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Concept art, in essence, is the visual manifestation of a work’s fundamental ideas and world-building. It serves as the foundation for production and plays an especially crucial role in conveying a shared understanding of the world’s landscape and core concepts in visual works, particularly those set in fictional realms like science fiction and fantasy. The methods employed vary by artist but most commonly involve illustrative visualization. Syd Mead, a globally renowned artist who handled the mechanical design for “∀ Gundam,” has also worked on concept art for numerous other science fiction works. Lin Junbun is also involved in “Mobile Suit Gundam: The Witch from Mercury” as a visual creator, fulfilling various roles beyond the typical concept art duties. We delve into the work process with the support of Hiroki Fujiwara (Bandai Namco Filmworks) from the production desk.

Text: Yasumichi Suzuki

A WIDE RANGE OF TALENT AND SENSIBILITY THAT EVEN INCLUDE MUSIC

―――　Please tell us about your background, Lin.

Lin: Before coming to Japan, I studied fine arts at a British art university, where I had the opportunity to learn about Japanese animation as part of the curriculum. That’s when I became interested in Japanese anime and decided to do an exchange program at Kyoto Seika University for six months. After that, I returned to England, graduated, and then formally enrolled in the Animation Course at Kyoto Seika University. Upon graduation, I joined a game company and was mainly responsible for creating background art.

―――　Did you watch anime in your home country of China?

Lin: I did watch anime, but as one of many types of visual genres. I mostly watched live-action movies, and when it came to anime, I enjoyed works from not only Japan but also the United States and Italy. The first feature-length anime I saw was “Simba the King Lion” produced by Italy’s Mondo TV Italy. I’m a fan of Studio Ghibli’s works in Japan. What really drew me to Japanese anime production was the courses I took at university.

―――　Did you initially intend to become a visual creator when you went to college?

Lin: Rather than a visual creator, I aimed to become an artist. I’ve always been interested in various genres and wanted to study everything from character design to machinery, architecture, and natural landscapes. I also wanted to learn a wide range of techniques for creating works, such as 3D modeling and music composition, so I studied animation production at Kyoto Seika University. That’s how my current job came about.

―――　Indeed, when I see your graduation project at Kyoto Seika University, not only do you create CG, but you also design graphic models, compose music, and construct a world view. Is your work on concept art for this project just one aspect of your skills?

Lin: Concept art is indeed just one aspect of my skills. In “The Witch from Mercury,” I didn’t only work on concept art; for example, I single-handedly handled everything from drawing the illustrations to creating the animation and shooting process for the end card of episode 12. I also drew some of the background art for the main video, and it was fun to be able to work on things other than concept art.

A PRODIGIOUS OPPORTUNITY JUST TWO YEARS AFTER GRADUATION

―――　It’s quite unusual for someone who graduated from college just over two years ago to be entrusted with the concept art for a famous anime like “Gundam.” How did this come about?

Lin: I was approached with the idea around 2021, while I was still employed at a game company. Mr. Fujiwara, whom I met through work, asked me if I would be interested in creating image boards and concept art for a new “Gundam” project. I was allowed to draw a few pieces as a test, and Director Hiroshi Kobayashi said that my artistic direction aligned well with the vision for “The Witch from Mercury.” The project proposal and scenario I was shown at the time were intriguing, and the design for each setting was incredibly cool, so I eagerly accepted the offer, wanting to create many more illustrations for this captivating world. To this day, I find the work to be both liberating and fascinating.

―――　What aspects of Lin’s work caught the eye of the production studio, leading them to approach her for this important role of concept artist? There are numerous talented artists out there, and assigning such a crucial task to a newcomer is quite a challenge, isn’t it?

Fujiwara: To provide some context, I was introduced to Lin by a former supervisor of mine who was a lecturer at Kyoto Seika University while I was searching for creators in my previous job. I collaborated with her on a project and found her to possess exceptional skill and sense beyond that of a typical newcomer. So when Director Kobayashi approached me for advice on concept art, I showed him Lin’s work, and he was eager to have her on board. At the time, Lin was employed at a game company, so we asked her to work with us whenever she had free time.

―――　Was working on anime closer to what you wanted to do than working on games?

