#toru nakayama

[kirinison]

Collection of Megaman Zero art by Toru Nakayama

[himitsusentaiblog]

Hachi-Augment and Kumo-Augment (Wasp-Aug and Spider-Aug) from Shin Kamen Rider art by Toru Nakayama.

[skulpin]

Idle pose test/prep for the next boss overhaul.

Making a spinosaurus in Nakayamas style was a bit of a challenge. I did make some unconventional design choices like making his tail be connected to his back compartment instead of his ass. In the lore I made up for him he was like a walking electricity generator in the past so his tail is technically an extension cord that connects to stuff to power everything up

[kon-kon-kon-kon]

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[crowvillex]

Various artist face style studies 😀✍️ Mostly other artists ik and some iconic ones too but these were real fun to do and see how everyone stylized the same facial features & proportions along with linework, idt I studied anyone again apart from one in the future though... 👀

[reachartwork]

Rose Lalonde in the style of Toru Nakayama (Megaman Zero)

[gallade-x-treme]

just_get_married_already.png

[dblsoul]

zero art style challenge thing ?! MMZ ⇄ X4

(the official art i referenced ↓)

[100yofsolitude]

Some tokusatsu art by Toru Nakayama

[ofhouses]

1165. Toru Murakami /// House in Nakayama /// Higashi Ward, Hiroshima, Japan /// 1987-89

OfHouses presents: Japanese Fields OfHouses, part X. (Photos: © Shinkenchiku-sha. Source: ‘Jutakutokushu’ 04/1989.) — This project will be published in our upcoming book: ’Japanese Fields | OfHouses.’

[chozomy]

The red Mega (Wo)man (Toru Nakayama redraw)

[bloodsadx]

thanks to everyone who has sent me asks and such saying i understand how to draw for being nice and stuff. i'm going to ramble about some influence/process stuff below if you want to read abt it

this might read as some kind of artistic statement or defense or something but i like to talk about this kind of thing just in case anybody can ever get anything meaningful out of my own thoughts and practices. i got to where i am after a lot of careful consideration and spending time thinking about what i like in other people's art, just like anybody else that makes art to any serious degree.

my "style" is very much a deliberate series of decisions that i have honed into being very fast for my own pleasure and enjoyment because i am very inspired by people like king terry/garo magazine/the heta-uma style, keiichi arawi, inio asano, hiroyuki imaishi, toru nakayama, phil elverum (as a cartoonist), gary panter (who was a friend of matt groening and wrote an essay about selling out that is worth reading and did a lot of stuff with RAW magazine which is one of my favorite things to think about), DIY/skatewear brand t shirt cartoons, early MSPA hussie stuff, etc. a lot of my favorite artists walk a line between constant high effort and low time investment art; often contrasting elaborately planned perspective grids or high resolution rendering with simple cartooning. asano and arawi i think are very clear and famous examples of artists that use 3d rendering and photography for backgrounds while drawing very deliberate and expressive characters on top of them. toru nakayama is really inspiring to me because he, like toriyama, has a very deep understanding of form AND cartooning and has a way of making extremely densely crafted cartoons which feel visceral and almost like plastic toys you can pick up and play with on the page. also just one of my favorite colorists. and i think hussie and arawi and imaishi are all fantastic character designers with very strong understandings of designing art styles that convey information very quickly and deliberately; i think bryan lee omalley and jamie hewlett were also big early influences on me for the same thing- they all have art styles with very clear line/negative space proportions, strong shape language, etc, and for a long time in my life i have sought to grasp a similar understanding of these things. and then i think phil elverum's fancy people adventures cartoons and just like skate brands and "shitty" DIY drawings and stuff (the album art for nana grizol's love it love it is like burned into my brain forever; seeing basquiat paintings and poems in a museum when i was 15 made me feel whatever and crazy and etc) are just something that serve as a constant reminder to me that some of the most effective art is art that is simply fun to look at, especially when it comes to making comic and cartoon art. simplicity and joie de vivre are very important to me as artistic concepts.

and i mean, i do fuck with crazy painter dudes and shit too; i was huge into goya when i was 14 and had a print of the witches sabbath taped to my wall until i was like 22, i fw waterhouse & bruegel the elder insanely. i am like a sponge for most kinds of art and i do a lot of art research all the time. most of my first book was heavily influenced by compositional techniques from pre-raphaelite painters and the iconography of egyptian & greek wall art and especially especially extremely crowded gothic art and the concept of horror vacui.

