Season #01 Creator

Interviewee

Cartoonist : Jung-Gi, Kim
드로잉아티스트 : 김정기

Figure Artist : Sticky Monster Lab
피규어아티스트 : 스티키몬스터랩

Singer-Songwriter : Coffee Boy
싱어송라이터 : 커피소년

Paul-Avril
공예가 : 폴아브릴

Tatooist : Baneul
타투이스트 : 바늘

Figure Artist : CoolRain
피규어 아티스트 : 쿨레인

Architect : FHHH
건축가 : 푸하하하

Photographer : Rotta
포토그래퍼 : 로타

Singer-Songwriter : Yeon-Seoung, Jung
싱어송라이터 : 정연승

Callygrapher : Dajaran Boy
캘리그래퍼 : 다자란소년

Hyung-Sung, Kim
금속 공예가 : 김현성

Illustrator : Hanna, Hong
일러스트레이터 : 홍한나

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“The Peerless Cartoonist.”

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Cartoonist

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Since PlinkLab pursues to interview creators who are unique than famous,
we were supposed to introduce already “JungGi Kim.” For a long time,
he has been building and maturing his drawing styles rather than following a significant trend. 
He was one of most desired interviewee since our first planning of the PlinkLab project. But unfortunately,
due to his other schedules, we had to postpone the interview several times.

Meanwhile, in the middle of March when the scent of spring is finally around,
we’ve met him and SuperAni members at the Anichanga art academy studio near Hong-ik University.

If you are interested in cartoon or illustrations, you'd already heard the name “JungGi Kim.”
But for those who haven’t, here is a little introduction about him.

Because the world had recognized his talent and skills before Korea ever did, he spends more times in overseas than in Korea. Recently, he was invited by world-known French writer Bernard Werber for dinner, and Werber suggested a collaboration with him for the next project.    

Although he has an uncle next door image in his appearance, during the interview, his word choices and expressions were as if he was drawing a cartoon. JungGi Kim was quite like a warrior who has a passion for the battle, as his every single cell seem to be only focusing on comics and nothing else. Maybe this is why he said that he feels like JungGi Kim’s on the journey to defeat the grand-masters when he is attending a foreign cartoon fairs and exhibitions.   

This interview contains an exclusive and previously unreleased stories of JungGi Kim.
From his little stories to his philosophy on works, and even R-rated stories. 

Let us help you to peep every detail of his thoughts and his studio.

JungGi Kim,  I’m so excited to see you in person.
It’s my pleasure to meet you.

Yes, It’s nice to see you. Sorry for the several conflicted schedules but we are finally interviewing! So, I assume you have prepared many unexpected questions that you’ve mentioned at the preliminary interview session? (laughter)

I’ve got some tough (?) questions for you to answer but for starters, I will ask you questions about your work.
What motivated you to be a cartoonist and when did it happen? 

I’ve been passionate about drawing since I was young. I continuously drawing cartoons even now I think about it. Then I thought I had to be a cartoonist when I was 6. When I was in the kindergarten, my drawings were the best among my village (smiles). Usually at that age, you draw a tank like this -- in two dimensions, but I’d draw it like this-- in three dimensions, although it was not that accurate. Then I got this sketchbook from the kindergarten as a gift. At that time I didn’t know which cartoon was it on the cover page, but rather I found out that it was Toriyama Akira’s Dr. Slump. The cover page had the main character Arale, but it wasn’t the drawing of Arale I’ve got interested. It had a picture of fish that is wearing goggles and oxygen cylinder in the background, and I was so impressed by that drawing. I felt in love with it. So I thought, “I’d want to draw something like that… what I should be to do that? Ah! I should be a cartoonist.” That’s what happened. Since then I built my dream to be a cartoonist.   

 It is pretty impressive that you drew in 3D at such a young age.
Then what did your parents wants you to be at that time? 

My father wanted me to be a public officer or a regular white collar employee, something stable, just like other fathers. At that time, he was working for Pohang Iron & Steel Company, which is now POSCO.   When I was in high school, he asked me several times if I want to work at POSCO, just like he was. (laughter). Even if I was a terrible student since I was the first-born son, he expected lots of thing for me, he even paid for private educations outside of the school. But to be honest, how could I be able to study? (laughter) My head thought about cartoons 24/7. I was distracted. (smiles)

For sure. I bet you had a hard time doing things that you didn’t want to do at that time.
Then did you have a hard time convincing your family about your dream?

I think not only because I am the first born son, but also everyone in my family didn’t like the fact that I draw the cartoon. When I was young, they’d let me draw because I was so into it, and they allowed me to attend art academy after 2nd year in high school. On the school report, it always said, “JungGi had talent in drawing,” so my parents knew that it was my passion, but they did not let me do that. But I continued to draw because I just liked it, even if it was against my parent’s will.

I’d continuously draw on every white paper or space where I could draw. On the edge of textbooks, notebooks, and get a scolding from doing that all the time (laughter). My favorite time of a day was when father tears off the calendar page. We had such a big calendar, and I’d draw on the back side of the page restlessly. And one more thing I thought lucky was that my best friend’s father was an elementary school teacher, so he always brought some scrap papers from school. I remember going to my friend’s house, and we’d draw together

How did you finally begin to be a professional cartoonist?
Did you have any turning point?

