Yoh Yoshinari (å ‰æˆ æ›œ, Yoshinari YÅ ) is a Japanese key animator,
storyboard artist, and anime director.He is recognized by the way he
represents volume and perspective using spheres, especially for smoke
and explosions, as well as his character action in general. He remarks
Nijitte Monogatari is one of his most important influences, with his
artistic style particularly visible in his design work for Tengen
Toppa Gurren Lagann, and Little Witch Academia.Yoshinari entered the
anime industry through the influence of his older brother, Kou
Yoshinari. Several of his early works were uncredited second key
animation and in-betweens for his brother during high school. After
leaving professional school, he applied to Gainax and Madhouse. Not
receiving a response from Gainax, he joined Madhouse. Due to a
misunderstanding, Gainax failed to process his application until three
months later. Not wanting to explain, Yoshinari told Madhouse "being
an animator is too hard for me", and switched to Gainax.At Gainax,
Yoshinari had joined just after the closure of Nadia: The Secret of
Blue Water. With nothing to do, he was immediately put onto visual
development for the film Aoki Uru. The brief turn around after Nadia
put Yoshinari on the fast track to becoming a key animator.
storyboard artist, and anime director.He is recognized by the way he
represents volume and perspective using spheres, especially for smoke
and explosions, as well as his character action in general. He remarks
Nijitte Monogatari is one of his most important influences, with his
artistic style particularly visible in his design work for Tengen
Toppa Gurren Lagann, and Little Witch Academia.Yoshinari entered the
anime industry through the influence of his older brother, Kou
Yoshinari. Several of his early works were uncredited second key
animation and in-betweens for his brother during high school. After
leaving professional school, he applied to Gainax and Madhouse. Not
receiving a response from Gainax, he joined Madhouse. Due to a
misunderstanding, Gainax failed to process his application until three
months later. Not wanting to explain, Yoshinari told Madhouse "being
an animator is too hard for me", and switched to Gainax.At Gainax,
Yoshinari had joined just after the closure of Nadia: The Secret of
Blue Water. With nothing to do, he was immediately put onto visual
development for the film Aoki Uru. The brief turn around after Nadia
put Yoshinari on the fast track to becoming a key animator.
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