but anyway, im not really insecure about my art, i know how much effort and time and practice and research i've put in, i definitely know my strengths regarding cartooning and stuff, and i'm even more aware of where my work needs "improvement" in order to be "commercially viable." i've been in multiple positions in the past several years of taking art seriously where other people have been dismissive of my art and i've seen other people fail to capture the energy & simplicity that i am able to get in my own art, etc.

for people interested in my Process and the things that i work on to draw the way that i do, the way i have gotten whatever skills i have has been mostly through drawing the same things over and over and over (toenail, cavity, pimple, gunk, making different expressions and doing different poses); i draw in pen MOST of the time, and i have for a very long time, and i make few edits, and i focus on keeping energy and confidence in my lines; i do perspective studies, i've spent a lot of time doing gesture drawings and environmental studies inside and outside. i draw a lot of movie frames and do color studies of youtube videos and stuff like that. i remember reading some kind of criticism of post-KAWS/street art infiltration of commercial art that artists now are most rewarded for drawing literally the same thing over and over and over like their hands are printers and that the main thing artists are then allowed to do within that context is express themselves through minor variations within that key theme; i don't think im THAT rote but it has definitely informed my perpsective on what i do and what i am interested in doing. on some level i have designed my art to be easily reproducible by myself because i want to make comics and sometimes even to animate my characters and that requires me to be able to draw a lot of drawings relatively quickly. this is another reason why character designers and video game key artists are such massive influences on me, takehito harada and akiman and toshiyuki kusakihara being some huge ones i've spent a lot of time doing studies of i didn't mention previously.

and because the main way i make money at this point in my life is through screen printing & reproducing my drawings as items for sale, i spend a lot of time making my art Distinct, Eye Catching, and Iconic, to the degree of instant recognizability even on a t shirt or a sticker from far away, and i try to make my drawings strictly legible and generally focus on communicating ideas and emotions through big thematic and emotional gestures and strong colors that can be easily separated. this is one of the main reasons i havent developed as strong of a rendering/coloring habit; that kind of stuff is difficult to color separate for the purpose of solo DIY screen printing. but i've spent a pretty decent amount of time doing that stuff, and i spend time studying forms regardless, with the lines that i do use. a lot of my sketchbooks are me drawing literally the same thing over and over slightly differently until i have something that i feel is a strong enough cartoon to make into a shirt or patch or sticker design that satisfies a litany of criteria i have for what i consider strong cartooning.

anyway that was a very rambling post but i hope at least people get something out of it even if its just slight entertainment from me blowing hot air out of my mouth for 20 minutes.

[the-monkey-ruler]

One Piece (1999) ワンピース

Directed: Uda Kinnosuke / Shimizu Junji / Sakai Munehisa / Miyamoto / Hiroaki Shigeyasu Chomine Tatsuya / Yamauchi / Otsuka Takashi / Yasuyukio Screenwriter: Eiichiro Oda / Junki Takegami Mitsuru / Yoshiyuki / Tsuyoshi Shimada / Suga Sakurai / Takahashi Yoichi / Yushi Hashimoto / Ryota Yamaguchi / Isao Murayama / Hitoshi Tanaka Tomohiro / Nakayama / Naoki Koga / Hirohiko Uesaka / Takuya Masumoto / Atsuhiro Tomioka / Masaji Yonemura Starring: Mayumi Tanaka / Akemi Okamura / Kazuya Nakai / Katsuhei Yamaguchi / Hiroaki Hirata / Ikue Otani / Yuriko Yamaguchi / Kazuki Yao / Yuichi Nagashima / Shuichi Ikeda / Toshio Furukawa / Toru Furuya / Norio Otsuka / Masatane Tsukayama / Takeshi Kusao / Masato Oba / Katsuhisa Takagi / Keiichi Sonobe / Hidekatsu Shibata / Hiroshi Naka / Daisuke Sakaguchi / Junko Takeuchi / Shigeru Chiba / Kotono Mitsuishi / Hirohiko Kakugawa / Hideyuki Hori / Hideyuki Tanaka / Ryuzaburo Otomo / Kintaka Arimoto / Akio Otsuka / Tessho Genda / Mami Koyama / Mika Doi / Junko Noda / Misa Watanabe / Nogami Yuukana / Hayashibara Emi / Mizuki Nana / Sonozaki Mie / Nishihara Kumiko / Hisakawa Aya / Sawashiro Miyuki / Ikezawa Haruna / Saito Chiwa / Kamiya Hiroshi / Namikawa Daisuke / Morikubo Shoutarou / Ishida Akira / Takagi Kiyoshi / Hiyama Nobuyuki / Koyasu Takehito / Seki Tomokazu Genre: Comedy / Action / Animation / Fantasy / Adventure Official website: www.toei-anim.co.jp/tv/onep/ Country/Region of Production: Japan Language: Japanese Date: 1999-10-20 (Japan) Number of Seasons: 21 Number of episodes: 1,122 Single episode length: 24 minutes Number of Movies: 39 Movies Number of Games: 57 Games Also known as: 航海王 IMDb: tt0388629 Type: Appropriation