My debut was when I was 27 years old, which is very late because I wanted to be a cartoonist since I was young. Usually, people do their debut when they are 20 to 24 years old. After I had got discharged from the military services, I started to draw alone in my room near my college in Busan. One day, one of the members of my cartoon club told me that there’s opportunity to earn money by drawing and be part of a cartoon project and that he wanted to do it with me. All convinced, I prepared the portfolio and joined a cartoonist studio that produced comic books like a factory. My job there was to draw backgrounds of cartoons. By the way, one of the members who went to that studio with me is now my wife (which would take this story to whole different direction… (Smiles)) 

After that, I’ve learned a general process of producing cartoons for about two years, and the senior member of the team have helped me out not only on skills but also on personalities. I had outstanding experiences there with team members who were stimulating my motivations time to times. While I was very satisfied working there, elder members started to prepare a debut and looked for publishers. I had enough drawings then to develop a portfolio, and also, many people have been complimented my works at that time. So I thought, “Yeah, there should be at least one publisher whom can publish my cartoon?” and I prepared my debut. I moved to Seoul and submitted my portfolio to the most famous 11 publishing companies. But I got rejections from all of them. The reason was that my drawing style was not “up to the trend”.  At that time, cartoons like “Slam Dunk” was very popular and the publishers would bluntly suggest me that they’d publish my works if I’d change my drawing styles similar to that. Seriously, every single one of them would give me the same feedback, and I was so shocked that I couldn’t draw for almost a month. That was the longest time to let go of drawings in my life. I wouldn’t call it a slump because I was confused in my head. I had constant concerns like, “are my cartoons awful? Maybe being a cartoonist is not my thing?  What should I do from now?”  That incident really drove me to the edge. One of my colleague who worked next room in another team asked me indifferently about the rejection and I suddenly lost a temper and smacked him with a cup, yelling “Yes, I got rejected!” I was very stressful at that point.

For about a month, I was so lost like that. Then one day the senior member of the team came to me and told me “JungGi, your drawings are great enough in my opinion. So don’t give it up because you got rejected and keep it up.” And I think because of that I am still drawing.

Then a year passed from then, and I’ve added just little to my portfolio and submitted it to the same publishers. Surprisingly, this time, all the publishing companies accepted to publish my work. In only a year, the cartoon industry drastically changed regarding how people viewed the comic books and the drawing styles people liked.

 I see what happened. Korean cartoon industry is very trend-sensitive like that.
When did you finally have a conviction that being a cartoonist is your path?

Conviction... I still don’t have it (laughter).  Anyway, I really liked to draw, and people around me were always supportive. So I thought there is nothing else that I could but drawing. I feel thankful that I am good at drawing at least. I am truly awful in everything else.  (Laughter)

Do you have “I am the best” attitude when you work?

It’s funny to think about it now, but I did have that moment when I thought I was the best. Maybe because lots people have kept telling me that I was good, I literally bragged about it, I'd tell my colleagues something like, “If you look back in the future, you’d be proud to be working with me!” (Laughter). But I think you should have the self-esteem and pride to survive in this industry. Sometimes I talk to myself “This is going well! Looking great!” to control my mind but if I see it the next day, It looked terrible, and I didn’t want to see it anymore.
Nevertheless, that kind of attitude is a must.

What do you do if you hit a slump? How do you get out of it?

So far, I am lucky not to have any kinds of slump yet. Maybe it is because I don’t have a limit to the materials and subjects for my drawings, and I have a broad spectrum regarding genre compare to other cartoonists. Thankfully, I haven't experienced slump yet.
I am still passionate about drawing, and I appreciate that.

Like you said, if you have been drawing because it is fun and satisfying,
have you ever had experiences where drawing became much difficult because it became like a job?

Ah, that’s a sympathizing question.  I also had hard times when I work with a client. I think that I need to follow client’s directions when encountering situations where I genuinely believe that doing things my way is better. I have no choice but to draw as the customer requested, but it is hard to do so. I believe being professional is always to work as if you work for yourself. I still have difficulty to follow that belief. When the client orders a job, I unconsciously think that it is a job and start to work in a tense mood, even if I know that the work will turn out better if I were to start it as if I was doodling for myself, and enjoy it. It got a lot better now but sometimes I still involuntarily have a negative attitude if I think that I am drawing for a job. 

It is excellent advice to “work as if you work for yourself.”
Do you have your philosophy towards the work? Things that you must keep in mind when you draw.

I have to avoid things like plagiarism for sure. I hate to see my works to look outdated. Even if the time passes, I want my works to look fresh. I want to draw works that you can’t tell the age of the cartoonist. There are some great masters in cartoon field, but you can say that the drawings are out-dated, and it feels old. I do my works thinking that my works would never look that way.

Do you possibly have your favorite project?

I usually don’t have attachments to my works after I finish it, so I haven’t thought about it yet.

Then can you think of the hardest project to draw? 

Yes, I had a project with a sad episode. It was a project I’ve got from the government, about the Japanese army´s comfort women (Korean women forced into prostitution for the Japanese military during World War II). To be honest, I think it is same for you too, I only had partial knowledge of the subject.  So I thought "I shouldn't be doing this." I couldn't study in depth on the subject, and I didn't mean to do the research on it either. And I kept declined the offer, but someone should do it, so I did. (laughter) Then everything went steeply from there. My palms rarely sweat when I draw, but I had to do interviews with NHK(Japanese Broadcasting company), and they were filming me drawing and asking lots of questions about comfort women, which was tough to answer. I had to start drawing right away after the interview, and it was the most painful experience of drawing. To be honest, the size of work was small, and it shouldn’t have been that hard. But my palms were sweating, and I found it difficult to draw.

Then have you ever thought that you are such a creative person, that you are a genius?
Don’t be such modest, just for today.

