Croquis | ModeCroquis: From 10 Minutes to 1. What the Gradation of Time Reveals
- Mar 12
- 4 min read
Updated: 17 hours ago
March 8, 2026.
The cold has begun to soften, little by little.
While the wind still carries a lingering chill, the sunlight feels warm against the skin. It is a day of "Koharu-biyori"—a mild Indian summer-
like Sunday—where the nearby Kizu River flows with serene beauty.
Enokojima Art, Culture and Creative Center, Osaka (enoco).
I attended the "Little Croquis Gathering" (Chiisana Croquis-kai) hosted by my artist friend, Mariko Sagami, which takes place once every three months.
This session featured a female model, around whom we gathered.
For a draftsman, the time spent facing poses that change moment by moment is a meaningful opportunity to observe and study the subject with the naked eye. For a creator, it is a precious time to absorb various inspirations—the atmosphere of the room, the palpable tension, and the sparks of imagination.
■ The Act of Drawing Fast: Definitional Differences Between Dessin and Croquis
The terms "dessin" and "croquis" are often used almost interchangeably, yet I believe there is a definitive distinction between them.
Dessin: To capture forms and reproduce them concretely with a sense of three-dimensionality (perspective). It is also the act of studying and understanding the "object" toward that end. Time constraints are irrelevant.
Croquis: From the French for "quick sketch." It is a concept close to the English "rough sketch" or "drawing." It refers to the act of drawing rapidly.
In this session, we started with 10 minutes, then moved to 7, 5, and eventually down to 1... the time limit was gradually shortened.
While ten minutes is a meaningful duration that allows for detailed "dessin" and research, as the time shortens from ten minutes to one, what is expressed begins to shift into an entirely different realm.
■ What Reveals Itself Through the Passage of Time
Ten minutes is considered a relatively long duration for a croquis.
With this much time, one can thoroughly observe the subject and spend a highly meaningful period engaged in "dessin"—drawing with meticulous attention to detail.
On the other hand, the significance of drawing fast—shortening the time—from a dessin perspective lies in discovering the meaning of capturing the overall form (a sense of volume).
In short, I believe it comes down to this: a "dessin" where one takes the time is suited for studying details, while a "dessin" executed rapidly is ideal for training one's spatial awareness.
■ Croquis as "Aji" (Flavor) | Beyond the Point of Disarmament
However, this is only the "dessin" aspect of it.
What makes croquis truly fascinating is how "expression"—the counterpart to the technical side—exerts such a powerful influence.
When drawing fast, there is no luxury of time to think. ...This means that "something" raw and unrefined is more likely to remain.
What could be called the "footprints" of this primal impulse is the true identity of one's touch, and I believe it is a crucial factor that gives a painting its rich, flavorful "aji."
That is why, when you correct a drawing with mere logic, the soul of the picture is killed.
【Croquis Lined Up on the Desk】A portion of today's work. It is fascinating to see the energy of the lines and the density of accumulated time revealed when they are laid out together.
■ Toward the "Core of Expression" That Lies Beyond Technique
Dessin as "Research," achieved by taking the time. Croquis as "Footprints of Emotion," laid bare by stripping the time away.
The "single moment" where these two intersect and converge into one—this, I believe, is the true thrill of drawing.
Therefore, my approach is this: "Do not overthink" while drawing. To make that possible, deeply observe and research three-dimensional forms on a daily basis. And above all, remain thoroughly committed to your own interests.
While drawing, it is the "hand" that overwhelmingly holds the initiative.
I overlay my ideal form onto the model's stance, cherishing the footprints left behind by the lines—all while embracing the values of "Modism," which seeks to eliminate the unnecessary.
It is a kind of "decision"—a sensation akin to a graceful "resignation."
■ The "Meta-Perspective": Bringing the Unconscious into Conscious Awareness
At that moment, another version of myself calmly gazes at the trajectory, asking:
"Am I capturing the ideal form right now?"
"Is there an aesthetic in that space?"
...such are the questions I ask.
To objectively grasp and control even the "quality of emotion" that manifests unconsciously.
To allow the "unconscious" to be perceivable by the "conscious"—uniting these two opposing principles.
This balance, maintained through a meta-perspective, is the very core of the expression I seek. And when I am able to behold the "true landscape"—something that transcends mere dessin and lies beyond the point where time has been stripped away—it makes me want to pick up the brush once again.
(I hope to write more about this "meta-perspective" on another occasion.)
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