This is the article from the article in Italian Magazine for anime-manga fan and comickeres, "Scuola di fumetto"

I answered these questions in English. Because the questions are detailed, this article covered a lot. I think it is interesting for you...and some answers might help amateur comic artists. So I put them in here!

Q)In the comfortable home of Shojo Manga (Japanese girl’s comics) there’s always a place for new acquaintances. Published by Star Comics on late September, comic artist Nao Yazawa is coming to be a part of young Italian girls’s heart with Wedding Peach manga. In this exclusive interview she tells us who she is and, most of all, what means being a comic artist in Japan.

I’d like to start from the misunderstood of your name. Many consider you as a man. But, in fact, it is not easy to put your manga in a precise category (Shojo, Shonen, etc.). So tell us: what kind of manga does Miss Nao Yazawa draws?

A)It is interesting you said so. Actually, my carrier as a manga artist started as Shonen manga-ka. I might be better to say Jido (children) mangaka, because my debut work appeared in Korokoro-comic (a magazine for young boys, it has Pokemon, for instance). Then I had drawn some Shonen manga in Korokoro comic. Back then; I didn’t care the magazine where I draw as long as it’s for boys. I preferred Shonen manga to Shojo manga since I was little.

It is difficult for me to categorize my works. For instance, Wedding Peach is obviously Shojo manga. I did my best to make it be loved little girls--, but it’s not typical one. It has some factors from Shonen. One of the reasons is the genre: “the fighting magical Girls”. But some parts came from my origin, I think. Actually I enjoyed very much to draw fighting scenes.

Q)How and why you decided to become manga artist? Do you want to tell us your early days as mangaka and as Yumi Iguchi’s assistant?

A)I had a hope to become a manga artist since I was little, although it was very vague idea. I’ve never thought I could, actually. But as you guess, I loved (and love) to draw manga. When I was an undergraduate student, I got a part-time job as an assistant of manga artist (her name is Yasuyo Shimizu, ladies comic artist).  The job was very tough (I used to work until 7:00 in the morning and then go to college to attend my class from there), but it was very interesting experience. And almost all “my colleague” posted to Magazines’ rookies-competitions to become manga artist. They impressed me, and naturally I also used to do, and go to a publisher (Shogakukan) and ask the editors opinions. Then I got a chance of debut.

After debut, there are not many chances for newcomer. So I sometimes worked as an assistant for many artists. Some of them were just one time, but I’d worked for Yumi Iguchi and Yasuyo Shimizu for a while. And in those days, the magazine (Pyon-Pyon, for little girls), which Yumi Iguchi drew in, was very new, so the editors of it were looking for new manga artist. As I told you, I didn’t have much room in Korokoro because I was a rookie, so I moved my main magazine. That’s the first time I drew Shojo manga.

Q)As many other mangakas, I imagine that also you has been touched by God of manga Osamu Tezuka or, maybe, influenced by the enchanted ’70 Shojo manga trend. Which works and which artists contribute to make you  a mangaka?

A)Many. Of course Osamu Tezuka, I think no one can keep out his influence as long as you are a Japanese manga artist. I don’t think he was perfect, but still he is the greatest pioneer in the manga world. Shotaro Ishinomori, Go Nagai, Tetsuya Chiba, I loved their works (manga and anime) since I was very young.  And Katsuhiro Otomo, I was very shocked when I read his work at first time. Everything was so new and cool. His vector is quite different from mine, but I must say I influenced by his works.

Then, as I said, I preferred Shonen to Shojo, but I read some. Especially I was impressed with Moto Hagio and Keiko Takemiya’s works. They were?are so artistic, very different from Shonen manga.

Q)Do you want to explain to our readers what really is a “Shojo Manga”? Which are its structural peculiarity? Which are the secrets to make a good Shojo manga? (in this case you can also talk by your personal experiences).

A)I don’t know. I’m a person who want to know “the secrets to make a good Shojo manga”,　if there are exist.

Shojo manga has various stories and themes nowadays, so if I define Shojo manga, maybe it’s?“the manga which is draw for girls” ?  (but good Shojo manga can be enjoyable for boys, too ) I’m not sure.

Q)What it is changed on making Shojo today as regards the ’60-’70 trend? Too many artists? Or it has been the interference of Television and Animated series (or trendy drama)?

A)The interference there is. There are many things that interfere?mobile phones, video games, for instance.  Because I’m not editor, I can’t say certain things though. (In addition to that, I don’t have big knowledge about Shojo)  In my impression, manga genre has expanded so wide, so maybe not many people need Shojo anymore.

Q)The world of Japanese comics is in fact a strong industry. As manga artist, how do you put yourself to it? Does it influence your choise? Or do you consider yourself as a free artist?

A)I don’t think that it influences my choice. Although manga industry is very strong as you said, but the artists who receive big benefit from it are quite a few. I just thought it was nice if you can make a hobby into a job.  Of course if I can get big profit, it will be great!!!

Free? Yes, definitely.

