Motonobu, his three sons, Motonobu’s younger brother Yukinobu (1513–1575), and some assistants that might have not been blood related. Since Motonobu was the head or chief architect of these paintings he took on the contracting, production, and organization of the projects while still being very involved with the marketing of his work and his studio. Known for his charm and intellect, Motonobu became a fierce businessman, and frequently petitioned to the shogun for a vast amount of varied commissions with his fellow merchant, Hasuike Hideaki. Motonobu is a painter who survived the turbulent world of the Warring States period while receiving the patronage of the influential people of the time, such as the shogunate, the imperial court, Ishiyama Hongan-ji, and the influential townspeople. However, the time he spent marketing did not deter him from his paintings. As head of the Kanō school, he took the most important rooms in a building commissioned, and then assigned his son and assistants other projects based on hierarchy. These projects could be painting their own rooms independently or grinding pigments, preparing the paper, painting the background color, or simply filled in large areas of color. As a result of Motonobu's marketing skills, the commissions grew allowing the workshop and school itself to expand. Motonobu trained his workshop which was full of members of his family and other apprentices to execute his many designs. The workshop trained other artists by watching the master painter work and emphasised recreating their master's style. He leave the work of various genres as an occupation illustrator, and a portrait such as "Statue of Sogi Iio|statue of Sogi Iio" (Museum of Fine Arts, Boston), the work such as "Amount of figure of horse dedicated to the shrine|amount of figure of horse dedicated to the shrine" of Hyogo, Kamo Shrine (votive tablet) exist. Style Motonobu was known for his Chinese monochromatic style and characteristic brushwork, pioneering the suiboku-ga (sumi-e) painting style in Japan. The forms were organic, natural, and full of drama. Motonobu's commissions were generally designed for in the home of the samurai warrior class, focusing on fusuma and byōbu. His sumi-e style paintings are reported to take inspiration from three distinct Chinese masters of the sumi-e technique, Mu-ch'i Fa-ch'ang, Hsia Kuei, and Yü Chien (c. 1230). However, he was versatile in his painting and was able to produce landscapes, scenery, and figures of bold decorative patterns. This was likely