Pokémon Card Illustrator Tells Us About the Process

2024 ILLUSTRATION COMPETITION

To promote the 2024 Pokémon TCG: Illustrator Contest , Creatures has published a fascinating column that gives us a rare glimpse into the design process behind a Pokémon card's artwork.

The article asks illustrator Atsushi Furusawa about his philosophies and processes for drawing Arcanine 151 . We see your drafts from start to finish.

Behind the scenes of Pokémon TCG illustrations
“Bringing an illustration to life” (Part 1)

We asked Atsushi Furusawa, who has created many illustrations for the Pokémon TCG, about the thoughts and techniques that go into the process he uses to create his art.

「Arcanine 」 Illus. Atsushi Furusawa
Included in Pokémon TCG: Scarlet and Violet expansion 151

“What I think about when I illustrate”

―Tell us about the guiding principles you follow when drawing Pokémon TCG illustrations.

(Atsushi) Furusawa: By illustrating, I want players to realize the charm of the Pokémon theme in new ways. My goal is to make people think things like, "Wait, was this Pokémon always this cute?" Or, "Wait, did it always look this cool?"

Step 1: Research

―Tell us more about how you research your illustrations. What kind of materials do you use to prepare before drawing Pokémon?

Furusawa: I take production notes and prepare as much as possible in advance. First, I look through the Pokédex in the video games, read the descriptions of the Pokémon, and write down the keywords that caught my attention. In the case of Arcanine, I wrote the notes: “It runs gracefully, as if it has wings.” and “It runs nimbly as if it has wings.”

Next, to better understand how players feel about using a particular Pokémon in the game, I take notes on its attacks, stats, abilities, etc. The method for evolving that Pokémon is also very important. I also look at the Trainers and other characters that Arcanine appears with and their adventures in the games and TV series.

“So your production notes are similar to what is normally called a “mind map.”

Furusawa: Exactly. I have “Arcanine” in the center and keywords I find during research spread out from there. Then, when the keywords I’ve written down make me think of another idea, I write that down as well. As I continue to write more and more about Arcanine, I start to consider what I personally feel when I think about it. Then, I start to focus on how to portray it. I asked myself how I could make Arcanine look as cool as possible. In this case, this led to two ideas: showing him running with clouds below him and placing him on top of a mountain.

“You don’t just research the Pokémon, you also try to select the settings and locations that are most appropriate for it.

Furusawa: I often draw specific backgrounds*, so I try to think carefully when choosing a setting that fits the Pokémon theme.
(*Concrete backgrounds depict realistic, discernible locations, such as mountains or forests, as opposed to abstract art backgrounds.)

―Your production notes also include some sketches for Arcanine.

Furusawa: The one on the left was my first attempt at imitating an official illustration. The ones I wrote down on the right were an experiment to see how much I could simplify the components that make up Arcanine Arcanine. Simplifying it like this helps you understand, for example, that Arcanine is generally pointy but has a round tail. Then, you can start thinking about where to place the curve of its tail within the illustration.

Step 2: Writing and Supervising

“Why did you create two different drafts?

Furusawa: During the research step, I came up with different concepts that I thought would work for Arcanine, so I went ahead and drew both. Draft A (on the left) shows Arcanine running with the clouds below. Draft B (on the right) is an evolution of the idea I originally had of drawing Arcanine on top of a mountain. The mountain becomes a background component that highlights Arcanine’s regal elegance.

On the left is Draft A, which shows Arcanine running with clouds below.
On the right is Draft B, which shows a majestic Arcanine with a mountain in the background.
It was eventually decided that Project B would be used.

“The mountain at the bottom of Draft B is very impressive.

Furusawa: In terms of mountaineering, the sunset hitting a mountain and making it appear red is called "Abendrot". I think this is a cool phenomenon in itself, and the red color also fits Arcanine as a Fire-type perfectly.

“Please tell us what you take special care of when creating your drafts.

Furusawa: Pokémon TCG illustrations must go through supervision at the draft stage. So I try to draw as carefully as possible, but this can be done relatively quickly thanks to the notes and composition ideas I came up with during the research step.

Composition ideas in the production notes. During this stage, in addition to the subject's placement, shading is also taken into account.

―What materials, equipment and art tools do you use to create your sketches and illustrations?

Furusawa: I use Clip Studio Paint, which is an illustration and manga production software application. I sometimes use Adobe Photoshop to apply the finishing touches, but most of my work is done in Clip Studio Paint.

―Illustration supervision is provided by both Creatures Inc. and The Pokémon Company. What kind of feedback or advice do they give you to help your illustrations better fit the world of Pokémon and the Pokémon TCG?

Furusawa: Most of the feedback I receive is about the shape and color of Pokémon. I am given specific instructions to correct parts where I interpreted how a Pokémon should look differently from official standards. One thing that impressed me in the process of creating the illustration for Arcanine was the feedback I received regarding the background. I was told that the mountain could look like Mount Coronet* or Mount Fuji, and that it would be better to use a more generic mountain range that would better fit that world.
(*Mt. Coronet is a massive mountain that appears in Pokémon Brilliant Diamond , Pokémon Shining Pearl , and other Pokémon games.)