Q)How is a normal day of Nao Yazawa struggles with the editorial staff (and editorial stuff)?

A)You mean fight with editors? [she laughs] Recently I didn’t do ordinary Japanese manga work, so I didn’t have such a chance for a while (the manga I did for US in 2003, the publisher (PLEX) is not ordinary one). When I draw for Shogakukan, we-my editor and I had many meetings. He checks my synopsis, name (I don’t know if you know...?it is manga jargon, something like storyboards?)  and we discuss about them. It was tough time, but I used to get good suggestions sometimes.

Q)I’d like to talk about Wedding Peach, the manga that’ll make you popular to Italian manga fans. Do you want to tell us everything about it? How the project is born? And, what’s about the animated series?

A)At beginning, Tomita-san (original idea) brought the basic idea to Chao (Monthly magazine), then the Chief Editor of Chao chose me as an artist for the project. He said the reason was my origine. As I told you, I started my carrier as an Shonen manga artist, so I had some advantage about action than other Shojo manga artist (but it meant I was  not good at drawing romantic scene as well as others, so I had some difficulties when I started).

We (Tomita-san, editors, and I) had many meetings to make details and outlines of the story. Story was made like this, first, Tomita-san, editor and I had a meeting to make a plot. Secondly, he wrote a script, and lastly I made a manga based on the script. Because he let me make a manga very freely, I really enjoyed the working. ( from middle of the series?because I chenged his script so drasticly, I think ? he gave up giving me a script. Instead of that, he made some notes for me to show his ideas).

About anime series, I hardly touched it. When I was asked, I did some work for anime  (it was character design, mainly. Kazuko Tadano and Anime staffs made anime-Characters usually, but some of them were my work. Sandora and his fellows, Igunis, Ranpo, for instance). I enjoyed anime series as an audience.

Q)And why just a wedding dress heroine?

A)It’s Sukehiro Tomita’s  (original idea writer ) idea. To give them distinct character and get interesting of very young girls. We were thinking to make animation from the beginning of the project, so the series aimed young girls. “Young girls must love a wedding dress”, that’s "man’s idea", I thought. But obviously he was right.  Young readers loved wedding dresses very much in the manga.

Of course we had to made a “reason” for that. The wedding dress they wear has the power getting  together the love across the globe.  Then they get enough power to transform “fighter angels”.

Q)There is a specific genre of tell that you prefer? Your reading does influenced you on making manga?

A)Not particularly. I preferred Shonen to Shojo, but now I read all genres. Definitely manga I read influenced my manga both story and drawing, I think. Some of them are unconsciously. You can’t avoid influence from everything, not only manga but also many other experiences. 

Q)There is a manga of yours that you love much more? I note also that you love to joke about yourself. You like to be ironical about on your comics...

A)You mean my work I love most? If that is, it’s very difficult. I have some my work I hate (I can’t stand the poorness!!!!), but… Well If I choose, “Shinku chitai” is my favourite. It is very different from Wedding Peach. One of the reason is it is completely personal work, not for commercial. The work is made for adult audience (like me?it’s a manga I want to read). And I can’t say the skill and story is the best, but it my precious one. Drawing it is simply pleasure for me (it's not so easy work, though). Just because I want to do it. In a way, I think you can say "essential of mine(selfdom?) is in the manga". I put myself more directly in "Shinku chitai" than commercial manga like NOZOMI and WP. Of course I do it in such commercial works as well, but in that case, I always sugarcoat them. Sometimes you might see real--or naked my mentality in Shinku Chitai.  Showing myself--that is a kind of embarrassing for me, but it's pleasure at the same time. Is it strange? I don't know. [she laughs]

I like joke. Joke, comedy, slapstick and irony…anything funny. In this case, it was to cover my embarrassment. Wedding Peach is sweet, sweet, sweet.... you know. Yes, I know I made it, but it’s still embarrassed me a little.

Q)Usually, how do you face up the making of one of your manga? Technically speaking, do you wrote the stories? Do you prepare the storyboard? Which instruments do you use on working?

A)It’s difficult to say in short… let me see. First, I made synopsis and characters. It’s fun and interesting that you image lot things freely. I like this part. If I can get nice idea and characters, the process of making manga will be easy! And make a lot of note about story and lines. Then, I construct a story from the notes. Sort out the facts, fix many contrarieties and holes. From around this, things are getting difficult.  And storyboard?I polish it again and again (this is the most difficult and important part, I think). When storyboard finished, move to pencil sketch, and inking…

About instruments, they are basically not so special. Many of them are drafting tools.

Pencil (mechanical pencil B and 2B, 0.3 and 0.5 leads), line pens (0.05-1.0mm), marker pen, G-pen (for characters) and Maru-pen (for backgrounds and fine lines) blush pen, black Ink (Chinese ink), white ink (Luma) Menso-fude (fine blush for white ink) Rulers (straight, covered) Lettering guide (circles and ellipses), screen tone and tone knife.oh, and toilet paper. It’s useful, actually.

