Lin Wenjun (Junc Junxi), CG illustrator, game art concept designer Shanghai Jas Juyi Studio founder. One of the early Chinese painters who won the cgtalk cgchoice awards and the cghub masterartist. Junxi is one of the powerful factions in the field of Chinese cg concept art, and has created a digital art that has been admired by the world with his unique ink cg style.
First, an interview with The Visual Sense, an interview photo of Junc Dashen Studio:
This time Xiaobian can interview Mr. Junxi in junc's studio, it is really some irrepressible excitement, and the face-to-face communication with the idol in his mind should be something that many people dream of, Mr. Junxi is like his painting style, full of unique charm, he is the strength of the cg concept art field, at the same time humble, chat with him, just like appreciating his paintings, is a kind of enjoyment.
Perhaps, the master himself has a realm that ordinary people can't, may Mr. Toshinishi be able to create more high-quality works for us, and may he always paint and be young forever (sneaking laughs).
So, let's enjoy the content of the editor's interview with Mr. Junxi, as well as some of Junc's recent experiences and summaries, and finally attached to Mr. Junxi's massive works!
GAD: Where did you get your creative inspiration? How do you adjust your work status?
Lin Wenjun: Work inspiration is inseparable from his own accumulation and hobbies. First of all, the work has a proposition or requirement in it, and in the process of painting, we will want to learn additional knowledge. For example, when I am drawing a picture, I will find some relevant materials and knowledge, find some pictures, and search for resources around this subject, in the process, I will gain some new knowledge points, find new inspiration, and regain the amount of knowledge with high credibility.
For example, when we draw a character and collect the behind-the-scenes story and clues, when we go back to creating the character, the inspiration blows up and the sense of substitution is very strong. Of course, sometimes, when we go to create so-called originality, it is another subject.
As for creation, I think there are usually two ways. One is to have propositions, to expand my thoughts around propositions or themes, to design the sketches of my picture, the color feelings, and the details of the picture: there is another way, no proposition. Maybe the inspiration that attracts me is not a theme, it is a color, or an everyday photo or a film and television freeze-frame moment, or it may be a story that can arouse a strong desire to create.
The second way, first capture the abstract picture that produces hallucinations, or a detail point that attracts me more, as a starting point to spread, may be a scene of a very beautiful color or an expression of the character, or a prop, may be a point of my creation, first describe a point, and later give him a story and definition and my self-interpretation, gradually perfected.
"General Fan Lihua"
Heroes of the Twilight Snow
Gad: How do you adjust your working status?
Lin Wenjun: In fact, as mentioned above, painting is my job for me, but also my fun and hobbies. There will also be cases of poor state, and reading some books and admiring good paintings will soon be charged. Most of the work diagrams are propositional, games or movie-related, or book covers. Understand around the theme first, of course, I will find my own point of interest, find some inspiration, may be a movie clip, a text, can give me an impulse to start painting, can be applied to my work and creation. I think these two cycles are complementary and benign, and drawing for me is a feeling similar to playing a game, enjoying it.
GAD: Do you have a long-term goal for yourself?
Lin Wenjun: Looking back at the past ten years, the content and themes involved in each stage, as well as the style of painting, have been changing, and the heights desired by different stages are also different. To sum up, my source power is also relatively simple - seeking novelty and change, obtaining my own new painting language, using the picture to tell stories to find myself, even if I am painting a popular subject, such as painting a Mulan, or Zhao Yun's ride, in my picture should be a special form of existence, with their own interpretation and reshaping of existing themes is quite interesting challenge, composition, design, color, the use of techniques will be a breakthrough to give the picture a new context.
My long-term goal is to continue to create series of works, some of which are adaptations of existing themes and some of which will be original themes. Maybe a few years later, I look back and find that I have done something worth remembering
"All The Super God 01"
"All The Gods 02"
GAD: Is there anything you want to break through and try on in terms of creation?
Lin Wenjun: I may not care too much about some persistence and breakthroughs in technique, I want to insist on the breakthrough in the subject matter, I think that each stage as much as possible to taste the diversified subject matter may be Western, Oriental, future, my creation, the subject matter has been crossing, the subject matter is the most attractive to me, and better than the technique itself, I think in this way, my painting will be more attractive, even if I have been painting cg.
CG This thing is easy to copy and spread, and some newcomers will feel that oil painting, Chinese painting, mural painting, and traditional painting that is difficult to reproduce are art because it is unique. I see it this way, cg also has its uniqueness, cg is copied and disseminated is actually the image, but the ideas and concepts expressed by the author at the time of creation are unique.
Now I am also working in this direction, and in the future, I want to create more sets of CG works with story themes, as a direction of my creation, these cg works bring unlimited story sense and beauty to the viewer, and at the same time, the uniqueness of this style and picture appearance can become a new product, similar to the origin of an animation film, a film and television work.
There are actually many cases abroad, like the late CG master Fraserta, who I liked before, and there are some classic cases in his early CG works and fantasy works, which have been inspired by some film companies, some comic book authors and novel authors, and the process of creation and re-creation around his works has finally become familiar movies and film and television works.
I think that if we can achieve this level, our CG works will be given a longer life and unlimited possibilities and potential, which is a beautiful vision and desire for us CG workers and enthusiasts, we convey our stories and a long-term, beautiful will through our paintings and performances, this intangible creation, intangible assets, will become infinitely large, and finally can become multi-platform works of art.
"Mulan's Words"
GAD: Thanks again for interviewing us! Finally, some advice for friends who have just entered the industry and have volunteers and ambitions to invest in the cg industry.
Lin Wenjun: My teacher once told me, "The painter should talk about the work." The work is the best stage for the painter to express himself.
Creation is not only a technology, but also a process of finding oneself, and the so-called "Self" is opinion and judgment. Creative thinking will accelerate the process of cultivating internal forces, expressiveness will also benefit, in the long run for their own growth in the cg industry and the continuation of the life of future painters are guaranteed, modern art is promoted by "Concept" and "Creativity", and the trend of science and technology gradually replacing performance technology is the reality that practitioners have to face. CG painting skills can be practiced, but personality and internal practice are things that cannot come without struggle and struggle. Maybe this is one of the reasons why good painters are respected and loved, and finally pay tribute to the masters who inspired me
"Mulan" of the Heroes
Appreciation: