#katsura layouts

[towascat]

[pfpanimes]

⌕ HAPPY B-DAY ZURA.

like or reblog if you save/use.

[maigeiko]

The look of... VIII: Shimizu 清水

Historical context The first official date in the history of Shimizu Geigi is 1872, when "Machi Geisha" (まち芸者), who were distinct from "Kaku Geisha" (廓芸者), appeared. A Kenban (registry office) was established in 1877. At that time, Machi Geisha and Kaku Geisha combined were around twenty people. Only ten years later, in 1887, their number had increased to 100. The number of Geigi continued to grow.

In 1938, the number of Geigi was around 260, and they were highly regarded nationwide for their skills in art and behaviour. In 1951, a "Shimizu Geigi school" (清水芸妓学校) was opened, around 150 Geigi attending the event.

In the 1970's, Japan's period of economic growth started tapering off, interest in traditional arts dwindeled, which resulted in less work opportunities for Geigi and the number of Ryotei decreasing. In response to this, local business leaders and Shimizu Geigi started an organisation to help fostering new Geigi (Seibikai 清美会).

By 1985, their number had decreased to thirteen and the Kenban closed. In 1991, local businessmen and Geigi formed a different company (Seibi Co. 清美(株)), which worked as employer for Geigi. Due to a bad economic environment, Shimizu Odori (清水をどり) was last held in 1998, Seibi Co. was dissolved in 2004, and Haru no mai (春の舞) was discontinued in 2009. As a result of this, some of Seibi's employees became independent Geigi.

Allegedly, the number of Geigi hit rock bottom in 2011 with only two remaining. However, in 2012, around eleven Geigi worked in Shimizu. Since then, the city had a steady stream of Geigi coming and going again. At the end of this year, 2023, there are ten Geigi working in the city.

The look of Shimizu Geiko Local Term: Geigi 芸妓 ※ Hairstyle: Taka shimada, Tsubushi shimada ※ Kanzashi: Kushi, Maezashi, bekko kogai, ear of rice in the new year period ※ Kimono: Homongi, Kuromontsuki Hikizuri ※ Haneri: white ※ Obi: Taiko musubi ※ Obiage: green, pink, white, red ※ Obijime: flat, 1 knot ※ Footwear: Zori

Casual look ※ Hairstyle: Yohatsu ※ Kanzashi: none ※ Kimono: Homongi, rarely Komon ※ Haneri: white ※ Obi: Taiko musubi ※ Obiage: white, pink ※ Footwear: Zori

The look of Shimizu Maiko Local term: Shinjin Geigi 新人芸妓 ※ Hairstyle: Momoware Katsura, sometimes real hair styled (shin nihongami) ※ Kanzashi: seasonal and non-seasonal Hanakanzashi, Katsuyama, maezashi, Shidare in all age groups ※ Kimono: Furisode with shoulder tucks or no tucks at all ※ Eri: white with white embroidery, plain white, white with multicolour embroidery, other colours possible especially during summer months ※ Obi: Koken musubi ※ Obiage: flat, mostly red/silver, red/white shibori, other colours also possible (green/beige/light blue) ※ Obijime: flat or round with 1-4 knots. No obidome ※ Footwear: Zôri

Notes Shimizu was merged with Shizuoka in 2003. Shimizu Geigi and other traditional arts performers are backed by 静岡伝統芸能振興 Shizuoka dentô geinô Shinkô-kai/Shizuoka traditional performing arts promotion association, which is the successor to Seibikai. You might notice I didn't start this post with a historical b/w photo. There are some old photos on the Shizuoka Dentogeino homepage, but they are the size of a postal stamp. And that's it. I feel let down. No chance to explore the historical style of Shimizu. Anyways. "The look of Shimizu/Shizuoka" was requested by @geimaiko. The layout of this post is based on geimaiko's own. Also... geimaiko originally started these series. If you liked this post, you should go and thank her, because without her, there would be no "the look of..." ;)

Sources https://www.shizuoka-dentogeino.jp/geigi/shizuoka_history/, https://www.shizuoka-dentogeino.jp/geigi/shimizu_history/, http://www.shimizu-port.jp/geigi.html, https://www.nikkei.com/article/DGXNZO41971500Z20C12A5L61000/ (headline and preview only), https://www.youtube.com/@shizuokadentogeino/videos

