Some things he learned about painting

When Harada was in elementary school, he was asked to sketch a nearby park in his art class.
Harada asked his art teacher, Hayakawa, if he could change the scenery a little, and received permission, so instead of copying a single landscape as is, he combined several nearby landscapes into one frame.
(This is Eisenstein's one-frame montage.)
Hayakawa praised Harada's drawing, but his classmates said, "That's unfair! Our teacher told us to copy the scenery, so we did as we were told!"
Hayakawa told Harada, "You can change it however you like. That's what we call a drawing."
This was Harada's first experience with layout.

In his 20s, Harada learned a lot from his teacher, Kenzo Koizumi.
One of them was that animation should be drawn in "intermediate poses that give a sense of gravity" rather than "linear, stimulating poses."
Koizumi told Harada, "It's easy to draw a 'cool pose,' but what's difficult for beginners is a pose that's in between various actions. To depict life and drama, you need a pose that expresses that in-between."

Koizumi also said,
"Generally, when people look at other people, they look at their eyes first. It's the same in drawings. So you should never draw 'eyes' roughly. You should always draw them carefully."

Koizumi also emphasized the importance of the rhythm of the pencil lines, which are interrupted here and there when drawing. In Japan, this is expressed as having "taste."Koizumi also taught Harada to draw every picture as one complete image, rather than cutting corners in an assembly line, when working on animation, which requires a large number of pictures.

Harada also learned a lot from Toei Doga works. One of them was that "natural phenomena should never be omitted."
For example, in the old days of Toei Doga, it was traditional to carefully draw waves and fire, and even fragments of rocks in great detail.

credit:Toei

In this way, Harada's works inherit the teachings of his predecessors.