Korean hand-drawn healing illustration - ps how to draw the effect of Korean illustrator Aeppol's "forest girl diary" series of illustrations, using what brush to draw the

Breasted - Korean illustration cartoonist KimJung-Gi: Next (continued from previous post) (This article appeared in the October 2011 issue of cgworld Times Comics, all images in the article are copyrighted to Mr. KimJung-Gi) Mr. KimJung-Gi drew for YoungJump magazine's "FunnyFunny" column. Mr. Kim Jung-ki's drawings for YoungJump magazine's "FunnyFunny" column and YoungJump magazine's "FunnyFunny" column was a testing ground for Mr. Kim Jung-ki to explore the possibilities of manga expression. One one-page color illustration depicts a scene in which a young man covered in blood walks onto a tram, stumbles toward the back, and offers one of his hearts to a woman. The lady, who wore glasses and was as cold as ice, looked at the heart in front of her and tears slid down the side of her cheeks. She slowly unzipped her dress, revealing a slash on her chest, a heart missing from the dense threads, or another man's heart sewn into it. Although there is not a single word, it expresses the pain of "hating to be unmarried" to the fullest. Kim Jung-ki's latest project is to write a novel by Bernard Verbeu, which was published in 2006. Kim's latest project is to adapt Bernard Verbey's 2006 novel Le Papillon Des Etoiles (Butterfly of the Stars) into a manga. The novel depicts the experience of a group of Earthlings who escape from Earth in a large spaceship and embark on a thousand-year journey through the vastness of the universe. Verbe's novels have always been known for their imaginative nature, and although they are based on the theme of science fiction, they are all-encompassing, touching on various fields such as history, religion, philosophy, and biological sciences. In this respect, it complements the diversity of material Kim Jeong-ki chooses in his writing. However, it is not easy for Kim to restore the world and galaxy of Verbe's writing. Speaking about his future career goals and directions, Kim said, "I have always wanted to draw works that can challenge the works of famous foreign cartoonists. He also wants to create the kind of professional drama that depicts a strong sense of specialization. For example, in a story depicting motorbikeracing, the focus of the story is on the mechanic rather than the racer. Or maybe take a military theme and create stories featuring Special Forces." In a world where digital painting is all the rage, Kim Jeong-ki still sticks to the traditional hand-drawn approach. "The computer is a great tool, and if you can use it flexibly, you can draw very well. However, since I have been sticking to hand-drawing, I am more skillful at creating with my bare hands, and I believe that I can express the flavor of my work better with my own hands and brush. However, if I have time, I would like to learn computerized drawing and try more methods of drawing. However, if I rely too much on the computer, my works will have a standardized feeling, so I am more or less avoiding digital painting." "If you want to do a good job, you have to make good use of the tools first." Kim Jung-ki's artwork is naturally created with the help of a good tool. Japan's original syringe pen (COPICMultiliner0.2,0.25), Germany's imported Staedtler syringe pen (STAEDTLERpigmentliner0.05,0.2,0.3), Japan's PILOTHI-TEC-C0.03 ultra-fine ballpoint pen, as well as Germany's original RotringArtPen (RotringArtPen). RotringArtPen) are all his favorite hand-drawing weapons. When coloring his drawings, he mostly uses oil-based colored pencils and watercolors. As for paper, Kim Jung-ki is not picky, except for the most commonly used 200g graph paper and A4 paper, he can draw on any paper within his vision, which explains why there are so many sketches in his sketchbook, which are casually scribbled on newspapers and Post-it notes. The most amazing thing about Kim Jung-ki's paintings is that he never makes a draft before he puts pen to paper, and he has the position of his work, the layout of the composition, and the chapter considerations all in his mind. This way of painting is similar to the Chinese painting master, Mr. Jiang Zhaohe, who advocated "major body, nearly subtle. Drop a pen to determine the overall situation, followed by the whole of its divine grace" is very similar to the painting method. In the just-concluded Bucheon International Animation Exhibition in South Korea, Kim Jung-ki spent three days painting a parade scene with a fisheye distortion effect on a huge 9-meter-long white canvas, with characters, horses and carts in different postures, which is very impressive. "Once I decide what to paint, I sketch the scene in my mind and put down the brush immediately. When I put down the brush to outline it, I don't draw carefully, but point to point, and then color on top of it with oil-based tinted pencils or with watercolor." Kim Jung-ki admits that compared to other artists, the time it takes him to draw a sketch on the drawing board is very short, "Mainly because after conceptualizing the scene, I