1. Your style of artwork has a unique crayon and fairy tale feel to it. How did you develop this style and what are some of your influences?

I wanted to create textured drawings, and a lot of my early work is delicately drawn with very fine lines, but it takes a lot of time and doesn't have much impact. So I started looking for brushes, and I remembered one of my favorite brushes by an artist who has been making brushes for a long time that are now Photoshop's default brushes. I found one that felt perfect in my hand, and I modified it to fit my hand. I liked it because it was rough, but it had a rich texture, and at the same time, it didn't look too dirty.

Especially for what's coming next, I was trying to get an oriental feel to it. It's kind of like crayon, but in a way, it's more of an ink drawing.

2. The characters in your work seem to have strong identities centered around their eyes. Why do you pay particular attention to the eyes during the character design process, and how do you go about creating them?

I like to introduce myself with the phrase, "I make paintings that look into the heart." I feel like the eyes are the window to the heart, or something like that. In a way, it could be just a bunch of circles, but I try to make it feel like these shapes are coming together and looking into people's hearts. When I draw, I often start with the eyes.

Mono is a character that started with a drawing I made when I was about 13 years old, and I think I just superimposed a lot of things that I liked at the time. I was really into Tim Burton and Yoshitomo Nara, so the eyes are a big part of the face.

The reason I start with the eyes is because when I look at how they're drawn, it reminds me of what kind of friend I'm going to have. Even though they all look the same, they're different every time. I start to get a sense of, "Oh, this is going to be this kind of character." And then I start to realize that

3. Are you thinking about utilizing NFTs from the earliest stages of character development? What are some of the special considerations you take into account when creating with NFTs?

I had a series published by OpenSea called 'mono by zise', which was one of the most successful projects I've ever worked on, and after making 50 pieces, I try not to increase the series as much as possible.

I think there are a few things that go into making NFTs successful, the most important being a mindset of understanding the collector. For example, I analyzed that collectors like 'oriental', they like collectible series, and they have a bit of an 'otaku' temperament. That's why I came up with the 'mono by zise' series. I try to make work that fulfills these three things.

4. You've expressed a fondness for school uniforms on Twitter. How have these interests influenced your work?

I find uniforms and the idea of uniforms interesting, so I wanted to apply to a military academy, and I thought I would definitely apply for ROTC when I got to college, but unfortunately I ended up at a school that didn't have that program.

I'd rather talk about the series I posted about the evolution of Korean school uniforms, which is a series of my maternal grandmother, my mother, and me, and I even put my actual school uniforms in there, which was kind of heartbreaking because my maternal grandmother and my mother were never able to try on school uniforms because they weren't able to afford them, so the first two are just school uniforms from that era, and it's more of a "what if" kind of thing.

I also love clothing itself. I love the evolution of clothing in different periods, and the evolution of school uniforms is quite interesting. Most of them were made in modern times, so they have a lot of Western influences, actual military uniforms, but at the same time, they also reflect the characteristics of each country, isn't it interesting?

5. As an illustrator, do you also work on commissions and if so, what kind of work do you do? Can you share any recent projects you've worked on?

I'm afraid that most of my commissioned work is done behind closed doors, so it's hard to show. It's something I'm experimenting with, and I'll share it as it develops.

6. Since you have been working on NFTs since 2021, I wonder if you could tell us more about your interest in the NFT world and your experiences so far. How have you noticed the changes in the NFT art market?

I started around April, when NFTs were just starting to spread in Korea. At that time, I was preparing to become a civil servant, and I suddenly thought, "If I live the life of a civil servant before I die, won't I regret it?" Since then, I've been looking for ways to make a living with my art, whether it's through POD markets, stock sites, commissions, etc. I thought, "Why not sell my art? I thought, "Why not sell my paintings?

I've actually been pretty much inactive in NFTs since December 2021. I had some personal struggles within the industry, I had to go back to school, I had a lot of assignments, and I couldn't draw as much, so I don't think I can say much about the NFT market.

What I can say is that the early NFTs were very much an artist's version of NFTs, and it was a new world where artists could be fully recognized for what they were worth, and collectors would be like the Medici family, for example, who were just helping artists. But towards the end, the game changed a lot, because it became a good investment, and everybody was making the same PFP projects and

7. You recently published a PFP project called "pixel idol" as a free minting on OpenSea, can you tell us more about the concept and goals of this project?

This project has already been published on OpenSea. I have fond memories of minting 1000 pieces by hand, and I remember you saying that I was the first to try such a large project in Korea.

(Here is the link to that project: https: //opensea.io/collection/pixelidol )

The concept is "your own idol", and since a lot of the elements are randomized, it's hard to get the same idol. Especially for the site I put up, you can choose your own parts, so you can really personalize your profile.

The goal is to add more props, outfits, and I hope everyone enjoys this project, so just give it a try, post it on Twitter or wherever, mint it yourself on OpenSea or whatever, use it for commercial purposes, just make sure you leave my nickname visible! Just one thing to keep in mind.

(Here's my Twitter post explaining this: https://x.com/yoonzise/status/1775098481558098336 )

8. As the NFT art market is rapidly changing, what direction do you see yourself taking as an artist and what advice would you give to younger artists?

I don't really know how the NFT art market works anymore, and I'm not old enough to be considered a young artist, but I can tell you a few things as someone who has done NFTs first.

1. Make your own people. Get to know, interact, and communicate with as many different people as you can. Find a community that works for you. This is something I emphasize because I was very bad at it.

2. Put yourself in the collector's shoes, not your own. Why wouldn't they buy my paintings? You might be thinking, "My art isn't that good?" and it's not a matter of skill at all. This is literally a "marketplace." Watch and learn from your customers, what they want, and how they market to be successful. Don't copy, especially don't try to copy the concepts, tone of voice, or marketing language of less popular artists. You'll only hurt your chances of success, and it's better to look to more established authors as role models.

3. Connect with collectors. How you do this is your choice. You can look at the discord of other writers around you and learn from them. I created a Discord channel and set aside a role for collectors only. I'd announce when I was going to be minting, and I'd post videos of my process in a room that only collectors could see. Think of it as a way of saying thank you, and I did, because I wanted to show my appreciation as much as I could, and I really do appreciate it.