Hi ♥ My name is Hajin Bae (a.k.a. soulist-aurora).
I’m an illustrator & graphic designer & art director. I live in Seoul, Korea.
This is all my gift for you. They are started from my life: Eternal happiness. They are mine but ‘inspiration’ can be yours. So go ahead and take it if you want. :) ※ But please do not use commercially.
South Korean artist Hajin Bae is an illustrator, graphic designer and art director based in Seoul. Bae likes to illustrate lovely young women in full technicolor. Her most recent project has been a collaboration with fashion photographer Bryant Eslava entited “BryJin” - fusing Eslava’s photographs with Bae’s illustrations to produce animated fashion illustration gifs. ( Txt from Juxtapoz )
Not only is he one of the hottest young Australian art directors who has been featured by a number of huge websites and even huger brands, he’s also a rather nice music producer, so a man of many talents. His work emphasizes the vividness of colours, brush strokes, and intensity through his pieces. Magnifying his work also creates a new sensation to his viewers by heavily embracing every detail of each piece.
As art director and color stylist on Bee and PuppyCat, Efrain Fariashelps guide the aesthetic of the show. He dreamed of being a video game character designer and did work in the video game industry. In addition to Bee and PuppyCat, Efrain also works on Steven Universe. Get a peek into a day in the life as an art director and more - just below!
How did you get involved in Bee and PuppyCat?
Natasha was one of my close friend’s roommate, and I met her. She was looking for a color stylist at the time and my friend recommended me to her. (Note: above is Natasha’s drawing of Efrain).
What are you responsible for as an art director?
As an art director I try to make the show look a lot prettier and try to take Natasha’s ideas and help execute them. I helped her nail down an aesthetic for the show.
Can you describe your typical day as art director and color stylist on Bee and PuppyCat?
First, going through background designs making sure they are pretty, making sure that the character designs are consistent.
Once designs are done, I try to provide some color keys for the background painter in case they’re having a hard time executing the colors Natasha and I are hoping for.
If keys are done then they’re handed off to the background painter to work from. Then, I get to look over the finished background to make sure it came out how Natasha and I had anticipated.
When backgrounds are done I’ll take the role of a color stylist and color the characters, props, and effects according to the backgrounds.
Did Natasha talk about which shows and comics she had in her head terms of the look of Bee and PuppyCat?
When you’re working on the series, are there specific comic books or animated series/characters that influence what you do?
So many, mostly anime. I really like the aesthetic in anime and it’s something I try to keep in anything I work.
What do you think is unique about working on shows created by a female animator?
I work for two shows created by female animators, and I absolutely love it. I feel like what they look for in aesthetic is more aligned with what I like too, so I appreciate them and enjoy them a lot more. It also seems that they draw inspiration from the same places that I do, so that’s also a plus.
How did you learn to draw?
When I was younger I wanted to make my own toys, so I improvised by making paper dolls I would play with, but Pokémon really inspired me to keep drawing.
What was your favorite cartoon and/or cartoon character as a kid?
I used to watch a lot of Nickelodeon as a kid, I loved Aaahh! Real Monsters, Rocko’s Modern Life, Rugrats, and Ren & Stimpy.
Did you always want to work in animation?
I didn’t. Originally I went into video games because it was my dream to be a character designer for a video game company, but while being in the video game industry I got a chance to work on the pilot of Bee and PuppyCat, and I realized I enjoyed working in animation more.
What’s the biggest difference between working in the video game industry and the animation industry?
The game studios I worked for were relatively small so the art we create would be all us from concept to finish (so I got to do a lot of character design, background design, colors, prop design, etc), but generally for animation it’s more separated, there are different fields and people who specialize in those fields, where someone would create the concept, someone else would design it, and somebody else would color it.
In games, the art we make also tends to be used in a lot of different places, so the design and color need to be able to match all those different contexts. In animation there’s some of that too, but a lot of times you only need to create art for a specific scene with a specific color palette.
As a Junior Art Director finishing my degree in Media Production with
the course being 90% male orientated, I struggle every day with the
issues detailed in this blog. I am the only Art Director specialist in
the Uni and I hate to brag but I am at the top of my game. It’s a regular
occurrence on set to be referred to as “the pretty face” when I’m doing
my job/passion. The worst part is when the director/producer (always
male) tells me to “make it look pretty, darling.”
Chromatic Intersection 1970. Herbert Bayer an Austrian and American graphic designer, painter, photographer, sculptor, art director, environmental and interior designer and architect. He is most known for the longest living member from Bauhaus. He was born on April 5th 1900. Leaving the workshop to study at the Darmstadt Artists’ Colony, he became interested in Walter Gropius’s Bauhaus manifesto.