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Kantoku was credited as the original character designer for OneRoom in 'OneRoom - Hanasaka Yui Memory Arc.'

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OneRoom - Yui Hanasaka Memoirs - Position	OneRoom original animated character designs

OneRoom - Yui Hanasaka Memoirs Arc - Related production

Kantoku was credited as the original character designer for OneRoom in 'OneRoom - Hanasaka Yui Memory Arc.'

Common coloring methods for characters and backgrounds

In a 2016 university interview, Kantoku said that the coloring methods for figures and backgrounds are similar, the result of long-term efforts to find common techniques. He hoped the same method could be applied to different subjects, and this exploration gradually shaped his own painting style.

Judge character parts by your own art style

When discussing the originality of a character, he first needs to understand his own art style, then judge what atmosphere different component combinations will create; Seemingly common parts, when drawn in your own way, can also create a fresh feel.

Original character design for PROJECT NANA

In a 2012 official interview with PROJECT NANA, Kantoku said he first decided on the group alone and submitted designs for the three before transformation; Afterwards, the transformation appearance continued to be designed according to the existing uniform form. He hoped for some restrictions first; after the transformation, although he proposed three proposals, he ultimately adopted the first one.

To avoid using green hair directly in Asuka's uniform form, Kantoku added green shadows to the light blonde hair to smooth out the color difference before and after transformation. For hair accessories, refer to the kimono obi cord; When the animation designer had doubts about the thin line structure, he clearly stated that it was a rope.

When the animation designer inquired about the installation's structure, Kantoku was drawing the three-sided drawing and immediately handed the drawing to the team for explanation. He also said he was not skilled in mechanical design, and the original proposal did not further refine the structure and mechanisms.

Starting with a small draft and eye priority

In an interview at the C77 venue, Kantoku explained that he first sketches small sketches and sometimes tries poses in front of a mirror. After forming the overall image, he first draws one eye, then determines the position and balance of the other eye, and continues to outline the body; The eyes are the focal point in organizing the character's image.

Color mixing of the finished print

An interview published in January 2010 also discussed preparations for his first solo exhibition. Kantoku says he continuously pursues the finished quality of printmaking, even adjusting colors that ordinary printing presses find difficult to produce.

Object proportions and yellow shading

In the 2015 Q&A for 'Sunwheel Grass,' Kantoku said he imported sketches of the figure, the car, and the sunflower separately, repeatedly adjusting the size and proportions, and continued to revise even after finishing the draft. To express the intense shadows of summer, he also made sure the yellow theme remained bright to prevent the image from becoming dull due to the shadows.

The depth of field and the color of the print in 'Autumn Scenery Play'

When Kantoku painted "Autumn Colors Game," he focused more on telephoto effects than on Japanese themes. To make the large areas of the background still visible, he deliberately used larger areas of coloring; The detailed figures contrast with the background.

A production record from the Shine Festival on November 16, 2013, states that 'Autumn Colors Play' was still undergoing color correction, and the autumn leaves were being revised. The adjustment aims for vivid red leaf colors under bright sunlight.

The night light source of "PURE."

When Kantoku painted the cover "PURE" for the limited edition of the art book released in summer 2017, the scene was imagined as the night scene in front of the fountain in the church's courtyard, with reflections from the church's building lighting in addition to moonlight to express the reflection of the water's surface. He hopes the white gauze-skin will look radiant, aiming for a soft effect similar to a photo soft light filter; This cover was later made into a print.

Related entries

Participated Works:OneRoom - Yui Hanasaka Memories -

References

Data compiled on: 2026-10-10.