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From the news source, Anido, famous Japanese animator, Yoshinori Kanada has reportedly died of a heart attack at the age of fifty-seven. Yoshinori’s influential animating style, having inspired others for over thirty years, has touched some of the most well known and industry changing anime shows and films.

He was considered a “super animator” amongst his peers and a great representative of Japan. Yoshinori was famous for his exaggerated perspective and posing, as well as an all new style to timing in animation. He is also responsible for the ‘extremely shiny’ look seen in such anime like, Sailor Moon and Fushigi Yugi’s opening sequence. Yoshinori’s animation was, simply put, known for its movement. Characters were very quick, very stylized, like everything in the scene is anxious, yet still so clean and professional.

Yoshinori began his career in the 1970′s on shows such as the legendary science fiction piece, Space Battleship Yamato and Galaxy Express 999. He worked on an assortment of other shows such as, Cutey Honey, Mobile Suit Gundam and Cyborg 009. He was famous throughout the 70′s and 80′s for his robot designs and was imitated by many other artists in style.

Yoshinori soon became heavily involved with Hayao Miyazaki’s Studio Ghibli when he began work on, Nausicaa of the Valley of the Wind in 1984. From then on, Yoshinori worked on Miyazaki’s Castle in the Sky, My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, and Princess Mononoke, credited as animator and key animator on these renowned pieces of film.

Yoshinori Kanada didn’t stop at Studio Ghibli, continuing to work as an animator, animation director and opening sequence animator for many so well known shows, they’ve become household names. Some of these works are, Akira, Sailor Moon, Metropolis, Vampire Hunter, Yu Yu Hakusho: The Movie, Fushigi Yugi, and CLAMP’s X/1999. His talent is so easily recognized by being able to work on such diverse pieces, from the shojo anime of Fushigi Yugi, to the extreme science fiction of Akira, and the fingerprint he leaves behind of his own style serves to only make the show better.

Yoshinori Kanada also let key animators bring their own sense of design to a piece of animation, so not every scene in a film would match the work of the animation director, but instead each would resonate with the personal look of that particular animator. It was originally a way to save some money in the industry, but Kanada became very popular for his lack of conformity.