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Many thanks for all the comments and thoughts everybody.
Flaskpost - Thanks man. I'm trying out new ways of working, different sizes of paper, different pens/markers/papers and just doing that and changing the subject matter a bit makes it all fresh and new for me, which is what I really like cause it automatically focusses me. Learning a lot these days. Glad you enjoyed it too.
Oishiiniku - Niku, thanks man. I do feel some things are starting to come together. I felt I had sort of lost track but had some new insights that helped me move forward a bit and motivated me. Shapes and space and combining pure observation of them together with knowledge/structural points (if only for mental ref) is what I'm playing/fighting with.
One other thing I'm learning with the 'still-lifes' is how to get more consistent and something more eh, me. Thanks for dropping in man.
Brendan N - cheers man. I thought you might enjoy that one. About the faces I do think I have nicer ones, end it sort of goes in waves. But the only way I'm going to get something I'd want to exhibit for example, is to keep on doing them every day.
Bojee - Alan, again, I think you're right. I look a lot at objects and their shapes and often am attracted to the character they have. Perhaps it's all the years of architecture school showing it's influence.
I've splurged on some different papers and playing with them has been a really good experience. I really don't care for a lot of the sketches to be on expensive paper etc but I also want to have some work on nice paper and make them bigger too for exhibits and shit. It's been more of an eye opener than I expected.
Chupacabra - cheers man, cool work in your book too.
Goblinshark - thanks, I did the last ones with pencil first which I never did before. It's kind of really liberating.. Not that I always want or can work that way but I feel sort of stupid to have never done that.
Farvus - thanks, I take that as a compliment. I do always feel that the objects or buildings or whatever are my main characters so perhaps that's partly why I'm projecting character on them. I do see 'things' that way though, which is of course quite common here in Japan.
Bojee2 - I'll do a bigger car version too.
Regniruth - shit, if I knew that I would be either very happy to have finally figured it out, or bored with drawing. Whenever I think I really know what's going on some drawings show me that I don't. I can tell a bit how I draw though; I squint a lot, I do more looking, trying to really 'see', than drawing. Drawing with pen forces you to previsualize stuff beforehand. I draw a lot from my shoulder/elbow. And I try to draw with the knowledge that if I think about the drawing too much, get too precious, that I've already failed. Other than that for me it's a combination of drawing what you see, what you 'really' see, with knowledge about your subject, ie. trying to exaggerate spatial qualities, while downplaying qualities that would flatten your piece. Other than that I try to find a balance to the 'real' thing, and abstraction/simplification of it. If the drawing is too simple/abstract it will become like the generic prototype of your subject (prototypical car/girl/etc) - instead of that old toyota van, or that slightly boyish but incredibly cute schoolgirl. If you go for too real or focus only on the specific it will often look like either a photo, or it lack structure or depth, or fails to communicate quickly. That goes for line, shape and value I think.
But I seriously know shit so you better ask somebody else.
Bhanu - thanks man. Kaikaijuuuu - 書怪獣 got a nice ring to it.
PaperX, Hunterkiller - I think it’s all of that. Slow, deliberate, loose, controlled at different times in each drawing. But I look a lot trying to see the shapes, angles, squinting etc (see also what I replied just above). So it’s more careful looking - and then putting it down boldly. Let the hand have some fun after the eye/mind did all that work. Otherwise it’s too hesitant. But then you go to quick and the drawing becomes too arrogant. Too controlled and it becomes too stiff. Too loose and it loses all structure. It’s balance. You and your state of mind and the way you feel and what you like and how you see and what you want to show and all of that, decide that balance. I guess. See also the answer just above.
Updates - I did a huge version of the sneaker drawing. But it doesn't really show on digital. These are six A4 scans merged together and the pen/marker is a lot thicker than what I normally draw with. It's very nice to see your stuff big and on a nice thick ass paper though. I will continue with them and see what works and what doesn't.
I also photographed some figures.
Had an incredible leaking marker session...
Some poses the model was contantly moving, or stopping for just a couple of seconds,
Will be back soon with more.
Comments and crits as always greatly appreciated.