hardly need to spend any time searching for information, and most of the images seem to be stored in my mind, and they come up naturally, so I can just draw them down as I see them. Although a small number of complex images still need to refer to the relevant information, but most of the images and scenes that have been seen only once can be visualized 60% - 70% of the time when writing (this guy really has a pair of Sharpening Wheel Eyes!). This guy really does have Sharpening Wheel eyes." In addition to the confidence he has in his work and the ease with which he can write, Kim Jung-ki's greatest satisfaction with his work lies in the variety of materials he uses and the wide range of subjects he paints. "Whether it's a living creature or an artifact, whatever I can see with my eyes is my material and can be used in my paintings." Among the illustrations created by Kim Jung-ki are those featuring "mermaid sashimi," "dentists," "tattooed men and women," and "fishing. Fishing" appear most frequently. Among these works, the one on "mermaid" is the most strikingly expressive: in a crowded and cramped sushi restaurant, a master slices a mermaid's body with a sharp blade in his hand. The stoicism of the master, the indifference of his staff, and the indifference of the diners who are feasting at the side of the sushi restaurant contrast sharply with the mermaid who is at the mercy of the master, and the effect is extremely chilling. Talking about the source of inspiration for the above works, Kim Jung-ki said, "I usually try to find inspiration from many images and books, as well as things I have experienced, and I prefer military life, rich expressions, machinery, and animal subjects. The main reason why I've used mermaids as a theme many times is that mermaids give a more diverse element to a woman's physique. The scenes of dentists and tattoos are carefully depicted because of the interest in delicate instruments and surgical scenes. As for the many images of fishermen going out to sea or returning from fishing in my works, it is because I lived in a coastal city until high school, and I am more familiar with the scenes of fishermen's lives". When it comes to the artists and cartoonists who have influenced him the most, Kim Jung-ki can't stop talking about them, "During my junior high and high school years, I was y influenced by Japanese cartoonists. I especially liked Akira Toriyama, Katsuyo Otomo and Masamune Shiro. In his college years, he appreciated Russian critical realist painter Ilya Yafimovich Repin (1844-1930), American realist painter John Singer Sagent (1856-1925), who was famous for his portraits, and the New York Times' "The New York Times". and the illustrator Norman Rockwell (1894-1942), hailed by the New York Times as "the most popular artist of the century." "Being more interested in realistic paintings during my college years, I naturally had an exposure to Chinese painters. Mr. Jiang Zhaohe's "Pictures of Displaced People" Mr. Guan Weixing's watercolor illustrations for Ms. Lin Haiyin's "Old Stories in the South of the City," as well as children's avatars painted by the old man When it comes to hobbies, Kim Jung-ki finally shows his nerdy nature: "I don't smoke or drink, and I don't have any special hobbies. If I have to say that I have a hobby, I like to collect comic books. I like Anda Chun's Contact, Katsuyo Otomo's Akira, Akira Toriyama's Arale, Ryoichi Ikegami's Crying God of Murder, Tatsuya Egawa's The Story of the University of Tokyo, and Mobius's comics." Kim Jeong-ki is also no stranger to Chinese cartoonists and works, saying he appreciates Hong Kong cartoonist Ma Wing-shing's "Wind and Cloud" and mainland cartoonist Huang Jiawei's "Saeki San". Mainland China is a faraway place for Kim Jung-ki, who admits that he doesn't have a deep understanding of Chinese culture, but as a child, he read "Three Kingdoms", "Journey to the West", "Shaolin Temple", and watched a lot of kung-fu movies, and the Four Great Masterpieces and Confucius's Confucianism are popular books and culture in Korea, so he more or less knows about them. When Kim Jeong-ki was asked to say something for Chinese readers, he wrote the following: "Comics are about the artist expressing what he or she understands and knows through drawing, so it is necessary to keep learning, keep collecting information and accumulating experience. You have to listen more, watch more, experience more, collect more, and then go and live it in your works. In my own case, I've poured so much effort into drawing that if I could learn more about storytelling, I could potentially become an even better cartoonist. Finally, health is king." How does ps paint the effect of Korean illustrator Aeppol's "Diary of a Forest Girl" series of illustrations, and what brushes are used to paint them? A digital pad, also known as a drawing pad, painting pad, hand drawing pad, etc., is a type of computer input device that usually consists of a board and a pressure-sensitive pen. You can find more information on the internet, you can't draw using the ps's own brushes. 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