Author: Seiya Ito

Week 11: Historical Development of Japanese Anime

Post author By Seiya Ito
Post date 4th December 2025
No Comments on Week 11: Historical Development of Japanese Anime

This week, I focused on exploring the history of Japanese anime.

An examination of the history of Japanese animation reveals the characteristics of each era, as well as the differences and characteristics between Japan and other countries.

Japanese animation began in the 19th century through the mutual influence of technical and artistic knowledge between Japan, Europe, and America. Against the backdrop of this cultural and technological exchange, a uniquely Japanese form of animation gradually developed.

Prior to the 1960s, Japanese animation consisted primarily of short films. The earliest representative feature-length animated film is “The Legend of the White Snake” (1958). At the time, films were typically in black and white and aimed primarily at children. This is thought to be due in part to the influence of Japan’s long-standing kamishibai (picture storytelling) culture. Even after the social turmoil of the postwar period, anime culture did not decline; rather, it gradually expanded.

In the 1960s, television was the medium with the greatest influence on Japanese animation. The rapid spread of television led to the emergence of 30-minute children’s series, and the broadcast of shows such as “Astro Boy,” “Tetsujin 28-go,” and “8-Man” established the basic format of television anime.

In the 1970s, the target demographic for anime expanded from elementary school students to junior high school students, and giant robot series continued to be popular. Meanwhile, television anime became closely linked to the sale of robot toys, emphasizing its commercial aspects. During this period, anime clearly established itself as an entertainment industry.

In the 1980s, anime expanded to older audiences, including high school and college students. This was due in part to creators from the generation that grew up watching anime becoming core producers and the rise of small, independent studios.

In the 1990s, despite the effects of the recession caused by the collapse of the bubble economy, demand for anime as affordable entertainment actually increased. Furthermore, with the introduction of computers, digital anime began to emerge.

In the 2000s, the works of Studio Ghibli, including those directed by Hayao Miyazaki, received high praise overseas, further increasing the international acclaim of Japanese animation. At the same time, the increase in digital animation works led to a diversification of the range of expression and genres.

Unreal Engine

Week 11: Cave

I created the cave and corridor in Blender. First, I modeled a basic sphere and then used Sculpt Mode to sculpt the rock textures. Finally, I combined the cave and corridor assets to build the environment.

Problem and solution

First, I created this cave using Blender.
For the modeling process, I started by creating a sphere, then used Sculpt Mode to shape it and add textures to make it look like a realistic cave.

After that, I exported the model from Blender to UE5, but I encountered a new problem. In UE5, even if an object is three-dimensional, the inner faces are not rendered properly, so the surface appears transparent from the inside.

I tried reading various references to solve this issue, but I could not find a clear solution. Therefore, I went back to Blender and used the Solidify modifier to add physical thickness to the mesh. After applying the modifier and exporting the model again, the surface was no longer transparent.

Through this problem, I realized that it is important to give objects proper thickness when creating 3D models.

References

Maya

Week 9: Body Mechanics

For the body mechanics animation, I first wanted to make lifting a heavy object. But my teacher suggested that you should select more simple movement because you are still beginner. So, I changed it to getting up from a chair.

Getting up doesn’t have big movement, but it has a lot of up and down motion. So, I needed to focus on the movement of different parts of the body, like the hips and head. Overlapping movement is also extremely important. For example, when the body bends, the hips move first, and the head follows later. I also used ease in and ease out for the head. My experience with the pendulum animation helped me understand how to do this.

First, I followed my workflow: I watched reference videos carefully, then made a rough blocking of the motion. I focused on timing and spacing during this process.

Body Mechanics Blocking

Body Mechanics Spline Motion

According to this reference, I learned how the body moves when getting up from a chair. First, it is important to understand that the body does not move straight up and down suddenly. It swings forward and backward to create momentum. When bending the legs, the body arches slightly and the back touches the chair, which makes the motion look more natural. Then, using ease in and ease out, the body bends slowly and smoothly.

I also learned that even if the whole body does not move much, small movements of the head or face can help balance the motion and make it look more realistic. For example, the body may move only a little, but the movement of the head can make the action feel alive and show the character’s emotion or intention. Paying attention to these small details helps make even simple motions look realistic and believable in animation.

Design for Animation

Week 10: Research

This week, I researched academic sources, made a list of them, and read them to understand their content. Specifically, I used materials from the UAL library as well as newspaper articles for my research. I also learned that when citing sources, it is necessary to follow the Harvard style, and that the book Cite Them Right is a good reference for learning how to do this.

Rather than reading entire books, I focused on chapters that seemed interesting or relevant to my topic. Below is a list of the sources I actually found.