Summary:

Before his death, the legendary pirate Gol D. Roger left a message about his life's wealth "One Piece", which attracted many heroes to fight for this legendary huge wealth. Various forces and regimes kept changing, and the whole world entered the turbulent and chaotic "Great Pirate Era". Luffy, who grew up in a small village in the East China Sea, was guided by the spirit of the pirate Shanks and decided to become an outstanding pirate. In order to achieve this goal and find the much-anticipated One Piece, Luffy embarked on a difficult journey. Along the way, he encountered countless hardships and met a group of friends with different personalities, such as Zoro, Nami, Usopp, Sanji, and Robin. They joined hands to embark on a legendary adventure... This film is adapted from the popular manga "One Piece" by Japanese manga artist Eiichiro Oda.

Source: https://en.wikipedia.org/wiki/One_Piece_(1999_TV_series)

Link: https://kissanime.com.ru/Anime/One-Piece.57500/

[yurei-of-the-artist]

Awesome Char from Toru Nakayama, the artist behind Megaman Zero and ZX!

#anime #char #gundam #megaman

[russelcs]

Shanghai.EXE ElecNinja

shanghai elecninja design by shanghai.exe team background from archivetextures.net pose by toru nakayama

Posted using PostyBirb

[spinningbuster98]

Mega Man Zero 2 Part 3: Elpizo

Leviathan’s stage is one of those that is entirely held up by its aesthetic and music, otherwise, like the train level, it’s too simple with some questionable enemy placement (especially at the end), but it’s still ok.

Also those snowball throwing enemies are based on enemies from Chill Penguin’s stage in X1

Fefnir’s stage is pretty tough but also fun

The frog’s stage is...the Forest of Dysis act 2, it even has the same miniboss. Granted Fefnir’s stage also reuses Phoenix Magnion’s aesthetic, even starting from one of his generator rooms to give a sense of continuity, but here it really feels like an alternate version of a previous stage. Still good though.

The boss can be an absolute bitch though, especially if you let him eat those golden tadpoles (?)

Harpuia’s stage is probably my favorite of the game, mostly due to its gimmick with the differently colored crystal platforms.

It’s also the best stage in which to grind E Crystals thanks to those infinitely spawning red and blue insect enemies

So unique to this game is the form system: basically by performing a certain amount of actions in a stage (which the game never tells you about), such as killing X amount of enemies with a dash slash, or with the buster etc you can unlock different “forms” for Zero which will have slightly different attributes, like more power to the buster or greater speed etc

I never use them for 3 reasons:

1) The requirements can only be met during a stage that you have yet to complete and usually require you to stop and grind some enemies for a while

2) Each form also comes with a downgrade of sorts: the X form, which powers up the buster, also nerfs the sword for example, so I don’t think they’re that practical

3) Each form changes Zero’s color and they look kinda fugly imo

Speaking of Zero’s design I guess this is as good a time as any to discuss the Zero series’ artsyle right?

I wasn’t in the fandom back when these games were coming out but I can imagine that the artstyle must’ve caused plenty of people to bitch, especially Zero’s redesign, because this is the kind of hard shift in artstyle that usually causes fans to bitch, and to be fair: it is completely different than previously

From what I can gather the only real reason why Inti Creates opted for this style was to further give the series its own distinct sense of identity, which I can respect

Now personally the only real issue I have is that most of the characters are...pretty much dressed the same. Like they all wear a variation of that midriff exposing “shirt”, even Zero who’s supposed to be 100+ years old, so either fashion style has really gotten homogeneous or these clothes are not to be taken literally but more as “approximations” of clothing due to the somewhat chibi-fied artstyle

Furthermore most boss characters look like chuncks of metal shaped like animals with very little expressiveness.

What I do like about this style is the sheer amount of detail in the artwork and in the backgrounds (especially in the later games), not to mention how the sleeker designs lend themselves very easily to much more dynamic poses than previously, which helps the characters look just plain cool and stylish

For better or worse one can’t imagine the Zero games without Toru Nakayama’s artwork, it just wouldn’t be the same.