ah there's Hugo and this hello hello yes remember this guy it's Kim jeonggi the guy with the amazing memory and brush pen who draws a lot in my last interview with him I tried to figure out who he is and why he's so good my name is Stan Prokopenko in this episode of proko I'm gonna dive deeper I'm gonna analyze his methods his techniques and his process I'm gonna figure out how he draws if you like this video please subscribe like last time we'll use a voice actor to translate Kim Jung ji he's from South
Korea and doesn't speak English it might look like I'm just doodling right now but in my head things are going crazy it's not that easy so let's find out what goes through the mind of Kim Jung ji several years ago I attended one of his workshops where he handed out these illustrations that describe his drawing process let's start here first once I decide to draw I think about what and then I create another me in my mind another me aka mini-me will be traveling through the space of what I want to draw let's take this
situation for example now I send a bunch of my minimis all over the space to find the best suited location for me to draw which perspective should I use where is the coolest angle or composition with the most impact will I be seeing in nipple man's perspective or should I see in perverted pokémons perspective what kind of situation is it what kind of things are around me I think about what kind of buildings vehicles people animals plants would fit the situation after organizing it in my mind I had to materialize it but this is not
as easy as it sounds I had to recall all of my background knowledge you can also use all the resources at your disposal so there is no need to think that you have to draw without looking at any reference material I also collect and use man reference materials when I draw I have trained myself to be able to recall images a habit of always observing helps to remember more and if I understand the subject matter I'll be able to get more from it it is important to draw a lot but I believe understanding what you're
drawing is more important once you understand the subject matter you'll be able to remember it longer manipulate it and apply your own design what's and couldn't there when I draw I use two methods I can doodle spontaneously and I use this method for commissioned projects a lot of information is being shared during each project so I tend to have in mind what to draw and what is to be included before I start I begin when the plan just comes together in my head of course the minimis he creates that's just an analogy he simply considers
different angles of his subjects and picks the ones that look best as you'll see in this video he's a master of visualizing and drawing things in perspective this frees him to draw things from imagination instead of being a slave to a photo he says don't draw what you see draw what you have seen you know when kids back then drew tanks they would only draw it like this from the side a very flat drawing but I noticed that depending on the perspective the lines will look angled differently and so I just drew what I saw
and in cartoon TV shows I'd see how tanks or other objects would look more cool when they're drawn from different angles I try to float on the image in my mind try to turn it to the angle that will look best experimenting to make my drawing look as fancy as possible so did you study perspective theory you know one point two point three point perspective did you study that before you were able to draw 3d form or was it more just observation and drawing a lot who tango I'd say the latter i watched and drew
when i was younger private perspective drawing classes didn't exist at all but when i looked back at my drawings from kindergarten i used at one point or two point perspective drawing technique for drawing dimensional objects obviously I had no idea which technique I was using at that point but I sort of taught myself to be good at it by getting into a habit of observing things around me for instance when I'm sitting down at a table I look at the table in front of me and compare it to another table in the room I think
about the relationship between the table and the people and then a thought comes to me does the dimension of the table change as the table gets farther away from me sometimes when I'm in my car in a parking lot I think to myself about the dimensions of other cars and how they are different from each other after training my mind to compare everything it changed the way I think I now see objects more transparently he began studying perspective theory in college he struggled to understand the math behind it but eventually he got it when he
was already drawing in 3d he struggled to understand it because to him it was intuitive not measured understanding perspective intuitively is a keystone in drawing like Kim jeonggi did it help to learn the theory or it wasn't just confusing and then you just went back to your natural observation skill and you're blowing my different learning theories helped me a lot when I combined the existing knowledge with the new set of theories it helped me set a foundational basis there were some that were different from what I knew or thought and some they were similar in
his workshops he talks about perspective a lot let's try to understand what goes through his mind when he's drawing three-dimensional objects many inexperienced artists will approach drawing with flat contour lines a concept he uses a lot to help defeat this is cross contour lines adding some cross contour lines gives it depth and defines the angle a very similar contour with a different cross contour so just a very different angle this is an easy concept to understand but difficult to put into practice when you're drawing something more complicated than a simple mannequin with obvious cross contours
he does it all over the place in his details he looks for it in the opening of a pocket or wrinkles in the fabric you can utilize the stitching of clothing it can be a good indication of the folds and the cross contour line of the body here's another pillar for drawing like Kim jeonggi the three axes everything has a height a width and a depth when he starts drawing he imagines a perspective grid or a box containing the object he's about to draw because a box defines those three axes the first stroke that I
made was the helmet line I'm referencing that line along with my perspective so I don't go off of my grid in my head when I first drew that line my overall eye level was defined the first stroke that I made was above my eye level it's tilting up and tapering down and the indication of the eyes has more stiff curves because it's honoring the vanishing point the very first stroke that I made is a very prominent stroke in my mind because that's when I define the eye level and the overall perspective you will often see