Cite them right: Cite Them Right – Home

Reference List

Galbraith, P. W. (2019) Otaku and the Struggle for Imagination in Japan. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Poitras, G. (2008) Japanese Visual Culture : Explorations in the World of Manga and Anime. MacWilliams, M. W. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Nihon Keizai Shimbun (2025)　Anime industry market grows 15% to 3.8 trillion yen, Association of Japanese Animations estimates, driven by overseas. Available at: アニメ産業市場15%増の3.8兆円　日本動画協会推計、海外けん引 – 日本経済新聞

(Accessed: 25 December 2025)

DC Comics (n.d.) ‘Batman | Official DC Character Profile’, DC.com. Available at: Batman | Official DC Character (Accessed: 25 December 2025)

Naruto Official Site (n.d.) ‘TV ANIME NARUTO・BORUTO – 火影はたけカカシ’, Naruto‑Official.com. Available at: 火影はたけカカシ | NARUTO 疾風伝 | 【公式】NARUTO OFFICIAL SITE、NARUTO -ナルト-オフィシャルサイト、BORUTO -ボルト- (Accessed: 25 December 2025)

Simone, G. (2021) Otaku Japan : The Fascinating World of Japanese Manga, Anime, Gaming, Cosplay, Toys, Idols and More! (Covers over 450 Locations with More Than 400 Photographs and 21 Maps) Tuttle Publishing. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Ito, M., Okabe, D. and Tsuji, I. (2012) Fandom Unbound : Otaku Culture in a Connected World. Yale University Press. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Pellitteri, M. and Wong, H.-w. (2020) Japanese Animation in Asia : Transnational Industry, Audiences, and Success. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Galbraith, P. W. (2019) Otaku and the Struggle for Imagination in Japan. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Poitras, G. (2008) Japanese Visual Culture : Explorations in the World of Manga and Anime. MacWilliams, M. W. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

(Accessed: 25 December 2025)

DC Comics (n.d.) ‘Batman | Official DC Character Profile’, DC.com. Available at: Batman | Official DC Character (Accessed: 25 December 2025)

Bibliography

Ito, M., Okabe, D. and Tsuji, I. (2012) Fandom Unbound : Otaku Culture in a Connected World. Yale University Press. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Pellitteri, M. and Wong, H.-w. (2020) Japanese Animation in Asia : Transnational Industry, Audiences, and Success. Available at: ProQuest Ebook Central – Book Details (Accessed: 25 December 2025)

Unreal Engine

Week 10: Big Tree

First, I planned to use tree assets in UE5, but when I looked around, I only found normal trees and couldn’t find any large, mysterious trees. So I decided to make the tree myself.

This week, I focused on creating a large and mysterious tree inside a cave.
I am good at modeling buildings and mechanical objects, but I have had little experience with modeling organic forms like trees, which have irregular shapes and delicate wood grain details. Because of this, creating this tree was a personal challenge for me, and at the same time, it became a valuable opportunity to gain new knowledge and skills.

I wanted to create a large, powerful impression, so I designed the wood grain to be somewhat coarse and with wider spacing between the grains. Also, because trees at shrines often have decorative elements, I incorporated ornaments that symbolize the sacred tree and the act of worship. The most difficult part was creating the spirally woven rope.

Through the process of creating this tree, I was able to learn how to use sculpt mode more effectively and gain new insights. Overall, it was a very meaningful and valuable learning experience.

Making Process

1.First, I created a circle and converted it into a curved cylinder, similar to the shape shown in the reference image.

Then, I drew curved lines along the surface of the cylinder.

↓

2.Next, I converted the curved lines into three-dimensional cylindrical objects. At this stage, I effectively used Bezier curves to control the shape.

In addition, I made both ends thinner and the middle thicker in order to represent a more realistic tree form.

↓

3.Then, I rotated and duplicated the cylinder created in step 2 by 360 degrees, as shown in the reference image.

↓

4.Once I had a clear understanding of the overall tree shape, I went back to step 2 and added additional branches. After that, I used Sculpt Mode to create details such as growth rings and wrinkles, enhancing the realism of the tree.

↓

5.Finally, I repeated the rotation and duplication process described in step 3. Then, I carefully adjusted the positions and rotations of the branches while considering the overall balance of the tree.

Rope

In terms of this rope, I first created it in a spiral shape. Then, my initial plan was to bend the rope along a curve and wrap it around the tree.

Specifically, I started by creating a circular object, and using a modifier, I arranged it in a spiral along the Z-axis. Next, I applied a curve modifier to shape it into a circular form. Finally, I adjusted the curve mode of the object to add sagging caused by gravity, making the rope look more natural.

Paper docoration

When creating the paper decoration, I first created a flat plane. Then, I added a grid on the plane and removed unnecessary faces and vertices to shape it according to the reference.

Next, I extruded the plane in steps to make it three-dimensional. Finally, I bent the object along a curve, which allowed me to create a paper decoration that looks like it is fluttering in the wind.