Pictures: Komachi May 17, Makoto May 17, Komachi+Makoto Oct 17 (sources nowhere to be found), Sakurako+Fukutaro Apr 22, Kikuno+Umeka Nov 14, Iroha Jun 20, Iroha Oct 20, Fukutaro Oct 20, Ichiryo+Komachi+Makoto ~2016, Komachi+Sakurako Apr 18, Fukutaro+Sakurako Oct 18, Iroha+Fukutaro+Sakurako Oct 20

[tnbscans]

Inside Sunrise Interview

Inside Sunrise interview with Masayuki Ozaki and Kazuhiko Tamura. This is transcribed from an Anime News Network video linked below.

The Origin of Tiger & Bunny

Ozaki:

The idea for Tiger & Bunny came from two different roots. The first was Director Keiichi Sato's sentiments. To Director Sato, it's a story about heroes with mundane problems. The director said he wanted to depict a superhero drama with a sense of life to it. The other was my sentiments, as a producer. I wanted to depict the conflict and drama one sees when they've belonged to an organization for a while.

The impetus for the project came from the controversy over the competition swimsuits in the Beijing Olympics. I saw in an interview that wearing one particular kind of swimsuit gave you a chance at setting a record but, well, the athletes who had contracts with Japanese companies couldn't wear that fast swimsuit.

At the time, we were coming up with the project, so we thought the conflict of those athletes who belonged to those industries was very interesting and intriguing. And so we thought it would be nice to take the Director's desire to make a hero story, the story of heroes who have to bear the weight of sponsors, and depict the conflict, drama, and culture that lies behind all of that. So that's, well, how the idea came to fruition.

Tamura:

This is where we work on the storyboard for Tiger & Bunny. We're very particular about using pencil, and, um, the expression of performance, you could say. There are things you can't express without using pencil to depict motion, so we pay extra attention to those parts.

This is called the layout. A layout, you see, is this image, framed here by the screen. It's an image we use to make sure how it'll fit in the television frame. We use this as a base to create the key animation.

Oh, this character is Blue Rose. It's a scene where Blue Rose is drinking soda. It's part of a TV ad campaign in Japan. The drink is for one of the sponsors, but this is the test layout for that. We'll use this as a base to draw the animation.

Thoughts on the Characters

Ozaki:

When we were working on the costume design for the heroes of Tiger & Bunny, we paid special attention to their variety. There are 8 heroes who appear in this work, but from the start we had the idea that their suits should be diverse. We set the story in a near-future city that's anethnic melting pot, so the characters themselves were set to be a variety of races. There's a Russian character, a Chinese one, a Hispanic one, and a Japanese one too. We thought the hero suits should be designed to match those different characteristics.

Character Designer Masakazu Katsura, himself is very knowledgeable about superheroes. He loves superheroes, in particular, those from American comic books. Director Sato really liked that aspect as well. So Mr. Katsura pulled out a whole lot of ideas for what he wanted the superhero designs to be like. Fire emblem really is the kind of suit-wearing super hero you might find in American comic books.

A hero made with a bull as it's motif. Rock Bison is the kind of design you'll find in Japanese Tokusatsu, but not in American comics and that was the kind of variation we wanted it to have.

Tamura:

This right here is the CG check movie. We're running a check on the motion. We work on drawing the animation after we first make the CG.

Visual Effects Efforts

Ozaki:

Also, one of the visual aspects of Tiger & Bunny we were really conscientious about was depicting the heroes primarily through CG. The female character Blue Rose is the only one that's frequently hand drawn, but basically Tiger, Barnaby, and the others are all CG. They're designed to actually bear industry logos so since those industry logos would change over and over, we'd have to draw it over and over if they were hand drawn. That'd make it very difficult. But by making them CG, that kind of work, the swapping out of corporate logos, is not big deal.