Yeah definitely. (laughter) I was in the junior year in college, and I was doodling at home, alone. I was drawing this and that, and for some reason, I thought that from then I would never be stuck in drawing shapes. I forgot what drawing it was exactly. But that was how I felt that day. With confidence, I thought that after this point, I would not have any problems drawing basic lines of shapes or building baselines. (smiles)

 Where do you get your inspirations?

I think it is same for other cartoonists, but I can never draw a thing without inspirations. In my case, I try my best to get as much as resources possible. It is my daily morning routine. Every morning when I come to the studio, I do researches on the internet and try to be visually inspired. I look through things, and I go “Ah! That looks awesome” or “That’s the one to work on today” or “Oh, I feel it!” or “It’s interesting to express it in that way…”I find the subjects that I want to draw out of those inspirations, and I start drawing. Needless to say, books also give me inspirations. 

I noticed familiar comic books on your book shelves.
Do you get most of your inspirations in comic books?

No, not limited to only cartoons. If you look close, I have variety genre of books here on the bookshelves. I collect books on Photography, Documentary/travel books (national geography), Painting, sculptures, I am not picky on books. My favorite TV channels are also national geography and discovery channel. They have interesting subjects such as “how are bombs manufactured”, they introduces odd jobs all over the world. I especially like stories on unique professions. A deep sea diver, or people who do crab fishing, and survivals, etc.  

Do you have any plans for the future?

I am planning to publish serial cartoons in real time. Usually, the readers are exposed to already finished work, but I'd like to show the process of drawing. Of course, there will be a story in it too. The internet nowadays is so advanced that audiences from all around the world will be able to see the cartoons drawn in real time. A book is one of the standard output for cartoons, so I want to try beyond that and present it in a live drawing format as another interesting contents.

I've heard that you agreed to collaborate with Bernard Werber?

Yes. He is quite a well-known writer in Korea. He will be doing the story, and I will work with him doing drawings. When I visited France last time, he invited me to his house for a dinner, and we've had a good chance to talk about it, and I agreed with him when he suggested the collaboration. It is one of the exciting prospect projects.

I'd assume that you will have some favorite foreign cartoonists,
but do you also name few favorite Korean cartoon artists?

Oh, yes. We have some great cartoon artists in Korea as well. I really like Joong-ki Park, Yoon Tae Ho, Yang Young Soon. If Yang Young Soon were to born in Japan, he'd be much successful, people would call him as a master.  I also like Oh Seyoung, Jae dong Park, Lee Hee-jae... there are many.  Among young cartoon artists... sorry, I rarely read webtoon (online cartoon) even if I've done webtoon projects. Even if I am a cartoonist, I am one of those people who doesn't read comic books much. Isn't it strange?  (laughter) It is maybe a reason I don't know many young cartoonists. But I do recognize their cartoons.  I remember the drawings better than storyline, but I always have a hard time memorizing the name.

Did you ever publish webtoon(online cartoon)?

Yes, It is called, "TLT(Tiger the Long Tail," it is such a badass cartoon (laughter). I published it serially on Naver, and it became five books. I should keep continuing the series going, but I am too busy with other stuff (laughter)

 Can you name the most creative person in this world, regardless of genre or field?

Yes. I like Moebius(Jean Giraud). Also, I think Toriyama Akira(鳥山明)  is such a great cartoonist. Otomo Katsuhiro is great as well. He drew <AKIRA>, I believe his work has the power to attract people, he is truly a genius. I first encountered their books at an illegal bookstore, and I am not going to lie, I was so shocked by it, I stood there for like 30 minutes. I was like, What is this? Who is this person? I was so annoyed by how good he was. I hated Japanese cartoons with exaggerated big eye expressions at that time, but AKIRA had drawing style that I preferred to pursue. His drawings actually looked like Asians. Anyways, it was such a surprise for me. So after that time, I morbidly collected all of his drawings. I was not quite into <Dragon Ball>, so I rarely bought it, although I liked his work until the Frieza. I especially liked <Dr. Slump> and its unique perspective. It is one of the works that I felt that the cartoonist is enjoying to create the work. Sometimes when I read the comic books, I can tell the artist is reluctantly drawing. And what else...

<Blade of the Immortal>. Isn't the title already says it all? I like the artist who drew this as well. In college, I first read European comics magazine <Heavy metal> at a used bookstore.  I found it so sensational since I was used only to read Japanese comic books. Every single shot looked like the illustrations. That experience led me to get to know more on European, American, and underground comics, which have helped me widen my view on comics. I learned that there were more ways to express things and draw things. I was lucky enough to attend college in the larger city than my hometown (his hometown is Pohang, and His college is in Busan), which exposed me to lots of illegal books and smuggled resources at that time. It helped me improve. I always went to Bosu Book Street. Since I was young, all my relatives lived in Seoul or Gyeonggi suburb areas so in school vacations, winter or summer, I spent my holidays in my grandma's place. I remember when I was in 4th grade, I followed my cousin to the book street behind the Chinese Embassy in Myeong-dong. It was a dream place. It had every comic books I liked. Bookstores there had <GUNDAM series> from Japan, even from America, it was like a treasure island. After that, I'd countdown the days left until every vacation and start saving not only my pocket money but also money I got by lying to my parents that I need money for school workbooks and academies. I used to take the first bus to Seoul from Pohang. After I arrive at the terminal, I ate Chinese noodle, went to the Myeong-dong book street with such a joy. I'd spend all my money except bus fare buying comic books all day.