Q)In your biography there is a name: Mami Tachibana and Mandrill group. What is it? And why do you spoof your Wedding Peach manga? How much is important doujinshi on your job?

A)She is my friend. And she is one of manga artists who drew wedding peach side stories in little children’s magazine. (There were some manga artist drew WP story to promotion). She was a big fan of Wedding Peach(especially anime), so we are used to talk about it with phone every week. From the chat, we had ideas to make some funny stories in manga. It was just a fun, kidding. Mandrill is made just for the activity. (It’s a play on ward; there was FRILL from Wedding Peach, the group that was consisted by voice actress. So we made the name, FRILL-DRILL-Mandrill).

The reason we spoof WP? Just a fun. We love the series very much, inclusive of some funny contradictions (tsukkomi dokoro, in Japanese) it has. We really enjoyed making it, with a big laugh.

Mandrill is just a joke. But some dojinshi is different. When you draw commercial manga, you can’t make it free. You have to think about target, obey magazines line, and accept editor’s opinion. In dojinshi, you can do anything you want. I don’t know if it is good or not, but in a way, Dojinshi can be shown real ?or naked myself. Sometimes it’s fed up readers, though.

Q)In the actual path of manga and manga artist, there is something or someone do you really appreciate? There is a manga artist that you would love to be?

A)Osamu Tezuka, as I said before, although I think he wasn’t perfect, he was really genius. His way of description human being is brilliant. And Shotaro Ishinomori, I was really into in his works during my childhood, and got deep influence from his works both in conscious and unconscious. In recently artist ? there are many talented artists so difficult to choose ? I admire Naoki Urasawa. His drawing and the way story telling are great. I like his background! (I wish I could do like him…!)

Q)What are you working now? Have you ever think to draw manga with adult-style?

A)The manga I’m drawing now is, I told before, Shinku chitai. It’s with adult-style because the reader of it is me. It is just a manga I want to read and draw. Actually I don’t care the genre of manga I draw. When I started Wedding Peach, the genre is unfamiliar for me, but that is one of the reason I enjoyed the work. It’s interesting to do something new, isn’t it?

And I’m preparing for my short story collections. It collects my works they were not made in paperback in Japan, and will be published in Germany (not in Japan, it surprised me!) All I have to do is made cover illustrations and check original drawings. Precisely, it is the work I’m doing now.

Q)Which suggestions would you get to our aspiring comic artists who read our magazine?

A)Just draw. Draw many works as practises. That’s the simplest and shortest way to get improves your skill. And examine it. Do you make your characters attractive? The story is impressive? How’s the camera works? Making manga is something slimier making a movie, and in manga, you have to do all the works by yourself. You can be a scenario writer, a cameraman, a director and actors….

And when the work finished, show it to your friends to get their opinion. And of course if it is possible, ask editors’ one. The opinion from professional must be help.

And there is one more. I don’t recommend drawing something trendy. If you are a professional, you have to do sometimes?your editor might ask you make something trendy one. But you are an armature, draw what you want and the only you can do.

BOX.

NAO YAZAWA: SOMETHING ABOUT ME

 ≪I was born and raised in Tokyo. Then I moved to Kawasaki-city in Kanagawa, the city is located in near Tokyo. I’m living with 3 cats. They are all mixed and get fat too much?oh yes, it’s my fault!≫

≪My school score was not bad, except for gymnastics. *Laugh* If I was good at sports, I didn’t draw manga at all! I was a child who read something always. (Or drawing manga)  I love books, it helped me to make stories≫.

≪In college, my major was history. It has many real human dramas, and I was thinking to draw historical manga, that the reason I chose it. Did I? Yes and no. I draw Chinese historical manga and posted it to a rookie competition, but it failed. Since then, I don’t have a chance to draw like it?but I will do it l in some day≫.

≪My life behind job ?well, just idly. I’m really lazy person.  Let me see?what I do? Reading books, teasing my cats, watching video and TV…≫.

≪I’m such a person, but I still have passion! It’s to manga. It is my job, but at the same time it is my hobby and (maybe) the reason of living. I want to draw a work I can be really satisfied in future. And show it to the editor I respect. And if he says, “You did a great job” I’ll be really happy!≫

≪Now I’m drawing Shinku-chitai, it’s a long story. After the work finish, I’d like to draw some short stories for adult. I have a couple of ideas in my mind. If there is no punisher that is interested in it, I’ll make them dojionshi, like Shinku Chitai.  And I also have an idea of long story it set in legend of China (It’s Shojyom something like WP). Of course if I get order to draw something like Wedding peach, I’m willing to do it. Actually l did the last year in US, a Shojo short story≫.

≪Well in short, as long as I can draw manga I’m happy, I think. And I’d like to have chances to meet or communicate with foreign fans?Italian fans, for instance. That’s the reason I have English website, nevertheless my poor English! I wish I have more Italian visitors; I don’t have many so far≫.

From "THE COMIC ARTIST WITH WEDDING DRESS"
By Mario A. Rumor/ Magazine "Scuola di fumetto"(School of Comics) No.26