One other reason is, we were keeping the world market in mind, and because of Pixar and Disney, CG animation is the visual style people around the world are most used to seeing. Hand-drawn animation certainly has its own good points, but in the end, we thought CG had the most universality and we designed each hero in CG. In doing it that way, we're able to come up with some pretty detailed imagery. For example, the hero Fire Emblem wears a cape, and that cape constantly flickers with fire as a pattern. If that was hand-drawn we couldn't do something like that. Those are the kinds of visual effects we focused on.

About Kotetsu

Ozaki:

The design for the character Kotetsu was clearly risky. For starters, he's middle-aged, has a beard, and is a single father. Characters like that in animation are, well, how do I say…it's a fact that they're hard for viewers to accept. The truth is, we were half hopeful and half fearful, but in the end we went with that design for the animation, and luckily, he's well accepted right now. We're actually getting word from the fans that they can empathize with him, and we're very happy to hear that reaction.

Kotetsu wasn't the only character, there's his partner, the younger Barnaby. This is a buddy story. By having another main character, we think we've established a very nice balance. Kotetsu's a middle-aged guy who used to be popular back in the day, but lately he's not doing so well. That's his character background. That said, there were things we wanted to illustrate thematically with him, like the importance of never giving up, of the bonds between people, things of that nature.

Plus, Hollywood movies, especially lately, are getting lots of sequels, and as the main character's actor gets older, they write the character to age with him. By part 4 or 5, he's already middle aged. Their refusal to give up, their continued fight, gave us some queues as well. You can say it's targeted more towards adults. As for me, I want to create dramas with universality, dramas that people of any generation can sympathize with and to keep making them in the future. That's what I hope for.

Source:

[nectarishes]

1, 11, and 20 for the ask game :)

1. Favorite drawing from this year

Ough very hard to pick. These are all where I challenged myself in different ways or just really enjoy the result (and discovered a love for ms paint mousepad drawing)

11. Artists that influenced/inspired your art style

DEFINITELY Katsura Hoshino (author of D. Gray man) her early manga art is super cartoony and gothic, which I can’t get enough of

Also love tiktok artists who just record themselves drawing in sketchbooks, feels like going back to my roots watching YouTube speedpaints as a kid

20. What do you think you’ve improved on the most over the year

Probably composition? College has helped me a lot in this front but I’m much more comfortable making a layout than I used to be. Thanks for the ask I kiss you

[jessicaminhanh]

Jessica Minh Anh floats a catwalk into Rio's Harbor

On December 19, 2023, the visionary Jessica Minh Anh, who has transformed the world's most iconic landmarks into stunning catwalks, will present her latest masterpiece on the sun deck of the Costa Diadema, the largest and most luxurious cruise ship in the Costa fleet. J Summer Fashion Show 2023 will take place in the breathtaking scenery of Rio de Janeiro, Brazil, where the majestic Christ the Redeemer statue, Mount Corcovado, and Copacabana beaches will create a cinematic backdrop for the runway. The high-profile event is not only a celebration of fashion and beauty, but also a powerful statement of unity, diversity, and cultural harmony.

In taking her iconic catwalk series to South America, Jessica Minh Anh said, "This moment in history necessitates a concerted endeavor for unity and integration, approached with a creative flair. Rio is a crucible of unique experiences, characterized by breathtaking landscapes and captivating cultures. Venturing into Rio in partnership with Costa Cruises, a company that aligns with my mission of celebrating sustainability and cultural richness, is really exciting. Our collaboration represents an opportunity to send a message of positivity worldwide, and I am honored to be a part of it."

J Summer Fashion Show 2023 will unveil a fusion of haute couture and ready-to-wear collections from the Middle East, America, Europe, and Asia, featuring exquisite designs, innovative materials, and sustainable practices. Jessica's impressive profile includes collaborations with renowned names such as the French luxury brand Montblanc, British fashion leader Paul Costelloe, Asia's powerhouse Shiatzy Chen, Israeli designer Pnina Tornai, Ukrainian talent Oksana Mukha, Lebanese designer Ziad Nakad, and Japanese legend Yumi Katsura, among many others.