Now I think those trips to book streets made me come across more sophisticated drawing styles and unknown but remarkable works, which helped me to improve.

Did you ever want to go beyond drawing cartoons and write storylines for them as well?

Of course It is part of my ambition, I want to write good as well. All the cartoon artists actually dream of it because it is best to write the stories that depict the drawings. But I have no brain (laughter) to write the stories, I always get writer's block.  And even if I have a great synopsis to proceed, it becomes something similar to what I've seen before. It is so difficult. So I decided to just do something I am good at (laughter)

I guess it is a little sensitive to ask, but although you have some Korean cartoonists that you like,
do you have Korean cartoonists you don’t like? Maybe cartoonists who are overrated in the media? 

Well, cartoonists who were lucky to be born in the right century, including myself (laughter) It is just my opinion. When I went to Louvre and Orsay museums, I'd see works of artists that are not as brilliant as the media praises them. Degas, for example. It means, there are living artist with the same case for sure. However I still think that those works must own some elements that attract such compliments. Because success or fame can't come from a single supporter. I think artists with good reputation always have something that catches people's eyes, such as prospecting talents or perspectives. That is why sponsors invest in them.

You said you started drawing at a very young age.
Did you draw for fun from the beginning?

Usually, people start drawing by imitating other drawings. But It was not my case. I liked to draw things that imagined in my head. If you look at my old sketchbooks, you could tell. One day, I wanted these sneakers so much. Then I will start to draw sneakers every day. Even if I were to draw people, I would draw the sneakers bigger. I'd express my willingness to buy the sneakers by keep drawing them in my drawing journal.

You are very popular on Social Network Services such as facebook and instagram. Can you say anything to people who wants to draw well, or be like you?

Yes I do. I have a story that I always tell to people who ask same question. If you want to draw better, you should see more, read more, and collect more.  For instance, if you have killed someone before, you'd know how it feels. Then you could depict every details in your drawing of a killer. Have you ever shoplifted when you were little? Ah, that calm feeling after... you know? A person who've never shoplifted won't know of such feeling. However, you can still indirectly experience something. From the film, or story you've heard, photographs. There are things that you can get vicarious experiences from are everywhere.

If I can only draw a human figure, then all my drawings would have only humans. But if i can draw animals and plants as well, then my works will become more abundant. Drawing Cartoons seems very limited, but it is like a movie, it is a composite art. You need to have the vast knowledge of things. It is good to know things deeply, but it is also important to know widely. So you need to see and hear lots of things. Of course, you have to draw, and madly collect anything you feel insufficient. If you keep this up, it is inevitable to draw well.

What is Creative in your opinion?

In my opinion, nothing is new in this world. That’s how I felt when I went to Louvre Museum, creative things repeats themselves, just in different medium. If you look at the furniture designs of old ages, you'd wonder how they made it, but modern designs are in the same way. That means imaginations and ideas that human build has a limit. To give you one example, if you know about twenty marine organisms, you will be able to become one of 10 best monster character designers in the world. Eyes are scary like that; it will mimic things you have seen somewhere before. You'd become a fool if you avoid seeing anything because of it, but that is why it is important to develop your skills consistently. So creativity for me is not to create something "new", it is to "combine" things that were already existing. 

Ok- let’s go on to the personal questions.
Do you ever bluff? 

At the cartoon fair and events, I sometimes pretend that I am drawing, and when more people gathers, I pretend to focus harder on drawings… (Laughter) And intentionally drink water in front of people. Do Things like that? (smiles) I purposely bring my drawing book when I go to get the autograph from famous foreign cartoonists. Then they’d look through my drawings before they autograph. I get a kick out seeing them be all surprised and ask me “oh, you pro?”. Because there are not many Asians there. So I show off like that deliberately. I’d sometimes draw more drastically because to draw among the crowd is like you are in a battlefield. One mistake will kill you. It feels like a fight where one thing goes wrong, I will lose my hand, or it can be anything, but I will be dead. Fortunately, I had previous experiences like that since I was in school. I remember the atmosphere when my colleagues will come to watch me drawing in break times. And I had to do demonstrations in front of my students when I worked as a instructor. Maybe that is why I don't get nervous when drawing in front of people. After about 5 minutes, I find myself keeping my pace calmly as if I am drawing alone in my studio. It doesn't matter if I am with 1,000 or 10,000 people. Anyways I do have a tendency to show off, or I do act out to not get inferior, maybe. One of my dreams, since I was little, is to become a cartoonist that other cartoon artists would like.  I'd love to achieve recognitions from other professional artists rather than general public. Is it like I want to be the grand master among the masters, you know? (laughter)

Do you smoke or drink alcohol?

No, not at all. I think you wouldn’t believe this by my look, as I look like a heavy smoker and drinker (laughter) I don't like the smell of cigarette.

Do you have perverse habits?

Oh wow, I can’t think of a single cartoonist who’s not a pervert. (laughter) Things we are trying to express can only get more intense. Like when you are watching porn, you’d think, "Hmm, you can put this and that in that." It is same with drawings. My cartoons, especially my doodles will be seen as if they are watching porn. Regarding expressing, drawings and sex are very similar. There is no limit to them. But the artists lives in the same world with regular people, but it is also very different ironically. Artists get inspirations 24/7, in every situations and space. "Ah, I should use that subject this way," or "I should use that color that way." Even when I see a girl on the street, I think, "It looks beautiful to stand like that," "How would she look inside?" One time when I had an obsession with wrinkles on clothes, I'd observe all the clothes wrinkles no matter where I was. On buses and subways, I thought "If you sand like that, your clothes wrinkles form that way," "Shape of that wrinkle is so pretty." It is all I could see. I am confident that I will rank second, no, probably the first place for being a pervert. (laughter)

I'd say the most secretive and invisible place is a restroom.
Do you have your habits in there?

