#If I just jumped tl hello kitty I could have done more of them

[lluu50]

Obito told me that's what he woke up to in the cave

[kenkamishiro]

zakki:re translations, Part 4, Vol. 10-12

It’s been a while since my last post huh. TL;DR I got burnt out after the Q&As and had family stuff to deal with, but I’m well rested and figured the 1-year anniversary of TG:re ending sob would be a good time to come back. Thank you everyone who’s sent me wishes over the last few weeks, they mean a lot to me 🥰

I’ll try to post the zakki:re TLs weekly, but obviously no guarantees.

If you would like to start from the beginning, please click here.

Written as “ore” and read as “boku”. White Suit Kaneki was one of the cosplays I've always wanted to draw for him.

Weekly Young Jump 2017, Joint issue no. 5~6, Opening colour page

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It didn’t look very good at first, so I drew a bunch of different versions. In the end I finished it off by adding a yellow eyepatch.

Weekly Young Jump 2017, Issue no. 17, Opening colour page

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I drew this imagining a poster from a society after Furuta takes control. It makes you feel like you’ve gone back in time. The “NEW Panro” on the bottom right is good taste.

Weekly Young Jump 2017, Issue no. 18, Center colour illustration

[T/N: I don’t know what “NEW Panro” is supposed to be. If someone knows, let me know.]

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The Qs - See No Evil, Speak No Evil, Hear No Evil series #1 The cover of :re volume 10. The covers for :re volumes 10-12 are a compilation of the Qs members. The first one with Urie is “speak no evil”. It’s a shot giving off the impression that Urie cannot express his true feelings well with words. Also, Urie’s mouth wasn’t drawn a lot in this volume because they were scenes where he was hiding his true feelings and the like. You could also say he has a Hello Kitty motif.

2017, Volume 10, Cover

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An illustration that conveys red blooming in her belly. Though it looks quite good as it is now. I made it look a bit different than usual by adding a light coating.

Weekly Young Jump 2017, Joint issue no. 22~23, Opening colour page

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The Qs - See No Evil, Speak No Evil, Hear No Evil series #2 The cover of :re volume 11. “See no evil” for Mucchan.

I drew this with the idea of closing her eyes to what she needs to see. And on one side at that. A painting with angel’s wings on one side, with black blood spilling out from it.

The way the head is facing, I don’t choose this position often because it’s difficult to draw, but I tried drawing in that angle for this painting thinking that it would look good.

I had a hard time, but I like how it turned out. The name of the God who became her motif is written on the mosaic art in the back.

2017, Volume 11, Cover

[T/N: The name of the God (aka Haise) is explained here.]

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A lot of my favourite illustrations I’ve done are of Hinami. This is also one of them. Since she’s at that age where she’s transitioning from a girl to a woman, I think seeing this kind of scene looks nice.

The one putting the makeup on her is Eto.

2017, Volume 11, Cover flap

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The Qs - See No Evil, Speak No Evil, Hear No Evil series #3 The volume 12 cover of :re. “Hear no evil” for Saiko. I drew this with her wanting to plug her ears in mind. :re volume 12 is a memorable volume. First of all it had a loooot of corrections. I wasn’t able to exercise control in my analog line drawings, So thinking it wasn’t good, I went over most of the pages with a brush. There were also a lot of pages that were balanced by increasing the number of frames. Anyhow, it took a long time to retouch it, and I think I just barely finished the corrections in time. Looking back on it now, although it was revised, The quality of the line drawings during that period may have been at its peak. That’s just what I think though. I also like how rough the final drawing looks, and its impact when viewed in the magazine. If you look at it in the volume though, it’s probably better that it’s a bit more refined.

Chapter 125 This chapter is probably the biggest reason why this volume was so memorable. I wanted to draw this chapter alone no matter what, So I finished everything by myself without any help from the staff. Even with the one-week break from the Golden Week merger issue, I used up all my time. No drawing it with a perfect hand, and no typesetting. It was kinda awkward, after all.

2017, Volume 12, Cover

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I wanted to practice outside my usual style, so this is an image mixing a clear-cut painting with an impasto-ish style. Impasto is good for close-up illustrations of the face, but with a slight pull it can suddenly feel very thick. I tried painting, keeping in mind to reduce the colour volume without changing my painting style too much here. I think the light feeling of the face is just right. The finished version is more or less the grey one on the left, but I think the vibrance of the green is also good, so I have posted both versions.

Weekly Young Jump 2017, Issue no. 30, Specially made W pinup

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An illustration for a clear file, I think? I don’t really remember. Design-wise it’s a good painting.

2017, Volume 12, Cover flap

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A cover illustration for Young Jump. "I worked really hard on this cover, is it okay if it's super gloomy?" I asked the editor-in-chief using my editor as an intermediary. "It's okay," he responded agreeably.

Did he already give up? I wondered, but thankfully I was allowed to do the dark cover.

Weekly Young Jump 2017, Issue no. 35, Cover illustration

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This was the result when I was told, "Please do a 'Yeah, let's go to Kyoto'-kind of low-angle shot." I really like how unmotivated his stance looks.

Weekly Young Jump 2017, Issue no. 34, Center colour illustration

[T/N: “Yeah, let’s go to Kyoto” (Souda Kyouto, ikou) is a series of TV commercials by Japan Railway.]

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