As one of the two cornerstones of the Type-Moon series, Takeuchi Takashi's importance is reflected not only in his artwork but also in his role as a supporter and promoter of Nasu Kinoko.
At the sa ti, he is also the president and legal representative of Type-Moon, and the biggest driving force behind its transition into the mainstream, comrcialization, and the heights it reached in later generations.
As for his artwork, Takeuchi Takashi's drawing skills are not considered top-tier.
However, it is undeniable that if Nasu Kinoko's scripts are the soul of the Type-Moon series, then the "Takeuchi face" created by Takeuchi Takashi is the flesh and blood that give it form.
No matter how many artists joined the Type-Moon series in later years, whenever Type-Moon is ntioned, the first thing that cos to most people's minds is still the various characters with "Takeuchi faces."
Moreover, the "Takeuchi face" itself is indeed very beautiful, highly distinctive, and recognizable. Having stood the test of more than a decade, it still looks fashionable and not at all outdated among modern ani characters.
Therefore, if one wants to draw Fate/stay night well, the "Takeuchi face" is an indispensable elent.
However, Takeuchi Takashi's art style was not static. It roughly went through three stages.
The first stage was during the production of Tsukihi.
At this ti, his style was relatively immature and rough. Although it already showed so distinctive features, it was still in developnt.
The second stage was during the production of Fate/stay night.
This period marked the key turning point in the formation of his art style. The iconic "Takeuchi face" began to take shape, but the facial details and the depiction of the eyes were still sowhat stiff, and the characters' charm and temperant were not yet fully expressed.
The third stage was around the 2010s.
During this period, his drawing skills improved significantly and reached their peak. The facial lines beca softer and more refined, while the eyes gained more detail and expression, making the overall look more appealing and polished.
The standard "Takeuchi face" in the public's mind was fully established during this ti.
What Akira pursued was naturally Takeuchi Takashi's peak art style, mainly referencing works from that period such as Return to Avalon, Spring in Kyoto, and The Garden of Sinners art books for practice. However, it was not just imitation.
Unlike novel illustrations or CG art for visual novels, manga characters, especially in battle scenes, require strong dynamic depiction. This was an area Takeuchi Takashi rarely explored, so Akira had to build it himself.
Otherwise, he would only be able to imitate static poses, or at most draw stiff limbs and awkward hands.
During another evening break, after finishing his al, he sat on the sa bench by the street to rest. Then he took a sketchbook out of his bag and continued practicing character dynamics.
The chanical pencil felt like an extension of his hand, precisely tracing line after line across the page. Soon, a beautiful girl, Tohsaka Rin, performing an exaggerated dynamic movent, appeared on the paper.
The scene he designed took place in a narrow corridor. Tohsaka Rin stepped against the walls to gain height while approaching an enemy.
Just as she neared the enemy, she kicked off the wall with force, dropping from mid-air to deliver an elbow strike, shown from a low front angle.
In the drawing, Tohsaka Rin shouted in anger. The ends of her hair and the hem of her clothes swayed with the motion. The folds of her clothing twisted along the force of the movent, and the arm delivering the strike, combined with the surrounding speed lines, created a strong sense of motion, as if she might leap out of the page at any mont.
Most importantly, even under such a difficult perspective, her face showed no distortion.
I'm really good.
Looking at the drawing, Akira could not help but smile slightly, satisfaction evident in his eyes.
Returning to Takeuchi Takashi's art style, because his lines are very clean and the details are simplified to an extre degree, and because the "Takeuchi face" follows a relatively fixed template, it has the characteristic of being easy to start but difficult to master.
As long as one follows the template, it is easy to achieve sothing that looks seventy percent similar.
However, if the lines are even slightly off or the thickness is not properly controlled, it becos impossible to capture the remaining thirty percent of the essence, leaving the result at the level of fan art.
In particularly difficult angles and dynamic scenes, maintaining the "Takeuchi face" becos even harder. Even Takeuchi Takashi himself does not always manage it perfectly.
After all, he tends to simplify his work as much as possible, sotis to the point of reusing elents. In recent years, his drawing consistency has even shown a slight decline.
From this perspective, Akira could now confidently consider himself an enhanced version of Takeuchi Takashi.