I peek my nose a lot.. (laughter) and I always check out my creation in the toilet before I flush. (laughter)

I can definitely bet that those habits are your own. (laughter) which sense is the most sensitive among five?

Probably my sense of vision is the most sensitive.
I try to develop to have a keen sense of hearing but because I am very sensitive to sight, I feel like all other senses are below the standard.

Then what or who do you want to Peep ?

To be honest, doesn’t everyone say they want to peep at someone’s studio and how someone work?
For me, I really have no interest in that.. (laughter)

If I born again, I want to be an F1 mechanic engineer.. and work for companies like AMG. I'd want to disassemble complex engines and reassemble it... I like structures that perfectly fall in places. That is why I like motorcycles. But I only think about to ride it one day. I don't drink, smoke, I don't ride motorcycles~ (laughter)

When are you most happy?

If someone likes my post on Facebook, I am happy.
I am happy that more people notices my work compared to before.

Then where do you find little and trivial happiness?

Actually, I am the happiest person among the people in SuperAni studio. I have very high degree of happiness.  But now I think about it, I know why I am losing weight. I might get stressed inwardly.

I’ve been to Malesia for two weeks and I will lose my weight even if I regularly eat three times a day. Maybe even though I say I enjoy my work, in reality, my head might be overloaded and thus, I’m losing weight. However I am a positive person so I recover in a short time.

Then you do get stressed. If you don't smoke or drink,
do you have any ways to relief the stress?

Yeah. I watch porns. (Big Laughter) If I have nothing special to draw, I start with erotic figures. (laughter) Then I will draw something else by it; and then I can think of something else to draw. (keep smiles)

I see lots of erotic drawings in your sketchbook. I guess you had a reason for that.
Are you planning on doing a project with erotic/sexual cartoons as well?

In fact, I am planning on collect and publish my R-rated drawings.
A bad book. R-rated. Trashed book maybe. I will put some stories with it. The book that drawing style itself is sexual.

Even if you are a generally happy person,
you should have moments when you are little unhappy or lonely. When do you feel that way?

I think about if I will live like this 10 years later. Ever since I passed 40, I think about health a lot. I feel like my body is getting old, physically. Especially my eyes get bleary. I used to have no problem staying up all night for a day or two. But I feel sad when I think about my health and body. Families and kids are also something I worry about, even if it isn’t huge. Fail to meet deadlines and pressures on deadlines (although I won’t exchange it with anything) Those things become a stress.

What is your biggest concern right now?

I have a huge exhibition scheduled in May but I haven’t drawn anything for it. That's my biggest concern… I have no drawings and no ideas, it is awfully serious. I need to study, STUDY! (laughter) I have to draw the second book of Spy game as well… People around me always have hard time because of me. it is really serious problem. (laughter)

Do you have a bucket list?

I'd want to conquer the cartoon world. Just Kidding. I want to draw full-length comic books. It can be any story, and I'd love to draw a project where I'd have to draw more than ten books. 

Full-length comic books sound like something all cartoonists' dream comes true. JungGi Kim, I think the creative sense itself is in contact with a human instinct. So I want to ask on inextricable questions about "opposite sex", in this case, female. And questions based on instincts.

 When do you think a girl is sexy?

Do you mean a situation or body parts?

 I am curious to know both.

Hmm, I haven’t really thought about it.. When a girl is sexy… Well, I have little twisted view about it, (laughter), I lately feel lots of things when I look at my drawings. I think I do like skinny girls rather than chubby girls, I like girls with glasses and I prefer smaller breast than bigger ones. I got more into the pelvis. I used to like fine skin but now I am more into the wrinkles. If we talk about breasts, how do you call it? Areolas? I like it popped out. Obviously, I am very detailed. ( Laughters!) Anyways, you can see my latest work, and you would figure out what I am into nowadays. 

Where do you look at the first when you meet a girl?

Lately, I only see the face for once and then focus more on the balance. A girl could have a very beautiful face, but if the whole body is not balanced, I don’t feel attractive.  I like overall tight or fit feeling. How clothes fit and the silhouette is exposed.

What is the most provocative (in a sexual way) film,
or a scene, or a photo that you think?

Have you seen <Crash> by David Cronenberg? In that movie, there is a car accident and a couple is having sex watching the accident, and a wife asks her husband about the guy. How he looked and how he smelled and everything while they are making love. They final hits the orgasm talking about things like that. That scene stuck with me as the most provocative scene in my memory. It was shocking and impressive at the same time. 

 What is the most important thing in your life?

Families? (laughter) I think it's a pure lie when people say this. They apparently consider themselves as the most important. I think my drawings are the most important in my life. I want to be healthy and draw for a long time. I hate to be sick and draw only for the short period. And I want actually to see something and draw, instead of doing that through a monitor. So I think I want to be healthy. I think the most important thing is myself who is healthy and able to draw for a long time.  

Do you have a special place where you like to go? Restaurants, cafe, anywhere.