Last edited by tensai; September 24th, 2008 at 08:49 PM.
check the Tensai Tokyo Sketch Thread (Sketchbook)
check the Tensai Cityscapes Thread (Finally Finished)
Originally Posted by strych9ine
thanks so much for the the informative answer i really appreciated it, always great to read your insights on art (contrary to what you say....you DO know a lot ) i recently found a quite nice and thin pen that im now quite excited to try out with a fresh eye!
as for the update...i must say your pen work is always consistently getting better and better....some of your choices on not placing down lines and letting the viewer's imagination fill in the gaps are just amazing, it feels like your lines are always getting more and more creative and vital to the piece as a whole, and thats what i think many of us can really benefit in learning from.
PS: that leak is just perfect
yeah buddy! Tasty bunch of nudes! I'm really into the ones at the beginning with the washes added in, that blob of ink underneath her armpit is priceless!
"absorb what is useful, discard what is useless, and keep what is essentially your own." - Bruce Lee
Bojee's Monkey Brain
Not only do you seem to work non-stop, but you create VERY GOOD WORK NON-STOP.
You have such a solid understanding of shape and design. Inspires me to try and see better.
Fantastic figure drawings!!
life drawings looks sugoi dude!
i see what u mean whit the pencil , but when your just rarely using a pencil and something cool as this comes out http://www.conceptart.org/forums/att...5&d=1206970337
i gotta have to try some new mediums to .
aviable for fulltime and freelance
Shit man, your pens of figure are sooooooo good. Ill have to make an attempt to bust my marker next figure drawing class, just to poke around with your ideas. Very cool man, threads always a pleasure to view.
more? maybe a cityscape or two? cant help it, had to ask.
my book o' doodles
Interested in some Team CHOW? i'm all for it :3
tensai, your lines are my favorite. PERIOD. those figures are so stunning. ah. i don't know what to say. i'm going to be studying your approach. if you do not mind, what are your main influences as far as draftsmen/painters. keep this up man its all such a treat to see.
your drawings are so clear, I love it !!! keep posting it's very very ... very good
awesome work, your sketches are way cool, and I love your characters
Thanks for taking the time to answer our questions, man. Appreciate it very much.
I've definitely taken your advice seriously and started attempting to look at shapes more when I'm drawing from life, and I think(???) that it's already helping me improve.
Love Your Work.
Sketchbook please! http://conceptart.org/forums/showthread.php?t=204442
I think you're the only guy on here who can draw something with less lines than it technically requires.
these I love these best for that quality. Apart from cool looking figure studies, they also make for interesting images.
This one feels too wobbly - I think the line and resulting shapes are too eratic and the images falls apart a little for that. Reminds me in some way of those early renaissance drawings, with all the bumps and awkwardly exaggerated anatomy.
But the leaking markers are my faves, the first one best. It almost looks like [her] right hand is in two places it once, and there's sort of a dropshadow effect behind [her] left arm. Very interesting, find it to be far more than the usual figure drawing.
Gouache on the previous page is awesome as well.
Keep it up, this is book is one of my faves if not my actual favourite.
ooh do more leaking ink brush stuff dude
i'm amazed at how you can define form so well with a few strokes and such simple lines!!you works are so clean and have a fresh look..its a pleasure to look at your sb, very different then the typical stuff you see around here. wish i could do lines like you do, never really got used to it,much easier working with values for me! keep rocking!
came here after a long time and its great to see how youve developed!
fantastic use of line!
you and some other guys have beenn doing figure drawing at ebisu if i remember correctly? still going there? i thought id want to do some figure drawing again too lately.
This is beautiful work - some of it reaching the point that the Zen masters talk of; if you cut a line it would bleed.
Just a thought that floated through my head while looking through this amazing thread - it seems that this work benefits from being seen in clusters of work. I mean, if you exhibited the drawings they would form 'one work' if displayed in connected groups. As if each piece were a short march that when added to the others (for example the sub-way drawings or bicycle paintings) forms one long journey that completes the tour of something that was on your mind.
From Gegarin's point of view
beautiful line economy. Your sketchbook makes me want to start using a pen.
For Science- Sketchbook!
Sometimes I just look at peoples art and I just dont get it....
...I mean really how the hell do you do it.
The limited linework is the best ive ever seen....
Last edited by SaintFuse; October 9th, 2008 at 02:36 PM.
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