Daisuke Igarashi is the award-winning creator of such series as Children of the Sea, Majo, and Little Forest.
A page from Igarashi sensei's sketchbook. When he finds a piece of scenery that he likes he'll make a sketch of it. These sketches help him create final images for what he wants to express.
Q: How did the idea for the Children of the Sea story first come to you? What elements did you want to focus on compared to your past work?
A: The main theme of this story is the sea. The first time I went on a boat journey is when I realized how much I loved the sea. I was raised in an inland city, and yet when I stood by the seaside, all sorts of emotions stirred up inside me. As I thought about why this happened, I came up with the concept of the story. I wanted to convey the different faces of the sea—its beauty, its strength, its terrible power.
Q: You have a very distinct, beautiful art style. Your illustrations of oceans and landscapes seem to entice the reader to linger on the panels, spending time soaking in the scenery. What is your goal in the balance of art and storytelling? Do you intend your manga to be read at a certain pace?
A: My style originated from a certain experience I had. I was standing in a small, old forest near my house. As I stood in this forest, with the sun filtering through the trees and the breeze blowing, I suddenly noticed how beautiful this world is. Since then, my most important concern has been to show the beauty of this world. When I draw Children of the Sea, I try to be conscious of the rhythm of the waves. For example, as I draw quiet, gentle scenes, I want the readers to feel as though they're walking along the beach as the sun sets in a clear sky.
A stat of a completed page (genko). The print text will be added later.
Q: How did you research the aquatic elements for Children of the Sea? Did you study aquatic creatures in terms of anatomy and behavior? Did you visit aquariums, talk to fishermen, etc.? Do you use photo references for your illustrations?
A: Since I was a child, I've loved to read picture books and encyclopedias about animals and to watch nature documentaries on television. So I've acquired a lot of knowledge through that. Furthermore, for this story, I sailed in yachts and did special research at aquariums. Part of my research also involves taking an enormous amount of photographs to use as references. They're very useful in getting the details real and exact. However, this is a fictional story, and much of it is based on my imagination.
Q: How do you see the bond between Umi and Sora? Can you discuss your approach to your human characters?
A: Umi and Sora are precisely what they mean in Japanese. They are symbols of the sea and the sky. They are the sea and the sky in human form. Through this work, I want to think about the link between the sea, the universe, and life.
Q: In some of your previous manga there seems to be conservationist themes in the stories. What are you feelings about the environment and the effects of climate change we've seen in recent times?
A: From physical elements to life itself to the climate—everything is linked within this complex system that we know as the Earth. Yet there is much more that we don't know, so I think we have to maintain an interest and continue to think about this. To lose beautiful scenery that is familiar to us is a sad and tragic thing.
Igarashi sensei's work desk. The materials piled up on the left are photos he took himself, which he uses as reference when he draws.
Q: What, or who, are your art influences? Are you inspired by other mangaka or by artists outside of the manga realm?
A: Everything that I encounter and all the things that happen in my daily life are my teachers. Of course, many works of art influence me. I like the paintings of Andrew Wyeth and Ben Shahn. Japanese artists like Jakuchu Ito and Hokusai Katsushika have also influenced me. There's a poet named Shinpei Kusano who created a world in his poems that captivated me. Basho Matsuo's haiku have also influenced me greatly. As for manga that have influenced me, the list is endless.
Q: Your works portray various places throughout the world. Do you like to travel? Also, have your travel experiences influenced your works?
A: It's not as though I've been to every location that appears in my works. However, travel is my life itself. In 1998, I boarded a ship and set out on a journey. I learned what a joy it is to see new places and meet new faces, and since then I've continued my travels. When I discover a place I like, I try to live there for three to four years. That's because living in that place enables me to see things for the first time. Then I'll move to a different place and live there. I've grown rice in a tiny village deep in the mountains and lived in downtown neighborhoods of Tokyo. Right now, I live in a town on the coast. This way, I'm able to leisurely experience the changing of the light from day to night and the transformation of the seasons. That is my style of traveling. And every event that I encounter is part of the wellspring of my creative works.
Q: When did you know you wanted to be a mangaka? When do you first start drawing seriously?
A: Since I was a child I've always loved to draw. While studying art and looking for ways to express myself, I realized that I had a knack for making manga, which I've always loved. I reached that conclusion after I graduated from college and seriously pursued it as a career.
A character sketch of Umi and Ruka, and locations studies. These sketches were done before Igarashi sensei began drawing the series.
Sketches and notes for Ruka's character.
Q: When you create your art, do you consider how audiences outside of Japan will read the manga?
A: When I begin work on a project, I ask myself how to best convey my worldview. I don't make a conscious effort to draw for readers abroad, but I'm very curious to know what impact my manga has on readers who live in a different environment.