Frankly, my favorite space is Ducati store. I'd do nothing but stand there and still have a blast. And I'd love to draw in between Italian motorcycles while enjoying the odor of gasoline. One time, I have doodled a sketch journal after visiting Ducati store in Gangnam. I drew a scene when I received brochures and talked to the dealer. It made me feel good. I really want to buy a motorcycle there. I mean, I don't smoke or drink, wouldn't it be good to have a habit like that? To be honest, I am scared of the speed.  I won't drive faster than 170km/hr with my car because I get scared. I like motorcycles not because of the speed but because of the mechanical side of them. Since I like that mechanical things, I fell in love for Ducati as well.  

If you like the mechanical stuff,
do you also like analog machines such as typewriter and camera?

Yes, so I collected many photographs of dismantled machines. It's not that I don't like modern things, I think I like things that have mechanical and sophisticated features simultaneously. For example, I like objects that are both elaborately complicated and has manufacturer's hardest effort. It applies to clothes choices and everything. Although those things are often very expensive to buy  (laughter)

Could you name three books of your lifetime? 

I like books by Norman Rockwell. He is considered as the greatest American illustrator of all time. So I'd look at it on the bus, and refer to it as well. I still look at the book sometimes when I am stuck in my drawing. I really liked a book of Ilya Repin that I've got as a gift from a friend who visited Russia. It's worn out, but I still have it, it is one of my favorite. It has "JungGi Kim's" written on the side of it. (laughter) And for one more, I recommend <The Good Earth> by Pearl S. Buck. I have never read any other book that many times. I read it abut four times, but the feelings I have after is always fresh. And I think I received the new feelings because newly translated version comes out would have different contents compare to its original paperback versions.

Ok, the interview is almost over.
Can you freely talk about anything you want to share with us or things you need to mention?

In my opinion, people's view of cartoonist have changed and now and people pay more attention toward us. But the treatment is still very unfair. I don't know it is right to say, but if I compare it to the entertainment business, cartoonists are like comedians. Comedians are very talented, and their capabilities are enormous, but they don't get the treatment they deserve compare to the actors. It's same for the cartoon artists. They consider us as if they think of the comedians. Compare to the fine artist, people treat us as I said. Once I went to this event held by the government. I was doing my live drawing performance, and the regional mayor came up to me and took my drawing pen. Then he drew a dot, on my drawing, and all the reporters surround us took pictures of that. I was so surprised by the incident, and I thought it was unbelievable what just happened. So I complained right away to the event staff that how could that possibly happen. When those things happen I realize how some people still considers cartoon as a contents for only kids.

Do you have a project that you must want to accomplish
even if it won't bring commercial success? 

I'd love to try the live drawing exhibition. It could actually work. If our news channels have the advanced broadcasting system that allows to air globally, may be on websites such as Naver or Daum, it will work great.  I want to challenge it because I could be at a pioneer position who brings a new format of the cartoon. And I could produce a new business model as well.

Thank you very much for joining us. I hope the interview with PlinkLab also helped you. 
I don't know if I've done it right (laughter). Thank you.

You have many interesting objects in your Studio; Please introduces about three things that you have here.

‘Simon Lee(spider zero),' he is very famous figure sculptor, he gave me this because he was happy to meet me.

And this.. you can tell what it is, right?(laughter) It is a penis. When I was in the military, one veteran made it and gave me to use as a key chain.

And lastly, this is made by 3D print. At the San Diego Comic-con event, one of my fan who works as 3D artist made it and gave to me. I remember I was a little scared of him at first because he was a big African American guy. (laughter)

Shall we peep at the tools that JungGi Kim uses as well?  :-)

  “ 천하 제일 만화가 ”

Cartoonist

메이저보다 유니크한 크리에이터들을 인터뷰하는 PlinkLab의 성향상 ‘김정기’ 작가는 이미 소개됐어야 마땅한 크리에이터. 그는 주류의 트랜드를 쫓아가기 보다 오랜 시간 동안 자신만의 스타일을 확고히 다지고 숙성시켜왔다.  그는  PlinkLab을 기획하던 때부터 인터뷰 섭외 0순위였었지만 유감스럽게도 그의 바쁜 스케쥴로 인해 번번이 인터뷰가 연기되었었다.

그러던 중 마침내 봄의 기운이 느껴지는 3월 중순 그를 홍대 앞 애니창아 미술학원 작업실에서 SuperAni식구들과 만났다. 만화 혹은 드로잉에 관심 있는 독자라면 한 번쯤은 들어봤을 이름 ‘김정기’ 그러나 그러지 못한 사람들을 위해 짧은 소개를 덧붙인다.

한국보다 세계가 먼저 그의 천부적인 재능과 실력을 알아보기 시작해 현재는 국내에 있는 날보다 해외에서 더 바쁜 일정 보내고 있으며, 최근에는 프랑스 유명소설가 베르나르 베르베르가 식사에 초대해 다음 작품을 같이 하고 싶다며 먼저 제안하여 공동작품 구상 중이다.

외모에서 느껴지는 푸근함. 인심 좋은 옆집 아저씨 이미지와는 달리 대화 중에 연신 만화 그리는 듯한 표현으로 말을 하는 그는 마치 몸의 작은 세포 하나 하나가 오직 만화, 그 하나에만 집중 되어있는 승부사 기질이 다분히 느껴지는 무사 같았다. 그런 이유 때문일까? 김정기 작가는 해외에서 열리는 만화 관련 박람회에 참여할 때고수들의 도장을 격파하러 다닌다는 심정으로 활동을 하고 있단다. 

그 어디에서도 다룬 적 없었던- 그 어디에서도 공개되지 못할-
그만의 소소한 이야기부터 작업에 대한 철학, 그리고 약간 19금 버전(?)의 얘기까지.

김정기 작가님- 너무 만나 뵙고 싶었습니다~ 만나서 반갑습니다.

