Naoyuki Onda

[Twitter 1](https://twitter.com/i/user/110221339) | [Twitter 2](https://twitter.com/i/user/815589398720847872) He joined studio Bebow in 1982, where he was referred to by [Masayuki Yagi](https://anilist.co/staff/143406/), a senior of his at Engaru High School. [Yoshikazu Yasuhiko](https://anilist.co/staff/97220/) and Bebow’s founder [Tomonori Kogawa](https://anilist.co/staff/105957/) were also graduates of the same school - the latter whom he would study under after joining the studio. There he made his debut as a key animator on [Seisenshi Dunbine](https://anilist.co/anime/929/) in the following year. He left Bebow in the mid ‘80s and joined Pack, a small studio established by [Hiroyuki Kitazume](https://anilist.co/staff/106775/). During this time he was a follower of Kitazume’s, who has said that Onda was the one capable of replicating his drawing’s the best out of the people who worked at studio Pack. After that he joined [Atelier Giga](https://anilist.co/staff/106775/) and worked there until becoming a freelancer. His drawings feature western-influenced delicate and sharp linework with an excellent grasp on three-dimensionality. His character art in particular is highly praised both inside and outside of the industry, which he gets to brandish whenever he works as an animation supervisor. He has stated that he prefers character design and supervision work over working as an animator himself. In 2003, he took part as a key animator on [Production I.G](https://anilist.co/studio/10/)'s animated segment in Quentin Tarantino's "Kill Bill: Vol. 1" directed by [Kazuto Nakazawa](https://anilist.co/staff/101474/). He is also a huge fan of shoujo manga since a young age due to his older sister.