How does illustrator Rolua go about creating a story? - Harmonizing the charm of an illustration and the depth of a good setting

When I was a student, I used to buy Shirabi's and Yugen's doujinshi at Comiket. Most recently, I really enjoyed the exhibition of the creative group SSS by Applibot held in June. I'm also keeping an eye on the upcoming Piggy One game, an adaptation of animator Hanabushi's original work, and I like Komugiko2000's animated videos.

I tend to look up to creators who know how to update their artworks by combining other fields in the realm of illustration. Of course, there are many people I like purely for their illustrations, such as Reoen.

If I had to guess, I'd say the latter. I can't get started before I mull things over. As my hands start to move, sometimes I get these indescribable feelings, telling me to draw this or that motif.

However, while I often think about the background of my illustrations, I also feel that pictures that merely explain the setting are kind of boring. The illustration needs both to tell a story and to be an interesting piece on its own. That balance is important.

I created this work called Atarashii Watashi (lit. "A new me") during a live drawing session for Wacom's online courses. I came up with the idea of expressing the duality of a person in accordance with the theme of "light and shadow" presented by the client.

This girl dislikes her true self, and when she fakes being someone else while interacting with others she feels a sense of discomfort, brought about by the fact that she's in fact not acting like her true self. The beautiful figure she shows to others and her slimy inner self ー this is the duality I created by using lights and shadows.

I follow some patterns, like placing a hand next to the character's face or drawing them as they run their fingers through their hair, but I always try to change things up a bit.

Personally, however, I think that the strongest artists are those who never get tired of the same compositions and motifs, because it means that the artworks themselves are powerful. Those artists don't just keep drawing the same elements by inertia, but rather they continue to challenge themselves while knowing what looks good. That's why their work always feels fresh.

I've always had a hard time with hands and hair, and I would avoid drawing them whenever possible. (laughs) Little by little, I eventually managed to draw them in a way I'm happy with.

It's tough for me to find time to practice, so I try to include some personal challenges in work commissions too. The most recent example is the Princess Knight illustration I made for "Shin Arts x Osamu Tezuka Characters ~ Acrylic arts by Illustrations ~", a project based on Osamu Tezuka's works.

Not long ago, I visited the Hoki Museum in Midori Ward, Chiba, which is a peculiar museum focusing on hyperrealism, and I found it very inspiring. I started considering an approach that, while different from photorealism, would make the viewer believe they're seeing something very close to reality. Fleshing out my own interpretation of the original, deformed work was also refreshing.

I asked the staff the impossible (laughs) and was very particular about the interiors. I wanted the entire venue to have an inorganic feel, so I made some changes to the floor. I am happy with the result: a different kind of space from any of the past exhibitions held at pixiv's WAEN GALLERY. The exhibit also features nine never-before-seen artworks, and I hope you'll enjoy them as well.