skin and sweat particles

“Zashikiro” has two joints in its fingers. Then, he added touches to each piece one by one, as if they were oil paintings. This took quite a while.
On "Boo", he forgoes touch and uses only one knuckles. Harada believes that this will speed up the drawing process.
Having only one joints on the fingers is an expression that was frequently used in Japanese manga and anime in the 1960s and 1970s.
The character in "Boo" has the head of a teddy bear, but the lower body is depicted as a human. The structure resembles that of a human wearing a large bear costume over his head.
Harada also made sure to add dirt such as sweat and rough skin to the characters in ”Horizon Blue''.
In both ”Zashikiro'' and ”Horizon Blue'', Harada made sure to draw the sweat on women's skin and the sweat marks on their armpits and socks.
This was the case in 1970s Japanese and American films depicting labor unions and the poor. (For example, “Norma Rae (1979)”).
In the worker movies of the time, the characters were covered in sweat and mud, but they lived their lives to the fullest.
Harada worries that in recent years, as images have become higher quality and clearer, there is less representation of the sweat of living people.
Filmmakers in the 1960s and 1970s used grainy 16mm film to express the sweat of poor people struggling to survive.

"Kiga Kaikyo(Hunger Strait)" (1965/Director Tomu Uchida/Toei) uses 16mm to express the texture of human skin.
However, all of the movies that pioneering filmmakers had taken the pains to emphasize the grain of their image quality have all been digitally remastered and sterilized at the discretion of large corporations.