Lin: Professionally, whether it’s games or anime, if the style and direction match, I want to do either. I’ve always had a fondness for science fiction, and “The Witch from Mercury” provided me with the opportunity to draw it, which played a significant role in my decision. In my previous job, I worked on many fantasy projects, and there have been very few pure sci-fi games in recent times.

Fujiwara: What’s incredible about Lin is that she can independently create an entire scene. She can draw various styles of illustrations by hand, as well as work with CG and 3D models. Additionally, her sense of color is exceptional. I’ve felt that her color perception was truly extraordinary since I first saw her work.

Lin: I tend to watch more live-action movies than anime, and I enjoy drawing more realistic images, which might influence my use of colors.

FROM WORLDVIEW IDEAS TO THE FOUNDATIONS OF ART

―――　As a concept artist for “The Witch from Mercury,” what specific tasks did you undertake?

Lin: There were mainly two types of tasks in this project. One was when there were no concrete ideas yet, and they wanted me to come up with the ideas. The other was when the ideas were already there, the settings were solidified, and they just needed a specific visual image. For the former, GUND technology [A] is a good example. I imagined and drew people who had undergone GUND medical care based on a simple text setting I received about GUND. There were no specific layout or scene requirements; I freely drew people working in space with GUND prosthetic limbs as body extensions, as parts of their bodies became impaired due to cosmic radiation. For these, I drew several original rough drafts, and once the director approved them, I finished the illustrations.

Fujiwara: When we usually request concept art, we often gather more settings beforehand, so Lin’s work can be seen as encompassing setting creation as well, making it a larger task overall.

―――　It seems closer to the methods used in filmmaking.

Fujiwara: Director Kobayashi also loves movies, so there are aspects of the production that involve imagining live-action scenes, including the composition of the images.

Lin: In episode 7, I also worked on Miorine’s memory [B]. The only instruction I received was that Miorine would be standing in a cathedral-like building. While I followed the layout in the storyboard, the atmosphere of the place and the design of the background were left up to me, offering a high degree of freedom.

―――　Concept art is common in the movie industry, but it’s still relatively rare in TV anime. Art often serves a similar purpose, but what were the reasons for incorporating concept art in this case?

Fujiwara: In recent anime productions, there has been an increase in projects that use a lot of post-processing to create visuals. It might be easier to understand if we say that the art represents the image before post-processing, while the concept art represents the image after post-processing. From the beginning of the production, Director Kobayashi wanted to create a project that considered the final image, including the colors and post-processing. Following his intentions, we employed concept art in this work. As a result, in “The Witch from Mercury,” Lin’s illustrations often came first, followed by orders to the art department.

―――　It’s common in movies to create a color script (color key) and match the color tones. In this case, does your concept art also play the role of a color key?

Lin: There isn’t a specific role as a color script. For this project, an easy-to-understand example would be the illustrations of “locations.” When a new location is introduced, I receive an order, and the cuts of that location are created following the color tones and atmosphere of the concept art I’ve drawn.

Fujiwara: That’s right. Concept art is something that can be shared among different sections, as it also involves seeking ideas from the director.

Lin: For the tactical testing area, I’ve created all the concept art this time. First, based on the line drawings drawn by the art setting team, I came up with ideas for the overall atmosphere, color tones, etc., while listening to Director Kobayashi’s opinions. The color tones for the battle scenes within the tactical test area are based on the concept art I’ve created, and the photography and art teams are working on it.

―――　By the way, how many pieces have you drawn for this project?

Lin: At this stage, about 100 pieces. The number may increase in the future.

Fujiwara: It’s quite rare to create so many pieces, including not only concept art but also backgrounds for the main story and art boards.

―――　In this concept art for “The Witch from Mercury,” do you have any specific rules or guidelines that you follow?

Lin: There aren’t any specific rules for the whole project. If I had to mention something, it would be trying to use new color combinations and not imitating other anime. Other than that, for each scene, I listen to Director Kobayashi’s instructions and opinions, read the script, and consider the situation. If it involves characters, I think about how to express their emotions through color. The interpretation changes for each piece, so I adjust the expression accordingly.

―――　You worked on concept art this time, but what are your goals for the future?

Lin: I would like to be involved in anime and movies for a while, but I want to do anything I can. I don’t want to limit myself to a specific genre of work; I want to create anything that allows me to express my personality. I hope to cherish my style and hone my individuality.