EX: Why is that?

TA: It's a simple reason, really. They fit my hand the best and I find them the easiest to control.

EX: Is there a story or a medium that you'd like to work in?

TA: What I haven't tried yet, I'm starting to learn. I can't tell you anymore. It's a secret. As for storylines, it's not like I want to do something like horror, so I'm happy with they way things are going now.

EX: Can I print that?

TA: Yes! I'd only have a problem with seeing it in print if I didn't mean it.

EX: So what's this about a new CREAMY MAMI?

TA: Well, it's going into preproduction now. I want to have a larger story. We're working on sponsors and doing negotiations.

EX: How do you want people to feel when they look at your art?

TA: I simply want them to feel happy.

EX: I know lots of people who went into the art industry because of your work. Was there anyone who made you feel that way?

TA: Not really, that I can recall. I just chose it as a place to work instead of trying to follow in someone else's footsteps. And there weren't many women in the anime industry then. It was unusual for someone to graduate from college and then go into the anime industry.

EX: Is the situation better for women in the industry now?

TA: (laughs) I don't really know since I work from home. I rarely go to the studio! But I think it's more common now for women to have jobs, there's more equal opportunity. But the animation industry is still such a specialized field, so it might be hard. I feel lucky in that I have been so successful.

EX: Have you ever thought about doing manga?

TA: Once upon a time, I did want to be a manga artist. But I didn't have a talent for storywriting and drawing so many panels. For me, it's easier to create a world in one piece of art that's high quality.

EX: Do you use a computer in your work?

TA: Yes, I use one.

EX: For what, exactly?

TA: Oftentimes I make collages out of illustrations and blend them together.

EX: How do you design characters that already have a design (manga characters, etc), like with URUSEI YATSURA or ORANGE ROAD?

TA: Well, designing characters for manga and for TV is very different. For TV, the most important thing in design is the size proportion sheet. That becomes the basis of the anime, as opposed to the manga designs. Also, it's important to design characters one by one so there's no discrepancies or contradictions in the whole.

EX: For the MAISON IKKOKU characters designs, did you work from the manga designs or the first set of anime?

TA: Of course, I worked from the original! When the director changed, the entire direction of the anime changed, so we all wanted to go back to the original designs.

EX: What are your hobbies?

TA: I like to do a lot of outdoor things, like horseback riding, scuba diving, and sightseeing.

EX: Can you do a lot of riding in Japan?

TA: Yes. I go out with other people and we ride together. They always wind up saying "ow" at the end, but I'm fine. No problem. (laughs) But it's important that you have a smart horse or it doesn't work out so well. After all, horses have a great memory and remember 70% of what they learn.

EX: So have you always liked horses?

TA: I've always liked animals, so yes, I did. But they really only became special to me after I started riding.

EX: And when was that?

TA: A little over four years ago. Or maybe five. Five, I think.

EX: So will the new Creamy Mami have a horse?

TA: Probably not. They're too difficult to animate. And after all, many animators have probably never even seen a live horse. (laughs)

EX: What would you like to say to your fans around the world?

TA: Well, since I'm 100% Japanese, my impressions of people can be communicated though my work. I hope that everyone enjoys and feels something when they look at my art, and I hope that everyone will continue to support me and my work. Thank you!