While there’s many great artists, there’s only a few with a style as distinctive as Kantoku when it comes to illustrating attractive anime girls, or anything for that matter – and one will notice that in this collective.
Kantoku’s unique flavor of aesthetics come out with every artwork of his creation, and rather than list them out to minimal understanding, one has to both see and indulge in the very visuals of his name. Before that however, allow us to quickly mention that Kantoku is indeed quite renowned an artist of modern time in Japan – meaning a few of the illustrations included here may seem familiar, either the image itself, or the unforgettable and striking traits of his style.
Taking a look at one of those artworks above, key features are everywhere as this is definitely a composition of master caliber – yet let’s attempt to tackle a few of the more prominent intricacies individually.
First of all, the visage is almost always a significant aspect as it is, by default, an area where we send our eyes as we know that the face of a being is just that – it’s their forefront, the utmost defining feature of a creature, be it human or otherwise. In this case, we have the visage of a cute loli character partially shrouded in shadow. The shadow applied here is outright spectacular for several reasons as it takes this artwork from extraordinary, to that and more.
Her face may the focal point, the absolute center of attention, yet it not the most vivid or lit area of the art piece. The focal point is usually the brightest area as one would want it to brilliantly shine like an idol on stage – the backup singers aren’t supposed to outshine the main attraction, thus of course, one wouldn’t point the spotlight on them. However Kantoku does just that with this artwork – it’s not her visage which goes illuminated, but her legs.
The reason her legs don’t come off as the central area of focus is that they’re too washed with white.
That’s not a negative aspect at all, especially not when seen here – considering that the reason for the intensity of brightness in the legs is a resulting value of the water reflecting the sunlight. However it’s almost as Kantoku has succeeded in doing something impossible here – her legs and face both vie to garner the onlooker’s interest. Or in other words, it seems as if there’s almost two focal points – however one will ultimately have to stand out more than the other, and unlike most creative works, the answer here is not entirely definitive.
Depending on how one views this piece, angle and whatnot, some may find themselves most entranced primarily by her face, and others, by her legs – yet we personally find that her face is what flourishes forward the most. Now regardless of that, the dip into the unconventional here is how it is her face which is met with shadow – its usually the other way around, the lower body which which would be made recessive, yet the amazing aspect in this is that the scenario Kantoku illustrated is actually adhering to realism.
Everyone should have at least once been under a tree, awning, or other provider of shade whilst the sun was blazing – however only managed to have their upper body protected from the glistening rays. This would be due to the direction of the sun, among other things – and that situation plays out precisely as we can see here.
Putting in simpler terms what we’ve been describing for the last six paragraphs – Kantoku utilizes a blatantly hard contrast, dark against light with no gradual transition. That’s not too uncommon – yet what’s more rare a sight is that the portion which falls to shadow is the focal point, which in this case is the face after much deliberation. Describing his shadow technique, it almost sounds like a silhouette – a lighter surrounding with a darker focal point, however it’s not a silhouette as the girl isn’t a splotch of color or achromatic saturation, only filtered with a layer of shadow.
Speaking of color, one could nearly feel the sky is moving as the hues are soft in structure, delicately applied, and tinted with white like pastels. If one stops their gaze for a second and analyzes the artwork, they’ll notice that while this is an elaborate piece, there’s actually hardly any color to be seen – it’s a piece practically half-consisting of neutral tones. The few instances of color however compose an analogous scheme – it’s a progressive transition of hue according to the color wheel.
She sports a violet ribbon in her hair – then we’re taken to the custom mix of darker yet translucent red in her eyes before moving down to the swimming pool which is a lighter series of reds. The home off to the edge, aiding in the informality of the balance, is an orange which incidentally also complements the neighboring blue as well as carrying on with the analogous scheme.
Blue happens to be adjacent to purple on the color wheel, as is red – and to the other side of blue follows green, which likewise with the house and the sky, forms a complement with the red hues beneath which make the swimming pool, and elsewhere, like her eyes. It’s a flawless and clean clean implementation of color in a manner which takes advantage of several tactics in one.
More technique overflows from the art piece when one realizes the color segments off the work into clear sections – all of which flow in a manner to coincide with our cute loli focal point. One would first think she’s tilted – yet seeing the background, it becomes apparent that the art is actually portraying a dutch angle. The girl however is curling over a bit as one can realize from the elevation of her right shoulder (our view).
And so we return to the face, making note of the rounded shapes as seen in her head, eyes, and other facial facets – one can finally understand what defines an artwork of Kantoku. It’s these curvy shapes in conjunction with the pallet of vibrant fluffy colors and heavy contrast which devise his inevitably admirable and original method.
Further of his aesthetic expertise can be viewed below in the form of more lolis in mizugis, suggestive seifuku imagery, onsen nudity, magical girls, and more: