Generally speaking, industrial design sketching is fast and loose. You start with a rough idea, put pen or pencil to paper with expressive, fluid marks and start to find the form on the page. Traditional instruction dictates that we draw the entire form, including what the viewer cannot see if it were a photograph; for instance, if sketching a 3/4 shot of a car, you still draw all four sides, even if the far parts will later be obscured by fresh linework. And you typically go from big to small; if sketching sneakers for example, you start with the general shape and sole, and the eyelets for the laces come last.
Those of us trained in this ID style are bound to find Kim Jung Gi's drawing method bewildering. The South Korean artist "has the ability to visualize the drawing before making his marks," according to the bio on his website. What this means is that if drawing a car, for instance, he can start with the headlight, jump to the C-pillar, add the rearview mirror, etc. He does not find the form on the page, but appears to transcribe it from some spiritual source, and no marks are made unless they would be directly visible to the viewer.
If you're not sure what I mean, check out this demonstration, and prepare to have your mind blown:
Never mind that there's not a single perspective or contour line—did you see the way he bounces around the page, completely detailing one small item, then moving on to another small item on totally different part of the drawing? Who the hell draws like that? Who the hell can draw like that?
This week Kim launches his first solo U.S. exhibition at the Art Whino Gallery in Washington, D.C. For those of you in the New York area, he'll be appearing next month at New York Comic Con in the North Pavilion L4's "Artist Alley."