네~ 반갑습니다.
이상하게 스케쥴이 번번히 엇갈려 이제야 인터뷰를 하게 됐네요.
사전 인터뷰에서 얘기하셨던 뻔하지 않은 질문들 많이 준비해오셨죠?
(웃음)


좀 쎈(?) 질문들이 있긴 한데 ..
우선은 그래도 일적인 것들 우선으로 물어볼게요. 
작가님은 지금의 일을 하게 된 결정적인 계기가 언제, 무슨 일이었나요? 

저는 어릴 때부터 그림 그리는 걸 되게 좋아했었어요. 정말 지금 생각해봐도 주구장창 그렸어요. 그러다가 6살 때 만화가를 해야겠다고 생각했었어요. 유치원 때. 그때 동네에서 가장 잘 그렸었거든요(웃음). 보통 그 나이 때면 탱크를 그릴 때- 이렇게 그리잖아요- 평면으로~ 그런데 저는 남들하고는 다르게 이렇게- 입체적으로 그렸었어요. 정확하진 않았지만요.

그러다가 유치원 때 받았던 스케치북 선물이 있었는데요~ 이 정보는 나중에 알게 된 거지만, 그 표지 그림이 토리야마 아키라라는 작가의 닥터슬럼프라는 그림이었어요. 거기 있던 주인공인 아라레 그림이 이뻤던 게 아니라 배경에 있던 물고기 그림었는데.. 와.. 물고기가 수경을 메고 산소통을 메고 돌아다니고 있었는데 너무 예쁜 거예요. 그 그림에 완전 뻑 갔어요. 그래서 아.. 정말 나도 저런 그림 그리고 싶다. 그럼 뭐가 돼야 하나? 아! 만화가 하면 되겠구나! 그 때부터 만화에 대한 꿈을 키웠어요.

어릴 때부터 사물을 입체로 보고 그렸다니 대단하네요.
그럼 그 당시 부모님들께서는 작가님이 뭐가 되길 원하셨었나요?

저희 아버지는 보통 어른들처럼 번듯한 직장인이거나 공무원.. 즉 안정적인 일을 하기 원하셨죠.

아버지가 그 당시에 포항제철(현. posco) 다니셨는데
제가 고등학교 때 ‘정기야, 너도 포항제철 다니지 않을래?’ 라고 많이 물어보셨어요(웃음). 
제가 공부를 진짜 못했었음에도 불구하고 장남이라는 이유에서인지 기대도 많이 하시고 사교육도 많이 시켜주셨었어요. 
근데 공부가 될 리가 있겠어요?(웃음) 맨날 머리는 만화만 생각하는데- 마음은 콩밭에 가있는데 말예요(웃음)

그쵸~ 참 어린 나이에 하기 싫은 거 억지로 하랴 힘드셨겠어요.
그랬었다면 집안의 반대가 더더욱 심했을 거 같은데 그렇지 않으셨어요?

아무래도 제가 장남인 이유뿐만 아니라 다들 제가 그림그리는걸 별로 안 좋아했었어요. 
어릴 때는 워낙 그림 그리는 걸 좋아하니까 그냥 놔두시곤 했고 미술학원은 아주 늦게 고등학교 2학년 때부터 다니게 해주셨어요. 
생활 통지표 같은 곳에도 ‘아이가 그림을 소질이 있습니다’ 라는 것을 통해서 부모님들께서도 이미 알고 계셨었는데 안 보내주셨어요. 
그래도 그분들의 뜻과는 달리 그저 그리는 게 좋아서 그래왔었던 것처럼 계속 그렸어요.
주구장창 백지에 혹은 그릴 수 있는 곳엔 다 그렸었어요. 교과서 외곽, 공책 남는 부분 등 수도 없이 그려서 엄청 많이 혼나기도 했었지만요(웃음).

특히 가장 좋아하는 날이 언제였냐면 아버지가 달력 뜯는 날이었어요.
사이즈가 엄청 큰 달력이어서 맘 놓고 그릴 수 있었던 날이라 정말 좋아했었어요. 
그리고 또 이상하게 운이 좋았던 건 친한 친구 아버지가 초등학교 선생님이었는데 
걔네 아버지가 학교에서 쓴 이면지를 가지고 오시곤 해서 걔네 집으로 가서 같이 맘 놓고 엄청 많이 그리곤 했었던 기억이 나요.

그러다가 어떤 계기로 만화가를 업으로 해봐야겠다! 라고
본격적으로 마음을 먹으셨는지 궁금하네요~

따지고 보면 되게 어렸을 때 만화가라는 직업을 정했었는데 등단은 27살에 늦게 한 편이였어요.
보통은 20-24살에 등단을 하는데 저는 그런 거에 비하면 되게 늦은 거였죠~

군대 전역하고 나서 혼자 대학 근처(부산소재지) 자취방에서 만화를 그리고 있는데 어느 날 만화 동아리 친구가 집에서 혼자 그리지 말고 돈도 벌고 작품 경험도 할 수 있는 곳이 있다고 같이 가자는 권유를 받았었어요. 그 말에 혹해서 포트폴리오 들고 갔었는데 알고 보니 거기가 공장제 스타일로 만화를 만드는 곳이었어요. 제가 해야 하는 일은 만화에서 배경을 담당하는 역할이었고요. 여담이지만 그날 거기 같이 들어왔던 친구 중에 한 명이 지금의 제 와이프에요. (얘기가 다른 곳으로 세지만-웃음) 그 이후로 한 1년 8-9개월 정도 다니면서 만화의 전반적인 프로세스를 배우게 됐고 팀에 계시던 팀장님께도 인격적으로나 실력적으로나 도움도 많이 받았고, 같이 일하는 친구들을 통해서도 때론 자극 받기도 하면서 좋은 경험들을 많이 했었어요. 거기서 만족해 하며 작업을 하고 있는데 어느 날 형들이 만화가로 등단한다며 출판사를 다니는 모습을 보고 저도 여태까지 그려놨던 포트폴리오도 준비됐었고 여기저기서 잘 그린다고 칭찬도 많이 듣던 때라 ‘그래~ 어디 하나 나 오라는데 없겠어?’ 라는 마음가짐으로 그때부터 등단을 목표로 준비를 했었어요.

