Pokémon legend Mitsuhiro Arita discusses his first MTG card

As a fellow artist, I can truly relate to Arita’s journey of growth and adaptation. Just like him, I too have found solace in the vast expanse of YouTube tutorials when tackling new subjects. It’

As a devoted fan, I can’t stress enough the profound influence artist Mitsuhiro Arita has exerted on trading card games, particularly on the one we all know and love: Pokémon. More than three decades ago, as part of the original design team for the Pokémon Trading Card Game, Arita played a pivotal role in shaping the appearance and ambiance of the franchise’s inaugural 150 creatures. Moreover, he was responsible for creating the artwork on some of the most legendary Pokémon cards, images that resonate globally – among them, early depictions of Pikachu and Charizard.

Since then, Arita has consistently been among the most productive illustrators in the realm of Pokémon Trading Card Game, occasionally lending his artistic talents to other card games like the Shin Megami Tensei Trading Card Game, Monster Hunter Hunting Card Game, and even the Power Rangers Collectible Card Game.

For the first time ever, Arita’s artwork will grace a Magic: The Gathering card as part of their newest expansion, set within the realm of anthropomorphic animal characters called Bloomburrow. While his art will adorn only one card in this collection, it receives a unique, full-art presentation for a new character named Lumra, Bellow of the Woods. This towering elemental bear underscores Arita’s meticulous style, which has earned him a place among the most admired trading card game (TCG) artists globally.

Prior to the formal launch of Bloomburrow’s tabletop game on August 2nd, TopMob pre-shared questions with Arita. Hereafter, you will find his expertly translated responses, slightly adjusted for better understanding and brevity.

Could TopMob’s project involve creating a unique Magic card, deviating from the usual processes in card games you’ve previously collaborated on?

In Japan, it’s routine to have extensive reviews at each step of the artwork creation process, especially when maintaining character consistency is crucial. I’m accustomed to making modifications throughout the entire process. Typically, you receive comprehensive feedback for refinements around the 60-70% mark, allowing adjustments before delving into the final details. However, with the project Magic, the most rigorous reviews occurred during the conceptualization phase. After that, there were no more corrections made, so I understood the importance of ensuring everything was perfect from the outset.

Can you describe your process in creating the art for this Magic card?

As a gamer, here’s how I’d put it: Matt Stewart handed me some sketches to serve as my guide. Just like any other project, I started with a rough draft, which he approved. Next up was creating a detailed pencil sketch that I scanned afterwards. Finally, I brought the piece to life using Photoshop and Painter for the final painting.

As a passionate gamer, I’ve always admired the unique and intricate world that Magic: The Gathering presents. Before I was given the incredible opportunity to illustrate a card for this legendary game, my personal opinion of its art style was one of awe and respect. It’s a testament to the creativity and talent of the artists who bring this magical universe to life on each and every card.

Over the years, I’ve developed a fondness for the ambiance of high fantasy, and I’ve longed for a chance to create artworks in its distinctive style.

Can you describe Magic’s reputation in Japan, compared to other trading card games?

In Japan, trading card games (TCGs) derived from popular manga, anime, and video game series, catering mainly to collectors, hold significant popularity. Meanwhile, card games such as Magic: The Gathering, known for their robust core gameplay, might seem less prominent in comparison. This isn’t exclusive to card games; any tabletop or face-to-face games are seeing a decline. I believe this trend is largely due to the increasing dominance of smartphones, which consume more and more of our spare time that would otherwise be spent playing such games.

For Magic or in general, is it hard transitioning your art style to other card games?

When creating art, I often try to imagine myself as a fan, asking questions like “What Arita artwork would I personally appreciate?” Each project presents its unique difficulties and requires adjusting my vision accordingly, but I didn’t intentionally strive for anything drastically different. Over time, you can observe the diversity in my work by browsing through my blog posts on my website.

Examining Arita’s collection of artworks, it’s striking to see that his early work on the original Pokémon TCG base set appears more straightforward, less ornate, and essentially flat compared to his contemporary creations. For example, the evolution series he designed for Charmander, Charmeleon, and Charizard predominantly depict the creatures in profile view, giving off an impression that’s unmistakably distinct from typical cartoons.

As someone who grew up with Power Rangers and Pokémon, I can confidently say that Arita has evolved significantly as an artist over the years. His work on the Power Rangers Collectible Card Game may have been reminiscent of the television show’s stills back then, but his current artistry is far removed from that. Today, Lumra and many other characters he creates seem to inhabit a richly detailed and immersive world. It’s fascinating to witness the growth and transformation in an artist’s work through their life experiences.

His depictions of Pokémon and Magic characters seem incredibly lifelike, almost as if they could be real photos, except for the fact that both games revolve around fictional and fantastical elements. His artwork creates action that leaps from the page or card, imbuing his illustrations with a near-tactile density, making each card feel distinct and special.

