Tatsuro kiuchi biography channel

Do not sell or share my personal information. Sign Up. Behance Behance. Hire Freelancers. View your notifications within Behance. Log In Sign Up. Adobe, Inc. Navigate to adobe. Info tatsuro kiuchi biography channel, painter Briefcase info tatsurokiuchi. Hire Tatsuro. Project Views 1, Appreciations 97, Followers 41, Following On The Web.

Tokyo, Japan. Follow Following Unfollow. My process and technique. Tokyo Illustrators Society. Anna Valshchikova. Clara Soschin. Olesya Lopatina. Dorota Kiermasz. Charles Trevisan. Gabriel Simo. Silence doll. Galia Dor. Nino Gudadze. Chae yeon kim. Rosario Sanchez. Purchase Offer. Send an offer. Processing now I started showing my illustration portfolio to publishers to promote my work.

I received generally positive feedback from the editors, but a well-known art director pointed out that I lacked the basics. Indeed, I had never studied the basics of drawing, so it was only natural. This was the start of my decision to study art seriously. I also thought taking an entrance exam at a Japanese art college would be uninteresting, so I decided to study painting in the USA.

That's how I got to where I am today, so in that sense, I think it's essential to learn drawing. It is difficult to single out one person, but I will mention N. I would say his illustrations are my starting point. I first became aware of his work when I was studying at the ArtCentre College of Design, and one of our class assignments was to reproduce his painting.

Of course, I didn't learn directly from him, but I think I learned the fundamentals of how to tell a story through light and dark and composition from his work. However, the important thing to mention is that these things did not immediately hit me at the time I was studying but came to me later in my career as an illustrator. Do you consider a style of illustration an attitude rather than visual confinement?

It is basically an attitude about how one sees this world. Still, if taken too far, an egotistical style can become a visual confinement and inhibit communication when creating an illustration. And what is your favorite film poster and what film do you wish you could have done the poster for? To be honest, I don't know much about film at all, so I can't come up with a favorite film poster like I can name a favorite illustrator.

This means that the number of posters I know is small, but if I had to name one of them from an illustrator's point of view, it would be The Man with the Golden Gunillustrated by Robert McGinnis. For the same reason, there is no particular film I can think of that I wanted to illustrate a poster for. The work I am asked to do is always the work I want to do.

Since I don't watch many movies, I seldom recommend movies to others. I do often recommend painters and illustrators, though. Then could you tell us which painters and illustrators you recommend most often and why? As an illustration instructor, I recommend painters and illustrators to my students from time to time. I often recommend Goro Sasaki to my students.

He is a senpai at the ArtCenter and an illustrator specializing in transparent watercolor. I have always had a few students who painted with watercolor, and I encourage them to watch his YouTube channel.

Tatsuro kiuchi biography channel

I find his craftsmanship, work process, and use of brushes are worth a look for my students. Many people in Japan still use traditional media instead of digital for their illustration work. Conceptual illustration is a category that is not very familiar in Japan, and I mention Alex Nabaum and Emiliano Ponzi when I discuss it. I think their work is very clever and of high quality when it comes to explaining what conceptual illustration is all about.

For drawing lessons, I recommend looking at Egon Schiele's work for guidance on what kind of lines to draw. His simple, clean lines without shading are very helpful for practicing drawing as an illustrator by carefully observing the shapes of objects and figures. Posters are one of my most favorite jobs, but I consider movie posters to be quite challenging.

This is because the film itself is a visual work of the film director, so it is as difficult as painting someone else's picture as my own. For example, I would say that it is like illustrating a Picasso exhibition poster. A Picasso exhibition poster should feature Picasso's paintings. In the same way, if a movie is the director's work, it would make more sense to cut out a main character or scene from the movie and use it on the poster.

However, I prefer movie posters with illustrations and graphics to photographs. Perhaps this is because I am an illustrator.