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Interviews

Illustrator Hidari explores the delicate balance between stylization and realism - Capturing the rawness of reality in illustration.

Illustrator Hidari explores the delicate balance between stylization and realism - Capturing the rawness of reality in illustration.

Interview by Ichibo Harada

Illustrator Hidari is holding his first solo exhibition, Lapse, at pixiv WAEN GALLERY in Omotesando, Tokyo through June 28th, 2023. The exhibition will feature past illustrations as well as character design sketches and a key visual designed especially for this solo exhibition.

Hidari has been a freelance artist for over 20 years, but this is his first solo show. In this interview, we discussed his unique concept of "sheen," which often appears in his illustrations, as well as the delicate balance between stylization and realism.

Hidari
  • Hidari
  • Born in Yokohama, Kanagawa prefecture. Currently a freelance illustrator.


    Hidari launched his first website in 2000 and started to publish doujinshi online. The artist has worked on pin-ups for magazines, trading card games, character designs for PC and other consumer games, illustrations for novels, and more.


    Major works include illustrations for the light novel Usotsuki Mii-kun to Kowareta Maa-chan from AMW Dengeki Bunko, character concepts for the TV anime series Fractale, Natsuiro Kiseki, and The Magnificent Kotobuki, and character designs for games including the Atelier Dusk series, the Toukiden: The Age of Demons series, Fire Emblem Echoes: Shadows of Valentia, and others.


A freelance debut right off the bat

── When and how did you make your debut?

I've always thought it'd be great if I could make money drawing. When I first went to Comiket, I got a business card from a publisher, and that's how I got my first job doing pin-up illustrations for a magazine. Unfortunately, I didn't really get a ton of work after that first job: I was only 19 at the time and still lived with my parents, so I begged my mother to let me stay with them for a little longer. (laughs) I was lucky enough not to have to worry about basic life matters. As I continued to work on small projects here and there as an illustrator, the number of jobs gradually increased, and I was eventually able to move out of my parents' house, which brings us to where I am now.

Since 2007, Hidari has been in charge of the illustrations for the popular light novel series Usotsuki Mii-kun to Kowareta Maa-chan, which now counts 12 volumes.

── So you started working as a freelancer right off the bat?

Yes. I actually work as a part-time lecturer at a university, and my students who want to be illustrators are often surprised when I tell them I've always been a freelancer. But I think many illustrators of my generation are in a similar situation in that many of us started by uploading illustrations online, then started getting jobs as a result of that. Back then, there weren't many people actively seeking out illustration as a career.

── What was your perception of the job of an illustrator back then?

The year 2000, when I was introduced to internet culture and doujinshi, can be considered the beginning of the rise of digital illustration. While I had an idea of what an illustrator did, it wasn't a profession I was familiar with, which is why I had always wanted to be a mangaka. Actually, I did draw a manga for a job once: a one-shot for the first issue of Manga Time Kirara Forward.

── I heard you started drawing digital illustrations after being inspired by Kouhaku Kuroboshi.

I saw Kouhaku Kuroboshi's illustrations on the cover of a magazine at a friend's house and mistook them for pastels. But my friend told me that they were all made on a computer! I was surprised to learn that digital tools could create such a soft and delicate atmosphere, so I decided to give it a shot and began drawing illustrations on a computer myself.


My friend also told me that Kuroboshi was active in an IRC (Internet Relay Chat), an equivalent of today's Discord, I guess. Being able to interact with famous people in real time was quite astounding before social media existed, so I joined various illustrators' IRC channels and shared my artwork with them, hoping for feedback. There are many illustrators who, like me, began their careers on IRC and are now working in the industry.

── Who are some other creators who have influenced you?

Masakazu Katsura, Yun Koga, and Hiroaki Samura influenced the foundation of my artistic style. However, I still make it a point to look into the work of up-and-coming illustrators. It's not so much to keep up with trends, but simply because newer works are amazing and a source of inspiration. I've noticed a growing trend in recent years of combining photographic and cinematic elements like lens flares and bokeh with illustrations, which I find fascinating.