The high-profile event represents Jessica Minh Anh's fifth collaboration with Costa Cruises. It follows the groundbreaking success of last year's fashion phenomenon in Portofino, Italy, which was hailed as the world's first sustainable ocean catwalk on the liquefied natural gas cruise ship Costa Toscana. This event will combine two of Jessica's iconic catwalk series, specifically the Catwalk-On-Water and Sky-High, resulting in a mind-bending extravaganza. Previous editions of her shows have graced iconic locations such as the Eiffel Tower, London's Tower Bridge, One World Trade Center, Grand Canyon Skywalk, Hoover Dam, and JFK Airport.

Dario Rustico, General Manager for Central and South America at Costa Cruises, lauded Jessica Minh Anh's pioneering spirit, remarking, "Jessica Minh Anh is a trailblazer in the fusion of fashion and sustainability, mirroring Costa Cruises' commitment to providing cutting-edge vessels and sustainable initiatives. Our enduring partnership dates back to 2013, beginning with the J Winter Fashion Show in Dubai. We are thrilled to once again welcome Jessica and her spectacular production aboard the Costa Diadema. We take immense pride in the fact that this collaboration is set to unfold in Rio de Janeiro and look forward to celebrating in grand style."

Last month, Jessica visited Costa Diadema in Palma de Mallorca, Spain. There, she met with Costa Cruises' executive team to meticulously plan the floor layout, schedule, setup, and exclusive amenities for the media and distinguished guests. One can only anticipate yet another awe-inspiring catwalk from the visionary who consistently reinvents the global runway experience.

[travelblog2410]

Day 6

Su 5/14 ►Nagoya 8:02 à Kii Katsura 11:56 Drop luggage + Lunch à ֍ Taiji Whale Museum ※ Onsen (Hot Springs) [Hotel Urashima]

On day 6 we all left Nagoya to go to Kii Katsura to see the Taiji Whale Museum and the Art exhibit in the area. Here we get to learn more about the history of Taiji town, the local people, and the controversy with the Whale hunting issues in Japan. At the Taiji Whale Museum, I was shocked to see a lot of vivid whale body parts displayed in the Museum. That traumatized me a little bit since I was not ready to see all of that vivid part of the whale's body. They also have a baby whale in a glass as well and that scared me. But thinking about all the controversial perspectives regarding the whale issue. I began to understand that it is part of the Taiji people's history and it is difficult to change a group of people's tradition as the ideology of the world changes. The tradition of the people intersects with the modernization of the ideology of the world making this issue become difficult to determine right and wrong. 

Later on in the day, we headed to Urashima Hotel. To get to the hotel we have to take a boat for a short 5 minutes ride. Although I enjoy the boat some were anxious about the unexpected experience. The hotel was next to the ocean which make the view from the hotel and the view from the hotel room breathtaking. The Hotel has a traditional feel to it similar to a traditional Japanese bath house with an enormous cave outdoor hot spring. Even though the layout was more traditional overall the Hotel still has a lot of modern additions to it. For instance, there’s a convenience store right on the first floor along with a buffet-style dining area. Furthermore, the mascot of the place is an anime girl in a bathrobe. This is a more modern take to the hotel making it stand out as an intersection between traditional concepts with a modern addition to the place. My first Onsen experience was interesting the fact that the Onsen was outside on a stormy night made the air a lot colder than it should be. Above all, it was unexpected how open everyone was being naked in the Onsen. Since the Onsen was also outside there was a lot of bugs around and inside the Onsen. Nonetheless, we still have a very fun time relaxing in the hot Onsen sharing interesting stories about our trip. We planned to finish the night with drinks and fun time but after the Onsen, everyone was ready to pass out after a long adventurous day. 

[beilus]

桂小太郎 . . . 🐼

[daisyachi]

## (R3Q) ZUR4 M3SSY L4Y0UTS!!

pls like or reblog if used!

[go-0jou]

桂じゃない！ マリオです🍄🦕💥..

@! 💬🍄💥🦕🍲

[pfpanimes]

⌕ gintama - zura.

like or reblog if you save/use.

[kamui7]

[fattymadiy]

Gintama (2006)

[thedumbestest]

Ah yes, the correlation of life and panties

[gintama-screenshots]

I don't even know

[jjdizz]

My top 14 favorite Gintama characters!!