolds as an industrialized procedure, meticulously scrutinized and produced layer by layer.

Upon completion of animation production, distribution and promotion responsibilities are typically entrusted to other companies. Preceding the animation’s production, a production committee collaborates with sponsors to prepare for subsequent distribution efforts. This committee reviews storyboards to ascertain the feasibility of particular sequences.

Having transitioned from the animation department to the visual development division, my friend underscores that the fundamental divergence lies in communication levels. Visual development demands close-knit communication and collaboration with the director and colleagues to maintain a cohesive project style.

I conducted comprehensive research into various animation roles that piqued my interest, primarily focusing on visual development due to my background as an illustrator. As part of this exploration, I engaged in an insightful interview with Zhang Chi, an esteemed character designer in the animation industry. Our discussion delved into his work process and conceptual methodologies as an animation character designer.

Zhang Chi notably categorizes animation into two distinct factions: character animation and experimental animation. He further segments character design into Japanese, American, and French commercial animation styles, with the latter bearing closer resemblance to comics.

Regarding his career trajectory, Zhang Chi finds himself drawn towards the visual development phase, considering it a realm where he explores aesthetics with heightened creativity. He adeptly merges diverse cultural elements into his designs and possesses a unique ability to envision unexpected character transformations by observing various creatures. For Zhang Chi, visual development embodies a more enjoyable facet compared to animation creation.

Within the animation studios where he has contributed, Zhang Chi outlines a structured design process:

Initial briefing by the director or writer, outlining character details and personal experiences.
Collation of information, references, and conceptualization of the character by the visual artist.
Deeper research to refine the character concept, followed by feedback to the director to stimulate ideation.
Collaborative discussions with the director lead to the character design stage, necessitating comprehensive multi-angle character drawings, encompassing silhouettes and varied expressions.
Presentation of character visuals, incorporating different perspectives, expressive designs, and action sequences by the character designer.
When questioned about advice for aspiring character designers in animation, Zhang Chi emphasized the following: Embrace boundless imagination, allowing ideas to flow freely while initially envisioning the impressions a character evokes. Foster a habit of continuous learning and accumulation of knowledge, even beyond drawing. Cultivate curiosity, using natural elements such as creatures and architecture as reference points. Beyond surface visuals, invest time in comprehending the cultural narratives behind the imagery.”