The charm of unconventional elements such as braces and beauty marks

── The girl on the cover of your artbook vioLet is wearing braces, isn't she?

Yeah, the publisher had some reservations at first. (laughs) But I explained to them that removing the braces would result in an illustration of an average girl with no particular appeal. 

vioLet

by 左

── In addition to the braces, you tend to emphasize elements that are typically overlooked in bishoujo illustrations, such as beauty marks.

I'm very particular about combining realism and stylization, and I do so by incorporating as many unconventional elements as possible into my artworks. Here, for example, if I meticulously drew each tooth, the result might feel a little off, so I thought, "How about I use a soft touch of color instead of clear lines to outline each tooth?" In my opinion, taking away too many realistic elements and making the character too perfect and smooth can lessen their appeal. And, personally, I have a thing for beauty marks and braces. (laughs)

── It's thanks to those raw details that your female characters appeal to girls, too. They exude a confident, self-assured aura.

That's wonderful to hear!

── You were involved in the character design and package illustration for the history-themed game Sid Meier's Civilization Revolution 2+ (2015, 2K). You portrayed Abraham Lincoln with his trademark mole, didn't you?

Actually, I initially submitted an illustration without the mole, but 2K, the game developer, told me that in the United States, Lincoln is known for that little imperfection, so it was essential to capture the slightly rough texture of the mole on his cheek. That was quite enlightening. Moles like that are usually left out of caricatures, so it was a novel experience for me to be able to include one.

── Rather than specific models or themes, it appears that your leit motif is this blend of realism and stylization, regardless of what you're drawing.

That's right. My job requires me to draw mostly girls, but whether it's young girls or old men, that's where my interest lies.

── You also work as a lecturer at the university. What is something you often teach your students?

I often tell them to focus on what I call the "sheen". It's about incorporating raw, realistic elements into your illustrations, such as beauty marks, teeth, neck tilt, weight distribution on the legs, languidness of the hands, and the twist of the body. That's "sheen" for me. It's so tough to bring out that I, too, have to constantly draw and erase, repeating the process over and over. But I believe that by challenging myself and not giving up every time, I can improve and grow.

Feeling frustrated after every artwork

── Tell us about your current working environment.

I use a desktop PC, a drawing tablet (Wacom Cintiq Pro 24), and a shortcut device. I use a combination of Clip Studio Paint and Photoshop for software, and I also use another software to achieve a traditional art-like feel, similar to oil painting or watercolor. However, I haven't quite found the right software for that yet, so I'm still experimenting and trying different options.

── Is there a particular stage in your drawing process, such as sketching, the rough draft, or coloring, that you pay special attention to?

Probably sketching. The rough draft is only something I share with the client to give them an idea of the overall artwork, so I focus on refining the details during the sketching stage. Also, I have a bit of an aversion to colors and don't believe that coloring significantly improves the quality of my artwork. On the other hand, I think that in the sketch or draft stages, there's the potential to create the best work of your life. That's why I feel like I have to give it my all during the sketching phase.

── What was the turning point in the 20 years of your career as an illustrator?

My illustrations changed dramatically in a short period of time between 2007 and 2008. MMOs (massively multiplayer online games) and South Korean illustrators were popular at the time, and their art style could be described as meticulous and realistic. I admired and tried to imitate that style, but I gradually started feeling like my artworks were starting to feel cold and rigid. So, I reverted to a more manga-like style. At the time, I think I got too caught up in the idea that if I wanted to create something amazing, it should look realistic.

── From what you just told us, your quest for the perfect balance of realism and stylization has been going on for quite some time.

Yes, I've been constantly grappling with those two aspects. My goal is to blend the two in a harmonious way.

── Why do you think you've been able to work as an illustrator for over 20 years?

I'm always looking for new things to try. I'd like to illustrate children's books, design mascots for local governments, and even create more realistic illustrations. There are times when my bold proposals make my clients uneasy (laughs), but overall, I try to meet a wide range of demands, which may explain why I keep getting job offers.

