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What if there's more to being a successful artist than simply being a great master of your craft?
Hold that thought.
Did you know JC Leyendecker had a brother? ...or that he was a comparably talented artist?
The story of Frank Xavier Leyendecker is a bittersweet one...
Suddenly, it makes perfect sense how every piece of technical precision is possible. Even my approximate study of JC's virgin, when posterised, showcases buttery smooth areas of colour built on a rock solid foundation of utmost confidence in value structure. Master of the motif.
Much study of Leyendecker raises a proprietary medium as his secret weapon. Great mythology, but the secrets to JC's brilliance are more obvious. At a glance, well designed shapes, crystal clear value hierarchy; but digging through his vast archives tells a more important story..
sketchbook pages 411, 414, 416, 426
Tonko House 'style' has been one of my deeper obsessions. I've watched and rewatched the schoolism course so many times I can replay it all in my head. I still have no idea how to drive the damkeeper brush though
sketchbpage page 84, 122, 168
Occasionally when I dig up old work from deep in the sketchbook, people say it looks like a completely different artist.
I honestly can't overstate what an utterly deranged and schizophrenic person I am. Artistically I've tried wearing every mask.
I think big insta artists like Max Grecke lend to the popularity of this rendered style. I actually find it very tricky and the entire illusion falls apart if there isnt a very precise balance between very sharp shadow edges and very soft edges, some experiments/failures attached
sketchbook pages 547 → 549.
I was for a while obsessed with the idea of the airbrushed 3d look for stylised characters. Something shiny, marketable. Found a knack for it at some stage but ended up talking myself out of exploring further as it seemed gruelling and soulless.