Source (in French):
How has the graphical design of Boruto gone? What has been the most difficult in creating said character who suffers, both in the manga and real life, from the comparison with Naruto?
—When I was entrusted with the making of Boruto, Kishimoto-san gave me the following piece of advice: "You have to make it freely, the way you feel it, without trying to be close to the art of Naruto on purpose, nor attempting to forcibly harmonise. No matter how hard you will try, it will never be the same thing and there is no sense in entrusting the series to you if it's to make a copy anyway." On one hand, I'm sorry towards Naruto fans that it's not Kishimoto-san who's drawing. But on the other hand, since it's me to whom they entrusted the series, I try create the best possible work being faithful to my feeling, while staying responsible to that what I create. For the reasons I just explained, I don't feel difficulty in the creation of Boruto. Nevertheless, I'm still a long way from reaching a graphical quality that satisfies me and so I am still working hard to be able to offer the best of my capacities.
How does the collaboration with Masashi Kishimoto go? What instructions does he give you for the art and the script? Does he intervene on the (drawing) board to add some modifications there?
—Kishimoto-san usually does a verification in the script stage. So I'm quite free for the nemu [découpage, editor's note] and the art. When the nemu is ready, Kishimoto-san checks it and it often happens that he gives me comments on problematic points or (points) to improve. But generally speaking, he lets me do.
Could you elaborate on your work method? What types of tools do you use?
—I work on paper from IC, on which I sketch with a mechanical pencil. Then I ink with a G-pen [pen often used by mangaka which permits lines that are both thin and thick, editor's note] while using ink for technical drawings [designs for mechanic, electronic or mechatronic products, editor's note]. For colour illustrations, I use VIFART aquarelle paper of the Maruman brand and I perpetuate the Naruto tradition by colouring with Copic markers.
Why did you choose to start by showing adult Boruto before unfolding his story in the form of a flashback?
—That opening scene was Kishimoto-san's idea. We said to ourselves that it had to be a different beginning than the movie, that it had to be something more impactful and we arrived at that form. But it was decided very rapidly and I hadn't got a design for the adult character, so I didn't have the leisure to let the idea sink in. Thus, when that scene will reappear, maybe the design will have slightly changed…
Source/Translator: Platypus
Side Note from Yagami1211:
A nemu is a kind of storyboard in manga term. You decide the number of panels and where they're going and such.
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How has the graphical design of Boruto gone? What has been the most difficult in creating said character who suffers, both in the manga and real life, from the comparison with Naruto?
—When I was entrusted with the making of Boruto, Kishimoto-san gave me the following piece of advice: "You have to make it freely, the way you feel it, without trying to be close to the art of Naruto on purpose, nor attempting to forcibly harmonise. No matter how hard you will try, it will never be the same thing and there is no sense in entrusting the series to you if it's to make a copy anyway." On one hand, I'm sorry towards Naruto fans that it's not Kishimoto-san who's drawing. But on the other hand, since it's me to whom they entrusted the series, I try create the best possible work being faithful to my feeling, while staying responsible to that what I create. For the reasons I just explained, I don't feel difficulty in the creation of Boruto. Nevertheless, I'm still a long way from reaching a graphical quality that satisfies me and so I am still working hard to be able to offer the best of my capacities.
How does the collaboration with Masashi Kishimoto go? What instructions does he give you for the art and the script? Does he intervene on the (drawing) board to add some modifications there?
—Kishimoto-san usually does a verification in the script stage. So I'm quite free for the nemu [découpage, editor's note] and the art. When the nemu is ready, Kishimoto-san checks it and it often happens that he gives me comments on problematic points or (points) to improve. But generally speaking, he lets me do.
Could you elaborate on your work method? What types of tools do you use?
—I work on paper from IC, on which I sketch with a mechanical pencil. Then I ink with a G-pen [pen often used by mangaka which permits lines that are both thin and thick, editor's note] while using ink for technical drawings [designs for mechanic, electronic or mechatronic products, editor's note]. For colour illustrations, I use VIFART aquarelle paper of the Maruman brand and I perpetuate the Naruto tradition by colouring with Copic markers.
Why did you choose to start by showing adult Boruto before unfolding his story in the form of a flashback?
—That opening scene was Kishimoto-san's idea. We said to ourselves that it had to be a different beginning than the movie, that it had to be something more impactful and we arrived at that form. But it was decided very rapidly and I hadn't got a design for the adult character, so I didn't have the leisure to let the idea sink in. Thus, when that scene will reappear, maybe the design will have slightly changed…
Source/Translator: Platypus
Side Note from Yagami1211:
A nemu is a kind of storyboard in manga term. You decide the number of panels and where they're going and such.
....so that Sarada design represents his true feelings.