Have your designs graced numerous card games throughout the years, leaving one wondering why they hadn’t been part of Magic: The Gathering until recently. Are there any other games or brands in the industry that you haven’t collaborated with yet but aspire to work on for the first time?

I’ve always been eager to design card games with magical themes, so I was thrilled to be part of this project. Previously, I worked on Culdcept and would gladly do it again if there’s a sequel. This job marked the beginning of my career where I could fully immerse myself in creating a series of stunning high-fantasy artworks.

How important is understanding a new game before designing art for it?

It’s crucial to recognize that the viewpoint of die-hard fans may not be entirely unbiased. Introducing an outsider’s perspective could foster innovation and advancement. Even though I’ve been deeply immersed in [Pokémon] for a considerable period, my work continues to feel new and exciting to fans. I believe that having several product lines with different styles has contributed to its evolution and progression over time.

To develop characters for a fresh client like Magic, how do I adjust my methods to align with the unique lore and motifs that define its game world?

When brainstorming about a fictional creature for my research, I imagine it as though it’s a real-life being. If it possessed specific traits, what would its appearance be like? What kind of habitat would suit it best? How might its behavior differ from known species? Throughout this process, I never forget to consider the visual appeal and impact of my creature’s characteristics.

How much did you have to learn about Magic before working on your first Magic card?

To maintain a sense of novelty and creativity in my work, I usually steer clear of examining other artists’ creations. For this specific project, I followed my usual routine – there wasn’t much variation in the approach I took compared to any other project.

Arita’s artistic career took a surprising turn, for his initial professional role as an artist began with the creation of Pokémon TCG, and before this opportunity, he possessed limited formal education in art and sketching.

Have you always honed your artistic skills on your own due to an innate talent developed at a young age? If so, did you later pursue any structured art education as your artistic journey progressed?

I recently participated in sumi-ink painting lessons at a cultural institution. Observing the teacher’s live presentations, I gained insights into how water and pigment interact within the brush and the methods employed to manipulate them. Additionally, I completed each of the five workshops offered by the Liquitex School, which is dedicated to acrylic paint. There, I delved into the history and unique chemical characteristics of the medium.

Discovering that knowledge proved invaluable when I embarked on my watercolor and other liquid art ventures later. You see, my formal art education was somewhat scant, leaving me with minimal exposure to traditional art supplies. Whenever I dabbled with a fresh medium – be it watercolor, opaque watercolor, acrylic, or oil paint – I found that delving into the works of artists who preceded me significantly expanded my comprehension.

Apart from formal training, how do you continue learning at this stage in your career?

When I’m grappling with new subject matter, I turn to YouTube and get studying.

As Arita’s professional journey ventured beyond the realm of Pokémon Trading Card Game, he found himself needing to adapt his creative approach to accommodate fresh narratives, characters, and universes. These novel assignments not only introduced him to diverse audiences but also set forth new expectations. For an artist primarily self-taught like Arita, this transition presented a distinctive challenge: pushing the boundaries of his familiar territory within Pokémon and growing in ways that might initially feel uncomfortable.

Is it necessary for you to consciously strive to develop and experiment with various artistic styles, or do these emergent styles arise organically as a result of the diverse projects you receive while working on multiple games?

Instead of finding it burdensome, I genuinely prefer and find it easier to adapt and embrace fresh opportunities and challenges. I firmly believe that without a high degree of concentration, I won’t manage to captivate others. One major factor influencing my evolving artistic approach has been my extensive experience working on diverse types of projects across various fields throughout the years.

How do you handle feedback and critique from fans and colleagues?

It might seem essential to develop a unique, unified style and recurring themes if you aspire to become an established artist, but surprisingly, I haven’t faced much criticism for not sticking to that approach. Instead, my audience seems excited about joining me on this creative journey, which I greatly appreciate. Interestingly, they still seek out some of my work, even when it doesn’t align with the rest of my body, purely because it’s mine. I am deeply grateful for the open-mindedness displayed by my patrons and fans.

Could you share a memory when feedback that helped improve one of your works particularly stood out to you?

The idea that you don’t have to draw things as they look in real life really freed me up as an artist. But, for a while, I just couldn’t get it!

Mitsuhiro Arita’s debut Magic card will be included in every Bloomburrow booster pack, which includes both Play and Collector Boosters, starting from its release on Aug. 2. The highly sought-after version of this card, featuring a raised foil borderless treatment with unique gold accents, is only available in Collector Boosters.

Magic: The Gathering Bloomburrow Collector Boosters

Prices taken at time of publishing.

• $256

  at Amazon

• $280

  at Best Buy

• $280

  at GameStop

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2024-07-31 18:19