Bringing Anime Backgrounds to Life - Riekeles Gallery
Photo courtesy of Riekeles Gallery
Written by Gill Princen
The popularity of anime is at an all-time high. Shows like Demon Slayer or Jujutsu Kaisen effortlessly conquer the hearts of anime enthusiasts worldwide. However, this wasn't always the case. In its early days, anime faced significant challenges breaking out of the domestic market. Pioneering productions such as AKIRA, Ghost in The Shell, and the enchanting works of Studio Ghibli paved the way for anime's introduction to a global audience. Times were different, and so were animation techniques, resulting in unique aesthetics that became the hallmark for an era that produced anime’s biggest cult classics.
One unique aspect of these productions is their backgrounds. Often hand-painted, these atmospheric backgrounds showcase incredible skill and craftsmanship. Despite being integral to the production process, these artworks were often overlooked and stored away without being valued as significant pieces of art.
However, one man made it his mission to preserve these masterpieces by creating high-quality reproductions of anime backgrounds. We spoke with Stefan Riekeles, founder of the Riekeles Gallery, about his work and passion.
AKIRA, cut no. 955, final production background Based on the graphic novel “AKIRA” by Katsuhiro Otomo. First published by “Young Magazine”, Kodansha Ltd. © 1988 MASH • ROOM / AKIRA COMMITTEE All Rights Reserved Image courtesy of Riekeles Gallery
What is Riekeles Gallery?
Riekeles Gallery specializes in background art from Japanese animated films. We publish high-quality art prints of iconic scenery from the heyday of hand-painted anime from the 1970s to the 2000s, such as AKIRA, Ghost in the Shell, Kiki's Delivery Service, Patlabor, Metropolis and, most recently, Heidi. We work directly with the artists who were involved in the production of the films, or with their archives. We are based in Potsdam, Germany and run by a small team of currently 4. I founded the gallery in 2021 to give my work as an anime historian and exhibition curator a new home.
What is the most interesting reaction from visitors seeing anime backgrounds out of context?
In the past, we have mainly organized larger exhibitions with the originals. For example, in 2022 we organized a large exhibition with the original backgrounds from AKIRA in Berlin. This exhibition will be shown at the Morikami Museum in Florida from November this year.
The most impressive reaction is always great amazement at the sheer amount of work and diligence that goes into these works. The extremely detailed depictions of cityscapes take your breath away. It's unbelievable how many brushstrokes are needed to draw a background from AKIRA!
Then, of course, there is the admiration for the compositional mastery and the wealth of ideas that emerge from these pictures. Younger visitors in particular sometimes ask me about the rendering software that the artists used for these pictures. When I then explain that it was all drawn with a brush on paper, they are sometimes truly horrified. Nowadays, it's hard to imagine creating such images without digital aids.
AKIRA, cut no. 84 and no. 1, final production background Based on the graphic novel “AKIRA” by Katsuhiro Otomo. First published by “Young Magazine”, Kodansha Ltd. © 1988 MASH • ROOM / AKIRA COMMITTEE All Rights Reserved Image courtesy of Riekeles Gallery
How important is the personal connection with the artists or illustrators for your work?
The work we do is based on my personal relationship with the artists. It is a matter of trust and mutual respect to be able to work with the original art of some of the most important anime. I have cultivated and built up relationships with the artists over many years, so that today we are in the fortunate position of being able to work with the most important art directors of the "second generation" (after Shichiro Kobayashi and his colleagues). All these artists are still painting with a brush on paper and are still very active. I am thrilled every time I visit them in their studios.
Are the original paper versions of these anime backgrounds well conserved or actually hard to find?
Most of the artwork we're handling had been kept in the personal archives of the artists for a long time. As such it had been reasonably well preserved. However, the artists often thought less about the cultural value of these works. They were much more concerned with the personal and emotional value of these pieces. Therefore, the conservation conditions under which the works were stored do not correspond to the ideas that a museum conservator would have for the storage of this type of material.
You can see clear signs of use and wear in all the works. However, I don't see this as a flaw. Rather, it shows that the works were seen as by-products of film production from the very beginning. It is only through the work of subsequent generations, including ourselves, that these things now gain their own cultural and ideal value.
Ghost in the Shell (1995), cut no. 240 and no. 228, final production background © 1995 Shirow Masamune / KODANSHA • BANDAI VISUAL • MANGA ENTERTAINMENT. All Rights Reserved. Image courtesy of Riekeles Gallery
What is the process for recreating these backgrounds? Do you always obtain the original drawings to scan?
All our reproductions are made directly from the original works. At one time or another, I have held these works in my hands. This is of course a privilege and a great pleasure for me and it also comes with a responsibility.
Our high-quality prints, called solegraphs, are produced by a print manufacturer in Japan. The original is first scanned at great expense and then the colors are corrected. The color correction goes through several phases in which test prints are repeatedly produced. The original is always placed directly next to the test print for exact comparison. Only in this way can we ensure that our solegraphs are very exact 1:1 facsimiles.
Our aim in this process is, on the one hand, to convey the beauty of the original drawing as well as possible. On the other hand, it is about preserving these pieces for posterity and making them available for study purposes. In the meantime, the first museum, the Manggha Museum in Krakow, has also acquired our complete portfolio of solegraphs to keep them in their collection of art prints. In this way, we can significantly lower the access threshold to these impressive works of art and thus bring anime history to life.
Photos courtesy of Riekeles Gallery
What makes a Riekeles print unique?
I think that our solegraphs and also our lithographic prints which are printed from the same digital data are particularly impressive because of the quality of the reproduction. The choice of motifs is of course also important. But our customers are most impressed by the quality of the prints and our service. Although we are a very small team, we try to answer every question and fulfill every special request if possible.
However, even with the best photos, the quality of a print on paper can only be shown online to a very limited extent. That is why we have decided to open a physical gallery where we can present all our products directly. The feel, for example, is an essential part of our quality.
Kiki’s Delivery Service (1989), scene no. 146, background art with production cel, background art by Hiroshi Ohno. Print produced by Riekeles Gallery, 2024. Licensed by Studio Ghibli. STUDIO GHIBLI™ is a trademark of Studio Ghibli Inc. © 1989 Eiko Kadono/Hayao Miyazaki/Studio Ghibli, N Image courtesy of Riekeles Gallery
You also have big news?
I am delighted that we will be celebrating the grand opening of our new gallery in Potsdam on July 13!
I would like to extend a warm invitation to everyone! We will be presenting a range of new products at the opening. And the following week, all customers will receive a twenty percent discount on our entire range in the shop. So it might even be worth traveling a little further to buy a solegraph!
Below you find an exclusive preview of upcoming Heidi prints, available on the Riekeles website soon.
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