Also, simply put, I've always enjoyed drawing. I still believe I can improve. As a matter of fact, every time I draw, I get frustrated because I think my work isn't good enough.

── Even an accomplished illustrator like yourself gets frustrated from time to time, right?

Yes. I believe there's always room for improvement. So, I keep telling myself, "Let's do it differently next time," and the cycle continues.

── Even so, are there any works that you're relatively happy with?

I'm quite satisfied with the illustration of a girl I drew for an event in Taiwan. I was able to relax and draw freely, while at the same time keeping relatively close to the image I had of what I wanted it to look like.

Hidari's first solo exhibition and an artbook reflecting on his journey so far

── Between your first artbook, vioLet, and your first solo exhibition, Lapse, the month of June is full of firsts for you.

Both of them are retrospectives on my personal journey since my debut, so I hope everyone enjoys seeing how my art has evolved!

── First, what are the highlights of the artbook?

Purple, specifically violet with a strong bluish hue rather than a reddish-purplish tone, is my favorite color. I often use purple in illustrations and character designs for special occasions, so I chose a cover illustration with purple accents. By the way, the reason only the 'L' in vioLet is capitalized is that my pen name is Hidari, which means "left" in Japanese. (laughs) The separate booklet accompanying the artbook is titled leafLet, also with a capitalized 'L.' The two books together feature a total of 180 artworks.

Hidari's first artbook, vioLet, is scheduled for release on Friday, June 16th by GOT. It's a deluxe edition that includes a 160-page artbook and a separate 32-page booklet titled leafLet, featuring a collection of exclusive illustrations focused on character design.

── Now that you mention it, Lapse also has a capital 'L'! What can you tell us about the highlights of your solo exhibition?

Lapse represents the concept of "passage of time" and, as the title implies, it's a reflection on my creative journey. Some of my illustrations have previously been turned into merchandise, but this is my first time having merchandise featuring brand-new illustrations created specifically for my own solo exhibition. So, I hope people will keep an eye out for the merchandise as well!

── Tell us about the main visual you designed for the exhibition.

Since I wanted to please those who enjoy my female character illustrations, I placed a female character in the center while also focusing on other elements. The concept is "Kraken's Proposal," and if you look closely, there's a giant squid in the background. The story goes that the Kraken falls in love with the woman and sinks a ship to present her with a jewel. I won't say if this woman is a human, a fairy, or a monster... I'll leave that to your imagination.

── What are your future plans after your first artbook and solo exhibition?

I haven't had many opportunities to freely draw and share my art outside of work obligations, so it's not exactly a return to my roots, but I'd like to share more artwork I drew for myself.

Hidari's solo exhibition, Lapse, is open through June 28th!

pixiv WAEN GALLERY by Twin Planet x pixiv, a gallery jointly operated by pixiv and Twin Planet, is currently holding Hidari’s solo exhibition "Lapse" through Wednesday, June 28th, 2023.


The exhibition will showcase a carefully selected collection of 42 artworks spanning the 20 years of Hidari's career. The exhibition showcases the trajectory of Hidari's activities, ranging from character design to illustration. Whether you're a fan of Hidari or not, come and explore the exhibition! A variety of original merchandise is available for purchase.


Dates: Friday, June 9th, 2023 to Wednesday, June 28th, 2023 - 7:00 pm

Days closed: None

Free Admission

Address: Tokyo, Shibuya City, Jingumae, 5 Chome-46-1 TWIN PLANET South BLDG. 1F

Hours: 12:00 p.m. to 7:00 p.m.


＞＞pixiv WAEN GALLERY Website＜＜

＞＞Official Twitter＜＜

Merchandise is also available online!

Some of the merchandise sold at the exhibition will be available for purchase on BOOTH. The lineup includes postcard sets, acrylic keychains, and other goods all featuring Hidari's illustrations.


＞＞View on BOOTH＜＜

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