Straw decorations

Creating the straw ornaments was particularly difficult. I felt that the most challenging part was expressing the detailed texture of the straw and its complex shape.
However, I tried to create them in my own way. First, I created a sphere and deleted the bottom half. Next, I extruded the deleted part to create the shape of the straw ornament. After that, I used Sculpt mode to adjust the texture and shape. Finally, I adjusted the position of the bottom face to complete it.

References

Maya

Week 8: Hand Pose

Hand poses are an important element for showing a character’s emotions and situation.
However, hands have a very delicate movement and a complex structure, so creating natural poses is challenging.

Hand Pose

Expressive Hand Pose

Through self-study, I realized that hand poses are important for showing emotions, and it is important to make the differences between emotions clear. For example, when a character is happy or angry, the hand movements are fast, big, and sometimes clenched tightly. On the other hand, when the character is sad or feeling down, the hand movements are slower and seem weaker.

I also learned by watching professional animators that hand movements need to work together with the body. Even if the hands move well, if the body moves in the opposite way, the emotion or situation is hard to understand for the viewer. This made me understand that keeping the whole body consistent is very important.

Design for Animation

Week 9: Polish the Research Proposal

Post author By Seiya Ito
Post date 20th November 2025
No Comments on Week 9: Polish the Research Proposal

This week, based on last week’s advice, I polished the content of my work once again. And then, I\ had another meeting with the teacher and received positive feedback, noting that my topic now had more consistency and was more focused than before.

In this task, I focused not just on creating a document, but on writing with the structure of the final submission in mind. However, I struggled because I am not confident in writing, and I also lack the skills and knowledge for citing academic books properly. Therefore, from next week, I plan to continue my research while also exploring the best ways to present and write my work.

Unreal Engine

Week 9: Japanese Shrine

This is a Japanese traditional shrine created using Blender. In this modeling, I focused on creating a balanced and symmetrical design, as well as emphasizing the texture of the wood to convey the shrine’s sacred atmosphere. I also aimed to combine the simplicity of a temple with the elegance of a shrine, creating a building that embodies the best of both.

Throughout this process, I realized that traditional buildings are made up of many interconnected parts. For example, even in wooden architecture, the structure relies solely on interlocking wooden components, and the roof tiles differ from ordinary tiles, giving the building unique features not found in other constructions.

I also created textures using Substance 3D Painter, which I found very useful for future projects. At the same time, I feel motivated to deepen my skills in these software tools to be able to create my own original textures.

full 360° view to display the temple assets

<Torii>

<Light>

<Temple>

Texture / Material

I used Substance 3D Painter to create the textures and materials for the temple assets. I referenced traditional Japanese shrines and temples and aimed to replicate their characteristic design elements. The main body was painted with a red base color, while the windows were painted in dark green.

Through this texturing process, I was able to understand the basic workflow of Substance 3D Painter. However, I am also eager to learn more advanced techniques, such as creating original materials to achieve more customized textures. In the future, I would like to explore Substance 3D Designer as well in order to take my material creation skills to the next level.

Reference

Design for Animation

Week 8: One on One Tutorial

Post author By Seiya Ito
Post date 16th November 2025
No Comments on Week 8: One on One Tutorial

In this class, I had a one-on-one meeting with the teacher to discuss my topic for the final assignment, which I had been considering since last week. I explained that I chose this topic because I wanted to make use of my advantage as someone from Japan and explore the differences between Japanese and overseas anime to make the project more engaging.

However, the teacher pointed out that my topic was too broad. Indeed, in terms of investigating the popularity of Japanese anime, my topic was too large in scope. In other words, I needed to narrow it down a bit. The teacher advised that if I am going to research Japanese anime, it would be better to focus on why Japanese anime has gained global popularity. This would narrow the topic and connect directly to what I really want to learn.

Based on this advice, I decided to focus on this theme for my work.

Research Proposal Seiya. I Download

Maya

Week 7: Walk Cycle

When creating a walk cycle, it is very important to pay attention to the center of gravity (COG). The center of gravity is one of the most important elements for showing that a human is standing on the ground and affected by gravity.
In addition, the model used in this project only has legs and the torso around the hips. Because of this, I needed to focus especially on the movement of the hips. Since the walk cycle moves forward, the position and translation of the body are also important. On top of that, the way the feet touch the ground and leave the ground, as well as how the knees bend, plays a key role in making the motion look natural.

For the workflow, it is important to first collect reference materials, observe them carefully, and understand the movement before starting the animation. This approach helps avoid relying only on feeling sense and allows the movement to be understood as knowledge. As a result, it becomes earlier to move to the next step confidently.

Through this task, I also realized the importance of the Graph Editor in Maya. When I first created the walk cycle, the body movement looked stiff and choppy. However, by smoothing the curves in the Graph Editor, this problem was improved. From this experience, I learned that using the Graph Editor, not just keyframes, is an effective way to improve animation skills.