people drawing guidelines or perspective lines before they draw I'm referencing every stroke that I'm making is actually being a prospective guideline in itself because I'm referencing the lines that I'm making as I go and I always try to pay attention to the angles in the perspective that I'm making this applies not just to the helmet but to the whole figure the helmet is sitting on we can extend the box on all three axes in the perspective he's already established and now we can fit the rest of the figure in this box anything that is parallel
to the plains of this box will follow these angles but not everything is parallel the arm for example is tilted diagonally so it has its own set of angles the box that you're seeing right now that's the first image that I float in my head when I try to draw different characters in different perspectives you need to define when you want to draw before you make the first stroke I found that if you have the fundamentals down the speed of progress accelerates much more quickly I improved really fast once I had understood the shape of
the cube in it was prospective mass shape and shadow so a lot of your drawings are in fisheye perspective or a five-point perspective have you ever studied that yeah yeah yes I did study that as well fisheye structure is a structure that was created out of my ego that is Eagle to include as much as possible on a single scene let's say I'm in a coffee shop if I were to draw the coffee shop I can draw the left middle and right side through this structure I simply wanted to squeeze everything into one frame so
I looked at this side and drew this side and then this side and it naturally he turned into this fisheye structure the more I use that style the easier it became for me to draw it and even when I doodle normally after much practice and repetition my hands have been trained to create this structure and thanks to that I can apply it to different areas such as screen compositions when depth is intuitive and you understand an object from all angles you can draw it from any angle and you'll be able to draw things you've never
actually observed such as a seam looking down at a coffee shop with fisheye perspective applied to it he observed it from the ground but he understands each object in the scene well enough to draw it from above and he understands fish eye perspective enough to apply it to anything he can add remove or modify the objects in the scene as he wishes to serve his story and composition of course all this takes practice and a large visual library he would go to the library and observe people looking down at them from the second floor he
observed his brother as he's lying down he compared the way body parts look from different angles of course he also has a really good understanding of human anatomy and exercise he recommends everyone does is to look at an object from one angle and draw it from several other angles you should be able to draw any angle you imagine because you're floating the image in your head visualizing as you draw along people might question if this is really necessary for character design the answer is absolutely yes because if you do this exercise and you're able to
visualize and draw in three-dimensional forms from your imagination you'll have a much easier time designing your own unique elements this not only trains your ability to draw perspective intuitively but also helps you memorize the object you're drawing so you can build that visual library as a kid when he really wanted something like a bike he would draw it a lot until he was good at drawing bikes if I knew how to draw a bicycle then I can draw a motorcycle if I can draw a motorcycle then I can draw a car so once I made
that connection there were so many things I was able to draw without looking at reference there are a lot of things that are difficult to observe in real life it's not easy to find a place where we can observe a variety of space suits or scuba gear or tanks from specific Wars but we have a lot of resources to study these things like books movies YouTube or Google Image Search I used to collect a lot of references that I couldn't observe from real-life he talks a lot about seeing things in your head before you start
and while you're drawing visualization is another key pillar in drawing like Kim Jung key when you're visualizing the drawing that you're gonna draw are you seeing it linearly with the lines or are you just seeing three-dimensional forms and then you translate it into lines on paper the answer is to get into the habit of perceiving every object in three dimensions I will tell my students to imagine things as if it was so real you could smell it the purpose of this is to fully immerse themselves into whatever they're drawing it works the same way as
the green screen for computer graphics widely used during movie production when observing people the chain of thoughts that are going through your mind should be this person is standing behind him and then there's another person behind that person and another object so contrary to what many believe he doesn't see the completed drawing in his head before he starts he sees it realistically as if he was actually observing it and he doesn't always see a complete scene if he's just sketching for fun he'll start with one element and an idea and see where it takes him
when the subject matter is given I sit and visualize for a few minutes but when I have more freedom I just draw this is something I was working on a while ago I was portraying the process of a surgery and I ended up creating more images and backgrounds spontaneously when I thought about a surgical procedure being done I initially thought about drawing the inside of a human brain but then I realized it might be too boring so I decided to change the human into an alien so pretty much everything can be created spontaneously I asked
him how he learned to translate his vision of the real world into a line drawing I found myself being more detached from simple lines I used to do a lot of underlying pencil sketches and I left a lot of lines in them yeah very meticulously back then I also had a bad temper so when I did not like the way things looked let's say the back of a person I would tear it apart draw and repeat this process until I had what I like it was even no drawing when I did that 11 times however
as I gained more knowledge and experience the number of lines in my drawing became less and less and the drawing became more simplified he used to take 30 lines to draw a face but that's not the case anymore the same goes for the eyes it take multiple attempts to create the look of an eye that I wanted but now I can draw it in one go so this is basically how I got to develop my current style of lines the key is you have to first visualize what you want to draw in your head and
