This reminds me of Michelangelo's ignudi, I study him a lot look [link]
I think he worked also a lot from memory don't you think?

I think he probably did for a lot of his work. There are points of emphasis and exaggeration that don't seem deliberate, but seem a signature.

For how long did you worked with actual models?

Did you have a method to memorize?

I didn't study models or study references until I was in my late teens. I think instead of memory, I found a more intuitive accident. I started weight training and found that it is easier to know muscle and bone if you see them in action (like gym mirrors) and know the feel of them. But this followed a base of studying anatomy (like Paul Richer's book). I'll have to think abit about the relationship of memory to the process of drawing without models. Memory seems to play a smaller part than other factors, but it is present. That and the larger factors are difficult to describe in a brief summary.

The green marble is beautiful and I can't stop looking at the calves - wow.

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Curious about who this Tanake Trang is?

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CHRISTINE

My prints [link]
Jigsawpuzzleproject [link]
Traditionalart [link]
Emptyheads [link]

youve got anatomy down to a t... this is amazing. and your colors and contrast...
wow.
youre ridiculously amazing.
^_^

i love this to death.

So these are kind of selfportraits of your own body...mmm So I supose you stay in shape!!

No seriously, its very interesting it remembered me of a routine I had before making a portrait, that consisted on touching my own face with my left hand and trying to translate that with a charcoal on paper on my right hand, eyes closed.

So memory plays a small part huh? Now that you say so I beleive it because cognitive processes play a small part in my drawing methods too... memory kind of sucks actually. I prefer the inmediate sensation without reason, the first reaction. The more faithfull to that first the better it gets for me, the more truth I achieve. So when I try to draw without model I react at the line my pencil is doing in real time and that feedback messes me up, begin to judge the thing and figurative realism goes in to kind of african doodles in an intention of feeling the same with a model in front.... yes is difficult to describe.

I have to agree, cognition can be a hindrance at many points in a drawing or painting. If I concentrate too heavily on the work I will worry it to death. I usually play music or have a movie in the background, or socialize while working. The distraction allows whatever systems in my brain handle the drawing and painting work without interruption.

I hope they aren't self portraits...how do I explain the drawings of women?

Was your naming of this image influenced at all by the Nijinsky ballet or Stravinsky music? It's an absolutely stunning piece, and all the more impressive because you worked from memory, but I'm wondering why you named it The Rite of Spring. When I first saw the horns, semi-angular pose and the title, I confused it with L'apres midi d'un faun'. I could be completely off the mark, but I thought I'd ask because I'm curious and a massive fan of the Ballet Russe.
I like your style so much. It's so reminiscent of many renaissance painters, and I'm awe of your amazing talent.

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I like the idea of chocolate cake better than the cake itself.