At this level, it should be enough.
"That's really well drawn."
At that mont, a familiar girl's clear voice sounded beside him. Rin had appeared at so point and was now standing next to him, looking at his drawing with undisguised admiration.
"Thank you."
Akira replied with a smile.
Since they had exchanged nas, she had co to watch him draw every ti he practiced here over the past few days. Gradually, they had beco sowhat acquainted.
Although Rin appeared cold and unapproachable at first glance, that impression did not seem to reflect her true personality.
This reminded him of when he had first beco nearsighted. Back then, he stubbornly refused to wear glasses and failed to notice classmates waving at him from a distance several tis.
Later, he heard from friends that people thought he was difficult to approach and that he ignored others when greeted.
He had been quite speechless at the ti.
Putting that aside.
Each ti they t over the past few days, her first words were always praise for his drawings, which made him wonder whether it was sincere or simply her way of greeting him.
However, her next words quickly answered that question.
"It turns out Mochizuki-kun not only has strong drawing skills, but your art style is also very distinctive. Especially the way you draw female characters' faces."
Rin carefully studied the face in the drawing and spoke with surprising fluency.
"Most moe art styles create a cute and gentle atmosphere through rounded lines, large eyes, and highly reflective pupils."
"But your lines tend to be sharper and more defined, giving a refined, cool, and sowhat handso impression, while still being different from male characters. It feels very unique. I really like it."
"Thank you for the complint."
Akira was slightly surprised. Her description was quite professional, suggesting she had a solid understanding of art.
So he asked curiously, "Have you studied drawing before, Miss Shimizu?"
"I studied a little when I was younger."
Rin nodded gently, then hesitated before continuing.
"My father also works in the animation industry, so…"
"I see."
Akira nodded in understanding. Hearing that, he could not help but remark, "That must be a tough job."
The Japanese animation industry is notoriously competitive and poorly paid, often driven purely by passion.
Especially for those at the lower levels, such as in-between animators or second key animators, even working to exhaustion might not earn as much as a full-ti convenience store worker.
That said, since her father had remained in the industry without changing careers, he was likely a capable and experienced professional.
"Yes."
Rin nodded again, but her expression beca sowhat subdued, as if she did not want to talk further about her father.
Noticing the shift in her mood, Akira chose not to press the topic. Their relationship was not close enough for that.
It was about ti for him to return to work.
"By the way, please wait a mont."
Rin suddenly called out to him.
"Do you have any ani songs you like?"
"Ani songs?"
He found the question unexpected, but still gave it so thought, recalling songs from this era.
Since the 1990s, ani songs had beco mainstream in Japan, with many well-known singers contributing, producing nurous popular hits. Naturally, he had several favorites.
At that mont, his gaze fell on sothing nearby, and he imdiately made a choice.
"Recently, I think 'Tobira wo Akete' sounds really good."
"Tobira wo Akete" is the second opening the of Cardcaptor Sakura, released on April 21, 1999, and currently its newest opening.
Although its chart performance was modest at the ti, it would later beco a nostalgic classic for many ani fans.
Cardcaptor Sakura was also part of his childhood.
Even though it was a shoujo series, as a child he never distinguished between genres. He watched everything he could, including works like Sailor Moon and Shugo Chara!.
At the ti, he paid more attention to battles and powers, and hardly rembered the romantic elents.
"'Tobira wo Akete'?"
Rin's eyes widened slightly in surprise.
"You like Cardcaptor Sakura too? What a coincidence, so do I."
"I know."
Akira smiled and pointed at the guitar case she was carrying. A small Kero-chan sticker was attached to it.
Only then did she realize.
Still, she did not think he was simply trying to match her interests. The song had only been released a few days ago, and only soone already interested would know it.
She had not expected that soone she had only recently t would share such a specific interest with her. The feeling was unexpectedly pleasant.
"And actually…"
She smiled slightly, her expression bright with anticipation.
"I've been practicing this song at ho for the past few days, and I'm planning to perform it for the first ti tonight."
"If you have ti, would you like to co listen?"
Akira was a little surprised. He had not expected such a coincidence.
After a brief mont of thought, he nodded.
"If I have ti, I'll co."
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