Translation of the above notes, starting from the top left clockwise:

1. The pupils and nose (especially the first one) look too brown. Try making them blacker.
2. Having a single mountain in the background makes it look like a specific mountain, for example Mount Coronet or Mount Fuji. It would be better to have a more generic mountain range.
3. This part of the mane would probably look better if it was fluffier.
4. The hind leg should probably be visible from here.
5. The stripes on his fur should probably be visible here.
6. The ear on your left should be a little longer. (Think of it as a squashed parallelogram.)
7. You should be able to see its fangs when Arcanine's mouth is closed.
8. You may be able to make the digital pads separate on the right hind leg.

“Reviewing drafts seems like a difficult and stressful task.

Furusawa: Actually… it’s quite funny (laughs). When I first started illustrating for the Pokémon TCG, I had a hard time making my models look the way they were supposed to. But if I follow the feedback I get during the supervision step, the subjects suddenly look like themselves. I’m like, “Oh! This Pikachu finally looks like Pikachu!” (laughs). A small adjustment changes the final result considerably, and this process helps me better understand the meaning behind the way Pokémon parts are balanced. The supervision step always leaves me impressed by how detailed Pokémon designs really are. It’s taught me a lot.

Step 3: Creating and supervising final artwork

“How is the final data created?

Furusawa: Once the supervision step is complete, all the problems with the draft are resolved, so I just need to draw the illustration. This is probably the easiest step in the whole process.

“Is there anything you pay special attention to during this step?

Furusawa: I think Pokémon designs are made up of relatively few elements. In particular, the first 151 Pokémon (those that first appeared in the Pokémon Red Version and Pokémon Blue Version games ) have a limited number of defining characteristics that require great attention. So I worry, for example, that a certain edge is drawn dynamically enough, or that a certain tone is blurred in just the right way.

“What are your principles for drawing backgrounds?

Furusawa: I try to make the backgrounds much more detailed than the subjects to give the illustrations a fullness. Since the Pokémon designs are so clean and simple, I use detailed backgrounds to create a contrasting effect. Also, I always want the Pokémon to look like real creatures, so I often use complex backgrounds to enhance that realism.

However, the amount of background detail depends on the specific illustration. For example, when drawing the Morpeko card illustration, I wanted a cuter style, so I drew colorful flowers and bubbling trees, trying not to put too many details on them. For Staraptor, on the other hand, I went for a more realistic background, with well-defined and cool-looking trees. Thus, I change the style of the background depending on the illustration itself.

「Morpeko 」Illus. Atsushi Furusawa
Pokémon TCG: Sword & Shield: Chilling Reign Expansion Promo Card (June 2021)

「Staraptor 」Illus. Atsushi Furusawa
Included in the Pokémon TCG: Scarlet and Violet set

“How do you apply finishing touches, such as visual effects and other adjustments?

Furusawa: Since I usually try to match the theme with a realistic background, I rarely put emphasis on visual effects. When I do use them, I always want them to be justified, such as putting snow falling from clouds or lightning bolts falling from the sky. For example, I use effects when I show the Pokémon attacking, like in the Lapras illustration.

That said, sometimes I want to go for something more eye-catching. When I do, I often find myself using smoke effects to create the right atmosphere, like I did with Toxtricity.

「Lapras 」Illus. Atsushi Furusawa
Included in the Pokémon TCG: Sword & Shield—Chilling Kingdom expansion

「Toxtricity 」Illus. Atsushi Furusawa
Included in the Pokémon TCG: Scarlet and Violet set

After the final draft is created, there is another round of oversight to ensure that even the smallest details match the design of that Pokémon.

Translation of the above notes, starting from the top left clockwise:

1. The right side of Arcanine's hair looks like a windblown ponytail, so try shortening it a bit.
2. The fur on the hind leg should be rolled like on the front legs.
3. Move the light colored fur so that it starts a little lower down. Think of it as growing from the back of the hind leg.

Step 4: Completion!

“Tell us about the feeling of accomplishment you get from completing an illustration.

Furusawa: I think other illustrators will relate when I say that once I finish drawing, what I feel is mostly anxiety (laughs). “Is this good enough?” “Will players like this?” Etc.

I never finish illustrations right before the deadline. I complete them a few days before the deadline, let them sit for a while, and revise them over and over again. After I've tweaked them enough that I feel like I can't improve them anymore, I hand them over to Creatures Inc.

What really makes me feel accomplished is getting feedback from players. Or rather, more than an accomplishment, I should say I feel relief. But despite this relief, I look back at my previous work and make notes about things that could have been done differently.

“Are you looking for reactions on social media on the day the cards you’ve worked on are released?

Furusawa: Oh, I do! I definitely do! (laughs) After all, my greatest joy is seeing players enjoy my illustrations. That positive feedback is what makes me feel rewarded for drawing. Each individual Pokémon has many fans, and nothing makes me happier than seeing them happy.

In conclusion

―Finally, what would you like to say to the applicants for the 2024 Pokémon Trading Card Game Illustration Contest?

Furusawa: This is the fourth annual Pokémon Trading Card Game Illustration Contest. [Note: This includes the first Pokémon Trading Card Game Illustration Grand Prix, which was held only in Japan.] I’m sure you’ve all seen the winning entries from previous editions. I know it can be very discouraging to see them. Some of you may be worried that you won’t be able to draw something on par with them. But remember that just because a certain type of illustration has won in the past doesn’t mean you have to follow that specific style.

This is a very valuable opportunity to see different people's opinions on the same topic. Even just applying is always worth it. Participating will teach you a lot, so I hope you all draw as best as you can and send in your illustrations. Do your best and click on that application form!

Composition and text: Shusuke Motomiya (One-up). Photos: Kayoko Yamamoto