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{{Interview Infobox
{{Tag|Manga}}{{Tag|Date=December 19, 2019}}▼
|part = JJL
|cover = JOJOnicle.jpg
|interviewee = [[Hirohiko Araki]]
|type = Interview
|media = Artbook
}}
[[File:JOJOnicle.jpg|thumb|JOJOnicle]]
Interview with [[Hirohiko Araki]] released in the [[JOJOnicle]] artbook, published on December 19, 2019.
==Interview==
{{
This time, after the exhibitions in Tokyo and Osaka, I got to have original art exhibitions in Nagasaki and Kanezawa. Both of these cities have deep cultural histories and unique local environments, and the art museums we used were architectural masterpieces as well. I am greatly pleased and honored to have the opportunity to display the original artwork of JoJo in these locations.
In addition to the twelve large originals, I created one new key visual each for Nagasaki and Kanezawa. The motif for them was the Japanese artwork "Kakitsubata-zu" (by Korin Ogata). The characters from [[JoJo's Bizarre Adventure|JoJo]] will be present, so please come meet them at Nagasaka and Kanezawa. I hope you will enjoy the experience.
'''Interviewer: There's going to be an art exhibition starting January 2020 in Nagasaki, and in April in Kanezawa. The official visual for these exhibitions features many characters from JoJo's Bizarre Adventure, right?'''
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(Araki does all his coloring in analogue. He says, "You know how a lot of color inks have been going out of production lately? Some of these makers used to produce really good colors, too. It's a bad situation.")
'''Interviewer: I was surprised at how some of the characters had their costumes renewed. [[Wamuu]] is wearing sneaker, for instance.'''
Araki: Ahahaha. I was imagining him as an athlete. He wore sandals during the serialization, but this time, I thought, maybe I'll put him in sneakers. It might be because the Olympics are coming soon. But, it's not like I want to change everybody's costumes. For example, [[Sandman]] has to be barefoot. He mustn't wear sneakers. I designed [[Lisa Lisa]] with her belt at her waist, because I felt her
(Much like with typical original colored artwork, he starts by coloring the soft skin tones. "It's import to do it in one go. Manga artists have deadlines, so there's no time to get too detailed", says Araki)
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'''Interviewer: Doesn't the president stand out?'''
Araki: I had the [[Funny Valentine|president]] slightly twist his mouth, to give the impression he's plotting something. Those things are how I express these characters. Overall, the president's pose is one I'm especially satisfied with. Also, don't you think [[Jean Pierre Polnareff|Polnareff]] looks a little sexy with that lei around his neck? [[Ermes Costello|Ermes]] is the only one who's strongly expression her emotions. She's the one shouting, "What's going on here?" (laughs) The other characters are acting relatively cool, so I had her as the one contrasts.
'''Interviewer: [[Johnny Joestar|Johnny]] also leaves a strong impression since he's posed with both his hands in fists.'''
Araki: I pay attention to the expressivity of the hands, as well. The hands can speak too, right? Once again, these characters aren't just closing or opening their hands. There's movements in their fingers, and creating formations with them. That's the sort of thought I put into each character's hands while I was drawing them.
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'''Interviewer: I wasn't expecting Giorno, a main character, to be placed on the right edge. Considering his popularity, he could have been the centerpiece, don't you think?'''
Araki: I didn't think at all about drawing popular characters, or ones the readers would like. What's important is the layout and the shape of the characters. The first character I placed was the president... Maybe because he acts so haughty (laughs). After deciding on the president and other main features, the next thing I did was place the males and females evenly, and then, while it woud be fine to bring a main character like [[Giorno Giovanna|Giorno]] to the front, I instead deliberately had given him the duty of handling the most important spot on the edge.
'''Interviewer: There's a lot of characters who are grouped up in pairs, like Sandman with [[Pocoloco]], and
Araki: It wouldn't be interesting anymore if all the characters were scattered about, so instead I laid it out so several of them get grouped together. For this official visual, the gaps are extremely important. For example, from the right edge, there's Giorno, then a few characters, then a line break with the president, then after the gap, there's a small space before Sandman... and that's how I designed it. That gap is actually an important thing called the "rhythm". It's like you can't settle down without it. People who've drawn still-lifes might understand, but there's a balance to the weight of an artwork.
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'''Interviewer: Your last large original art used 12 sheets and had 24 characters. Does the pattern of 12 continue with this one?'''
Araki: I was a little bit particular with the number 12 on this one, too. That's to align with how there are 24 hours in a day, and so on, that sort of formula of the natural world.
'''Interviewer: Going to the basics, what made you want to hold an art exhibition?'''
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Araki: Manga is something that is printed onto paper and then read, but Weekly Shonen Jump's print quality has always been bad (laughs). I used to think that when there were things that couldn't be expressed through print, that was inevitable, but my desire for people to see the things that couldn't be expressed in print was my motivation for holding art exhibitions. There have been times people would tell me, "it's meaningless to color things in a way that's unprintable", but when I colored, I would think, that's not really true, is it? You might believe that the parts that don't show up in print are wasted, but maybe there's something" that seeps through. Perhaps it's lingering sentiment. I believe that's something that's contained in the originals. My colored style has changed from before, too. In the past, I would only color the parts of the original that would show up in print.
'''Interviewer: Up until the middle of [[Diamond is Unbreakable|Part 4]], you would draw a rectangle with blue pen to trin out the part you didn't want printed, right?'''
Araki: That's right. But, somewhere along the line, I decided I'd color in the whole thing.
'''Interviewer: Around the beginning of [[Vento Aureo|Part 5]], you started drawing everything, backgrounds and all.'''
Araki: When you color everything in, you get a sense of satisfaction when the drawing is finished.
'''Interviewer: And I believe your [[JOJO in Paris|first art exhibition]] was around that time too, right? You just suddenly had an individual exhibit in Paris (laughs).'''
Araki: If I wanted to hold it in Japan, I'd have to work things out with my publisher, and it seemed there would be a lot of work, so I thought, I might as well do it overseas, and had it in Paris.
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'''Interviewer: It was an unusual thing at the time, wasn't it? A manga exhibition is rare enough in itself, and this one was even overseas.'''
Araki: I've always been fond of Paris, but another factor was I knew someone there. I don't think people put much importance on manga art exhibitions at the time. I think both creators and
'''Interviewer: And starting with Paris, you've held exhibitions in your hometown of Sendai, and Tokyo, the Italian city of Florence, Osaka, and now in Nagasaki and Kanazawa.'''
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Araki: I'm pleased and honored to have my exhibitions in such storied cities as Nagasaki and Kanazawa. The exhibition halls, Nagasaki Art Museum and Kanazawa 21st Century Art Musuem, are both amazing buildings. I'm grateful and honored to have my art displayed in such buildings. How will JoJo interact with such spaces? I'm very curious to know myself.
}}
[Translated by Daxing Dan]
==References==
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