From October 1st - 16th, renowned animator and illustrator Tatsuyuki Tanaka, a key contributor to Akira, will feature all new original sketches and illustrations in this exclusive US solo show, showcasing his signature cyberpunk, sci-fi style. Tanaka will be in attendance on opening night, where he will mingle with fans and talk about the work. Tanaka will also host an exclusive drawing workshop where attendees will have the rare opportunity to dive into the creation process and art techniques of this animation industry giant. 

More info can be found here:https://www.gallerynucleus.com/events/933?more_info=1 

Akira (1988) / Cel x 2 + Douga x 1 / 240mm x 350mm

Joker accelerates towards Kaneda in their iconic game of chicken during the opening bike battle of ‘Akira’.

Akira (1988) / Key Master Setup (Cel x 1 + Original Oversize Background) / 250mm x 355mm

Kaori reacts to news about Tetsuo’s abduction by Neo Tokyo military.

Akira (1988) / Production Report / Studio Footage

Studio footage depicting Akira’s painting and colouring process. The film used an unprecedented palette of 327 colours, due to so many scenes being set at night.

Akira Production Report (1988) / Line Tests / 24fps

Amazing line tests from the ‘Akira Production Report’ documentary.

Akira (1988) / Key Master Setup (Oversize Cels x 5 + Original Background) / 285mm x 520mm

Neon sign shot from the opening battle between the Clowns and Capsules.

Note: One of the fun things about seeing the production art itself is being able to see parts of the film that were obscured as the cels were laid atop one another. The windows in the foreground of this shot are a good example.

Akira (1988) / Oversize Cels x 2 / 285mm x 355mm

Neon sign from the opening battle between the Clowns and Capsules.

Akira (1988) / Cel / 255mm x 350mm

Building and signage from a shot in the opening battle between the Clowns and Capsules.

Akira (1988) / Cel / 240mm x 350mm

Tower block used in the background of a neon sign shot in the opening battle between the Clowns and Capsules.

Akira (1988) / Cel / 240mm x 350mm

Skyscraper cel used in the creation of a neon sign shot in the opening battle between the Clowns and the Capsules.

Akira (1988) / Original Background / 250mm x 350mm

Uplit skyscraper background used in the creation of a neon sign shot in the opening battle between the Clowns and the Capsules.

Akira (1988) / Panning Genga x 3 / 275mm x 385mm

Planning drawings used in the creation of the famous neon sign shot in the opening bike battle.

Note - This complex piece is comprised of three stapled genga, including roughs on the front and back.

Akira (1988) / Oversize Douga / 280mm x 415mm

Planning drawing used in the creation of the iconic neon sign shot from the opening bike battle.

Akira (1988) / Planning Cel + Genga / 240mm x 350mm

Planning drawing used in the creation of the iconic neon sign shot from the opening bike battle.

Note - Various sketches across the piece show the animator’s thought process in creating the shot. The six ‘lava lamp’ sign sketches on the left and misspelt Fender-inspired ‘Fruit Shower’ sign we’re designed flat, before being built into the wider image in perspective. 

This is that it’s all that’s left of the ‘walking sailor girl’ hologram sign. She was created using a delicate airbrushing technique and has largely disappeared from the cels due to the way the art was once stored.

Akira (1988) / Key Master Setup (Cels x 9, Original Background + Genga x 2) / 250mm x 350mm

Tetsuo uses his powers to shield Kaneda and himself from SOL’s cannon.

Note: This is my favourite shot in the entire film. It’s also one of the most complex, comprising of nine separate layers of animation.

Akira (1988) / Production Report / Studio Footage

Studio footage depicting the stacking and shooting of cels from three separate ‘cuts’ of Akira. 

Akira (1988) / Cel / 240mm x 350mm

Kaneda lands after launching off an exploding ramp to escape Tetsuo’s telekinetic powers.