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Aprons with white frills are worn atop black dresses.
Clad in maid outfits, Nami, Robin, Bonney, and Lilith are seen entertaining the men.
Luffy’s mouth is stuffed with omelet rice, Zoro is drinking what appears to be liquor straight from the bottle, Chopper is staring at the omelet rice with a gleam in his eyes, and Sanji is leaping in the air, hearts in his eyes. The men look happy to be surrounded by beautiful women, but this service is unlikely to come free of charge.
After all, the title of this illustration is BOTTAKURI MAID CAFE, and bottakuri is a Japanese word for a business that charges outrageous fees.
The term is derived from the word boru, which means to profiteer. Judging by the shocked looks on the faces of the cat and Usopp when they see their checks, they must have been billed a small fortune.
The words ”my goldmine” are written in English on the omelet rice Luffy is eating. On the omelet rice that Chopper has his eyes on, Nami is writing the Japanese word kanezuru, which means “cash cow.” How much will their bills add up to?
Luffy might casually ask to put it on his “treasure tab.”
*The work is made up of a set of 2prints
*Signature on prints (seal)
In 1992, Oda received the Weekly Shonen Jump Tezuka Award for Wanted! Serialization of ONE PIECE began five years later in 1997. In the same year, the first tankobon (individual) volume of the series was released. In 1999, the title was made into an animated series. The first ONE PIECE exhibition was held in 2012.
In 1992, Oda received the 2nd place prize in the 44th Tezuka Award for Wanted! (under the pseudonym "Tsuki Himizu Kikondo"). In 1993, Oda was selected for the 104th Hop Step Award for Ikki Yako. In 2006, ONE PIECE chosen in the Japanese Media Arts Festival 100 Manga Selection. In 2012, Oda received first prize in the 41st Japan Cartoonists Association Award for ONE PIECE. In 2018, Oda received the Kumamoto Prefecture Honorary Award.
The magazine carrying the series was Weekly Shonen Jump, The year the series started was 1997. A heroic pirate adventure story revolving around a treasure known as "One Piece." In this adventure, Monkey D. Luffy sets out to become the King of the Pirates. The work was made into an animated television series in 1999. On June 15, 2015, One Piece attained the Guinness World Record for most copies published for the same comic book series by a single author. The total worldwide circulation exceeds 500 million copies as of August 2022.
アーカイヴァル インクジェット プリント
Shueisha Manga-Art Heritage has entered into a business partnership with Epson, entrusting them with color management support and printing. The pigment inks used in the company’s inkjet printers are lightfast, preserving the original colors even under lighting that would cause the dye-based color inks used in the original artwork to fade.
On the other hand, original manga artwork is highly prone to fading, especially when it comes to color illustrations created using dye-based markers. Illustrations created for the covers of manga magazines, frontispieces, and comic book covers were not originally intended to be displayed or appreciated as works of art. They were designed to be printed and viewed by readers in magazines and comic books. Illustrations were often colored over copied line art, and in some cases, the characters and backgrounds were cut out and pasted in separately. To transform such illustrations into manga-art, they need to be retouched, such as by correcting discolored areas.
Since 2008, Shueisha has been working to digitally archive manga. Initially, we captured color originals using the EverSmart Supreme II, a high-precision scanner, and in 2015, we began using the Phase One IQ180, a high-resolution digital camera. Since 2020, we have been using Phase One’s Cultural Heritage series. This has allowed us to capture and preserve colors beyond the reproducible range of commercial printing, while also retaining the texture of the paper on which the illustrations were created.
Using this digitally archived data and imaging equipment, we retouch the artwork, restoring the original colors as they were when the illustrations were created. To produce the final print, color is carefully managed at each stage, from the original artwork to the captured data and printing.
For illustrations that were created digitally, we perform color management and printing in the wider-gamut Adobe RGB color space, instead of the sRGB space typically used in commercial printing, resulting in deeper and more vibrant colors.