그래서 부산에서 서울로 상경해서 가장 잘나간다는 11개 출판사를 돌아다니면서 포트폴리오를 뿌렸는데 다 퇴짜를 맞았어요. 이유는 ‘우리나라 실정에 맞지 않는 그림 스타일이다’ 그때 한참 유행하던 그림 스타일이 슬램덩크류였는데 그들이 말을 하기를 ‘이런 류의 스타일로 그리면 연재 시켜주겠다’ 라며 출판사들은 노골적으로 제안을 했었어요. 정말이지. 11곳 전부 다 똑같은 멘트의 피드백을 받고선 충격 받아서 거의 한 달이라는 기간 동안 그림을 전혀 그리지 않았었어요.

지금도 돌이켜보면 제 생에 가장 그림을 오랫동안 손 놓고 있던 때였는데.. 슬럼프라고 얘기할 정도의 것이 아닌 머리 속이 너무 혼란스러웠었어요. ‘내 그림이 안 먹히는 건가? 이 길이 아닌가? 앞으로 나는 어떻게 해야 하나?’ 라는 고민이 끝이 없을 정도였으니까요. 그때 그 일이 제게 얼마나 날카롭게 작용 했었냐면 옆 방에서 같이 그림 그리던 다른 파트를 담당하는 친구가 와서’야~너 안됐다며?’ 라고 무심히 물어보는데 갑자기 화가 머리 끝까지 차올라서 ‘그래 나 안됐어!’ 라고 소리치면서 옆에 있던 컵으로 바로 때려버렸을 정도로 스트레스를 엄청 받았던 시기였었어요.

그렇게 한 달 동안 멘붕 상태로 있는데 하루는 같이 일하던 팀장이 와서 ‘정기야, 너 그림 충분히 괜찮다. 내가 봤을 땐 정말 괜찮으니까 지금 안 먹힌다고 그만 두지 말고 끝까지 밀어붙여봐’ 라고 얘기 해줬었는데 그때 그 한마디로 지금까지 하고 있는 거 같아요.

그리고 나서 1년 정도 시간이 지난 뒤, 그 1년 동안 아주 약간 추가된 포트폴리오를 가지고 전에 돌아다녔었던 출판사들을 다시 돌아 다녔는데 놀랍게도 이번에는 한군데도 빠짐없이 전부 다같이 해보자고 했었어요. 그러니까 그 1년 사이에 만화시장이 크게 바뀌었던거죠. 만화를 보는 시각들에서부터 그림스타일까지요.

그런 일이 있으셨군요. 정말 트렌드에 민감한 한국시장은 만화 스타일도 빠르게 변했던 거군요. 
그럼 결정적인 계기가 그랬었다면 일에 대한 확신은 언제 느끼셨나요? 이 길이 내 길이구나! 라고 말이죠 

확신은.. 확신은 지금도 없는데요?(웃음) 아무튼 워낙 그림 그리는 걸 좋아하고, 
주변에서도 워낙 응원을 많이 해주니시까~ 아 나는 이거밖에 할 게 없나 보구나라고 그냥 생각했던거죠~ 
다른 건 못하는데 이거라도 잘하니까 다행이라고 생각돼요(웃음)

작업하실 때는 혹시 ‘내가 최고다’ 라는 생각을 하시나요?

지금 생각해보면 참 웃긴 얘긴데- 한참 제가 잘한다고 생각했을 때는 
주변에서 하도 잘 그린다고들 많이 얘기 해줘서 그러기도 했었겠지만 같이 만화 그리던 얘들한테
‘너네들 언젠가는 나하고 같이 작업하고 있는걸 영광으로 생각할 때가 있을 거야!” 라면서 말했을 때도 있었어요 (웃음) 
근데 돌이켜 생각해보니 자기 작품에 대한 자부심. 자긍심이 있어야지- 이 판에서 살아 남을 수 있는 거 같아요. 
간혹 작업 중에 마음 속의 혼잣말로 ‘아 잘되고 있다! 잘나왔네!’ 라고 마인드 컨트롤 했지만 다음날 나와서 다시 보면 삐꾸처럼(웃음) 
이상해서 보기 싫을 때가 있기도 하지만서도 그런 기질은 꼭 필요한 부분 같아요.

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(중략)

혹시 작업하시면서 슬럼프가 오시면 어떻게 극복하시곤 하나요?

아직까지는 운 좋게 한번도 슬럼프가 온 적이 없었어요. 그림 그리는 소재라든지 크게 한 부분에 묶혀있는 편도 아니고 
다른 작가들에 비해서는 스펙트럼이 넓어서인지 몰라도 그런 경우가 감사하게도 아직은 없었네요.
아직까지는 그림 그리는 걸 좋아하니까 그것만으로도 참 감사하죠.

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