Graduate Interview | Kuronika: Building Highly Flexible Models with an Engineer's Mindset

What inspired you to start learning Live2D? Why did you want to study it?

I have always loved anime-style content, including games and animation. I had seen Live2D bring a single illustration to life a long time ago, and I was always curious about the principles behind making a static image move.

Then, when I started learning to draw two years ago, I happened to see an advertisement from SODAART and thought I would give it a try. That was how I began learning Live2D.

Did you have a particular goal when you first started learning Live2D?

I did not set any grand goal. I simply wanted to understand how Live2D works. At the time, I hoped to learn enough basic rigging skills to make my own drawings move, and that alone would have made me very happy.

After starting the course, what was different from what you had imagined?

Many parts were more fun than I expected, but many were also more time-consuming.

At first, I worried that I would not be able to keep up because I had little art training and did not consider myself especially patient. To my surprise, however, both the classes and the actual rigging were very enjoyable, and I successfully completed everything in the end.

What was the biggest thing you gained from the modeling course?

Rigging technique was certainly one of the biggest gains, but it was not the only one. During the course, I also gained a great sense of accomplishment, met many new people, and learned ways of thinking that I can apply not just to rigging but to other work as well.

Which lesson left the strongest impression on you?

My favorite was the second week. That was when we began making a VTuber model in earnest, and it was the first time I saw a character I had worked on blink in response to the camera.

At that moment, it genuinely felt as if the character had come to life. It was deeply rewarding and made me realize for the first time that I really could turn a static illustration into a moving character.

Was there any memorable advice from an instructor or teaching assistant?

There was a great deal. One recent example that stood out was during V8, when teaching assistant Honghong shared many methods for checking a model on my own.

Because I do not come from an art background, aesthetic judgment has always been difficult for me. With a systematic inspection process, even a beginner like me can first identify areas for improvement without constantly needing to ask someone else. That is an extremely practical skill.

What is the greatest benefit of having teaching assistants review your work?

One important reason I chose to take the course rather than simply buy prerecorded online lessons was the live interaction with the instructor, interaction among classmates, and direct feedback from teaching assistants.

When studying alone, it is easy to feel that you understand something, even though there are still many areas where professional feedback is needed. Looking at your own work, you may think, "I did a great job," but a teaching assistant can immediately spot many things that could be improved.

I think the most dangerous part of learning a technical skill is not lacking knowledge, but not knowing what you do not know.

Which part of rigging do you enjoy most?

I enjoy working on facial expressions most. A character's personality can only come through when the expressions are done well, so I am always studying how to make them more vivid.

I try to give every model I make a complete range of expressions, including sticking out the tongue, asymmetrical mouth shapes, VBridger-related expressions, and linked movement among the facial features.

Are there any rigging details you are especially particular about?

I have an almost inexplicable insistence on clean rigging logic, including the planning of warp deformers, hierarchies, and parameters.

Because I come from an engineering background, I feel very uncomfortable when a model becomes difficult to manage. I want the model's entire logic to be clear. If that logic is not organized, the work is hard to reproduce, and problems are much harder to analyze, solve, and explain.

I am also committed to giving models a high degree of flexibility so that users can adjust them to suit their own preferences.

What is the hardest part of rigging?

The final stages are the hardest. As parameter keyforms and deformations accumulate, the computer becomes increasingly sluggish. It is especially noticeable with highly detailed PSD models: RAM usage can easily peak, and the application may even crash.

Beyond the hardware burden, the real challenge late in the process is the model's growing complexity. A change in one place may affect other parameters, so the whole model must be managed much more carefully.

What moment gives you the greatest sense of achievement?

Seeing my model move as a complete character, with all kinds of features working, is always tremendously satisfying.

As for what I look forward to most right now, I hope that in the near future I can watch a VTuber use a model that I made specifically for them on stream. Seeing someone actually use a model I created would be incredibly rewarding.

How would you describe your own rigging style or distinctive qualities?

My models tend to emphasize versatility and a high degree of flexibility. Because of my engineering background, I also care deeply about internal logic, structure, and maintainability. I am good at technical challenges that require a great deal of logical thinking.

I want a model to do more than simply move. It should be easy to manage and adjust, while giving the user as much freedom as possible.

Is there a technique you have not yet tried but would like to take on?

I do not have one very specific goal at the moment, but there are techniques I have not tried yet and would like to explore, such as hand tracking. Some techniques are not necessarily things I must use; I simply want to experience them because I have never tried them before. I think that would be interesting too.

What advice would you give to students who are about to begin the course?

The most helpful advice I can give is: "Make it work first; make it great later."

I have seen many students demand too much perfection from their models, spending so much time revising them that they become exhausted and even lose the motivation to continue. Technical skills improve gradually through time, repeated practice, and feedback.

Once an assignment reaches the point where you can honestly say, "I gave it my best," submit it to the teaching assistants and see what can still be improved. You do not have to wait until you believe it is perfect.

There is also no need to dwell on why another student's work looks so good while yours seems poor. Everyone starts from a different place. If you follow the guidance of the instructor and teaching assistants and keep practicing at a pace that feels sustainable, one day you will reach a level you could not previously imagine.

Good luck, and I look forward to seeing everyone's beautiful V9 projects!