Having developed a multitude of dynamic characters for series such as "Creamy Mami," "Kimagure Orange Road" and "Patlabor," famed Japanese character designer Takada Akemi puts her "essence" into her work. "Most of my works I've created with love," she said in an interview for the Studio Pierrot 20th Anniversary Retrospective. That ability to tap into the visceral human experience in a career that has spanned over 20 years has turned Ms. Takada into a bit of a global phenomenon. Akadot caught up with her between horse back riding and shopping at this year's Anime Expo at the Disneyland Hotel in Anaheim, California, where she graciously appeared as the Guest of Honor.

Glowing with quiet romanticism and an earnest fascination with the world and people buzzing around her, Ms. Takada sat down with us at a poolside patio table, festooned with full-size Disney statues, on a lazy Sunday morning:

Akadot: What elements of your designs are Western and what are more traditionally Japanese?

Takada: Anime in general isn't very European or Western or anything, it seems like it has no nationality. The interaction between people is very Japanese. The characters are very Japanese.

Akadot: In traditional Japanese theater people have specific roles. How do those roles pervade actual Japanese society and anime? In terms of contemporary Japanese culture or in terms of the historical perspective of the way Japanese people behave in contrast to more Western sensibilities?

Takada: It's more about parent and child dynamics or lovers rather than cultural conceit. The emotions of the parent-child relationship or lovers' relationship are very Japanese. In anime the interaction between people is very Japanese. The characters are very Japanese.

Akadot: How much of that is expressed in the actual character designs?

Takada: For the relationship between the people, in how they behave, it depends on the original story. In "Kimagure Orange Road," there's a love triangle, and so the story deals with romance, whereas in "Creamy Mami," it's more about family and how they feel about each other. Also it's about the crush stage in a relationship in which it's not real love etc.

Akadot: As far as technical elements go, what specific qualities make good characters? What technical aspects could distinguish good character design from bad character design?

Takada: Um, if I specifically say a certain type is bad, and another character designers read it, then it might not be good… (laughs). There are all sorts of people in anime, but for some reason all the girls look the same. Things like that aren't very good.

Akadot: If you were going to mount an exhibition of works by young character designers, what qualities would you look for in choosing the pieces that would be shown in the exhibition?

Takada: Art that makes you feel relaxed.

Akadot: Would you characterize your style as relaxed?

Takada: I would like it to be that way!

Akadot: I get that from your work. It makes me feel very serene. However there is a specific image in your exhibition here at Anime Expo that intrigued me, a drawing of Madoka from "Kimagure Orange Road." She looks straight at the viewer, arms crossed, a lipstick dangling from her hand, standing in front of a mirror on which she has just written "Sayonara." To me, that seems to evoke a sense of violence. Is there a violent element to your art in general?

Takada: There are times at which we can't forgive weak guys. Of course, there are also times at which we forgive them … for being weak.

Akadot: And you return to a state of serenity. To what extent have women's characters gained strength over the last twenty years? Even though they still may be depicted as frail, how has the female character grown stronger?

Takada: Well society has changed since then too, so now there are different types of women. But what I think is important is our ability to determine what we want for ourselves. I want to be able to draw women who know what they want, what they want to accomplish … to have those kinds of feelings. Madoka writes "Sayonara" because she can't forgive him.

Akadot: Actually this ties in specifically with what we're talking about. Madoka knows exactly what she wants in that instance.

Takada: (laughs) For this interview, the topics are very deep but the atmosphere is very casual!

Akadot: Yeah, well it's hard to plumb the depths of art with Disney characters all around. Let me tie that in - if you're talking about behavior being almost a focal point for anime, Disney characters, comparatively, rarely resonate with any emotion outside of the simple, "I'm sad, I'm happy" role.

Takada:That's what distinguishes Japanese animation - a quality that it's always had - a traditional quality.

Akadot: I am trying to segue into a discussion of breasts because breasts automatically sexualize a person. For example the main character, Noa Izumi, in "Patlabor" has a very small chest, but other characters have much larger chests. In what way does this affect the character? To what extent do you decide to give the character large breasts or not?

Takada: The characters are not defined by their shape, it's the inside qualities that shape their character. The art of character design is like creating a container for the soul.

Akadot: Then to what extent are you conscience of how large you are drawing breasts or does the cup size come naturally?

Takada: I definitely think about it. It's not just about size, though, which is a man's mentality. There is also shape and faces to deal with. The faces are part of the character design. The chest is also part of the character design.

Akadot: Do you notice that male character designers have less of a sensitivity to these subjects than women?

Takada: When men draw pictures, they draw them with their preferred size breasts and, so, they all look the same, which makes the character design boring.

Akadot: When you draw male characters, do you feel that you have a bias to express your preferences? To draw your ideal?

Takada: I do have a preference but I don't think that is enough for character designs so I stock up on other types of designs that reflect what I like. In my heart I like different types of men. For female characters, it's always a part of me from which I draw, but for male characters, it's what my preference is combined with a part of me.

Akadot: Do you ever model any of your male characters on relationships you have had in the past?

Takada: That's a secret!