try to jot it down with one stroke don't be afraid of using pen because it's permanent but considered using a graphite pencil so you have no pressure of making a mistake and build that wrist strength being scared of making a mistake it's just not going to help you so consider the most familiar medium that you might be using right now and just try to practice a lot when people see me doing a live drawing they often try out using a brush pen but the first time you try it it's a new medium so it's going
to be pretty difficult on your wrist just to break the habit once you practice more and become more familiar with what you use no matter what it is it's going to be a useful tool for you when he was young he was inspired by anime and manga so his drawings naturally gravitated toward linear' eventually he started studying skilled anchors like Gibson and Korean artist jung hwan Kim and a bunch of Europeans and Americans that he can't remember he's known for his linear style but he actually does a lot of tonal work to the path to
mastering shading is the same path we just discussed lots of observation and understanding three-dimensional form when you have enough experience that all this technical stuff becomes intuitive like perspective Anatomy hand control shading you can instead focus on the story the character design and the composition of your drawing Kim Jung ji is thinking about the little details that communicate things about the object even the type of screw that is used in a piece of tech can tell the viewer when the tech was made for example let's talk about headphones you know how headphones are manufactured with
different designs it could be a minimalistic design or it could have many little screws that are more masculine those are the details that I utilize in my character designs the different types of bolts and screws can suggest a generation timeline and location where this character is living in he says a very simple way to design a character is to humanize a creature this makes sense because you can use your knowledge of human anatomy to hide your ignorance of frog Anatomy while still getting across the idea of a frog this can expand your range of types
of characters you can design and now you can play with human character design ideas to give the frog a story like giving it specific clothes or a gun to show that it's a gangster frog and you can play with body types to give it personality this tall frog is more intimidating this is the type of stuff he's actively thinking about he's not distracted by trying to fix his perspective mistakes or basic drawing issues he's thinking about what he's drawing and what makes it interesting he thinks about focal points areas of detail will be more of
a focal point he says to add contrast between detailed areas in simple large shapes he shows in this example the simple jaw plate and the complicated wires and ventilation all around it he uses things like stitching on clothes to define the contour and movement of the body so at this stage I visualize how she's going to pose and draw all the elements to go along with that pose don't just pay attention to her Anatomy meaning her bone structure we also think about the thickness of our body the skin that's touching these our clothing tight against
her skin or is it sitting on top with a cap from her skin also the micro designs and micro indications are very very important a lot of artists that I see often make the mistake of just drawing the minor details very loosely which is incorrect and could be bothersome you have to indicate the thickness and the contour line even of the small nuts and bolts that match the major perspective lines that's what makes a character realistic whenever you draw you're creating a story you're not just drawing a character once you drop down one character that
means you're creating a story that revolves around that character so after I draw the first character I start thinking of a sub character and how the characters interact and that becomes a whole story so it was the third year of college I didn't have a girlfriend at the time so I was just drawing drawing drawing at home it was raising drawing like I've got nothing else to do nowhere to go I'll just draw I used to just curse people with beautiful girlfriend and say what's where I'll be in ten years I'll steal your girlfriend ten
years from them and I'll just be in my room destroying I don't remember exactly what I was drawing but then I had a realization hey I don't think I'll have any problems drawing any form in perspective from now on if someone was like hey chunky draw this or draw that I don't have any problems visualizing the form anymore since my drawings are based on what I had previously seen it is a reflection of the depth of my knowledge after looking at my drawing it'd be easy for you to know who I am what I know
what I am interested in and how I feel I'm not hiding anything because there isn't anything that's worth hiding ever since I was six years old I told everyone that my dream is to become a cartoonist so I had my goal very early on but when I actually became a professional artist it was pretty late I was 27 when my first artwork was published you hear that he's been raged drawing since he was six and didn't become a pro until he was 27 that's too full decades let's give ourselves some slack but also approach it
with as much enthusiasm and professionalism as he does when you get your first opportunity as a professional artist you have to consider that you're doing this for your own personal use have ownership of your artwork it actually took me a while to have that kind of professionalism not just giving artwork for money or pleasing a client but pleasing myself but the achievement of the artwork has just made a lot of young artists just getting into the industry often make that mistake if you just chased after money or fame even when you're just starting out even
someone like myself you just can't get fooled by social media if you get so many likes on one drawing and say oh my gosh I'm becoming something but it's just a one-time thing that you're going to do over the web and that's it I think drawing a lot and really having a strong foundation will make you a good artist because people will just acknowledge you and those common mistakes young artists will make is because they feel pressure to be famous in the short period of time but you cannot force fame or success [Music] [Music] thank
you sir ho thank you thank you thank you thank you
