VOL.78/2025.01

 

Writer Yoon Jung-Mi

Hoping that the seeds of diligent creation will bear fruit in the form of great works

 

2024.12.02

 

Children are like sponges - they have an amazing ability to absorb many different things. That’s why picture books are their best friends, as they expose them to new worlds and diverse experiences. Through them, children can develop a deeper and broader mind. Here, we meet writer-illustrator Yoon Jung-Mi, who makes picture books for children that break down prejudices and embrace diversity. She writes and illustrates picture books that tell heartwarming and sparkly stories, and always attempts to do something new through her work. Following is an interview with writer-illustrator Yoon, who continues to capture various approaches to finding happiness that everyone can relate to in her fresh stories.

 

 

It’s an honor to have you with us on K-Book Trends. Please say hello to our readers along with a brief introduction of yourself.

 

Hello, everyone. I’m picture book writer-illustrator Yoon Jung-Mi. I once had a vague dream that I wanted to live drawing – I have been lucky enough to be living that dream for 10 years now.

 

You won the Grand Prize for Nonfiction at the 2024 Korea Picture Book Award with your book, The First Day When A Little Wolf Got A Pair of Glasses (Sakyejul Publishing). The book was reviewed as “an artistic nonfiction picture book that captures the fun facts behind glasses and illustrates them through beautiful pictures.” Could you tell us a little bit about the book, the message you wanted to share, and how you felt about winning the award?

 

The protagonist of the book, the “Red Hat,” is a character that really likes glasses. The story about glasses begins when the Red Hat meets a little wolf with bad eyesight on her way to run an errand and decides to go together to have a new pair of glasses. Today, glasses are one of the common items that anyone can wear, but there are various stories hidden within. I wanted to tell those stories through fun and unique pictures. And, I’m glad and thankful that such hope reached the judging panel. I would like to thank them once again.

 

* K-Book Trends Vol. 76 – Go to the article about the 2024 Korea Picture Book Award

 

 

The book has been lauded as “the birth of a completely new and sensational nonfiction picture book.” It seems fair to say that it has opened up another direction and possibility for picture books. Where do you get the ideas for this book and where does the source of your work come from?

 

The history book about glasses that I picked out of curiosity was really interesting. It gave me the idea to write a nonfiction picture book about glasses. I tried to imagine everything except the information and knowledge. I tightly wove information into drawings that combined objects that had nothing to do with glasses, such as flowers growing out of glasses, and glasses turning into hourglasses. These non-realistic drawings evolved into a nonfiction picture book that doesn’t seem like nonfiction. I try not to give thought to the traditional picture book framework when I’m working.

 

On top of that book, your various other works, such as One Fine Day (JEI Education) and Downpour (Sigong Junior), have been published in other countries. What was the reaction from overseas markets, and what do you think is the books’ appeal to international readers? Also, it would be great if you could tell us an episode about your books, if there is any.

 

It was when One Fine Day was displayed at the Bologna Children’s Book Fair. An elementary school teacher from Italy sent me an e-mail asking if she could purchase the book. It was a time when the book had not yet been exported to another country. There, she told me that the book’s unique colors give off a warm vibe, unlike the picture books made in Italy.
In the book Downpour, which has been exported to China and Taiwan, most of the scenes are filled with greyish colors. The lack of saturation and color might give it a somewhat cold feeling, but underneath it all is an authentic and comforting story with the depth that creates brightness.
My picture books exported overseas have heartwarming stories and illustrations. They are about children finding some small happiness in ordinary daily life. I believe that picture books that console and empathize with readers can be loved universally across national borders.

 

 

It seems that the strengthening power of Korean literature will lead to a greater interest in Korean picture books. What do you think is the competitiveness of Korean picture books as a writer-illustrator who exported many works to other countries, and what are you particularly doing to reinforce such competitiveness?

 

There were not many workshops when I first began studying picture books. But now, there are various events such as quality workshops and picture book studies, attracting so many to-be writers who dream of becoming a professional writer. Quantitative growth will naturally lead to qualitative growth. Writers are constantly making new attempts, competing in good faith. I also always think about how “unfamiliar” my story is when I’m working. So, I try not to be conscious of a specific genre or audience.

 

The book Urban GANADA (Hyang Publishing) combined elements like hidden picture puzzles, Hangeul (Korean alphabet), and riddles, and the book Downpour was related to dictation. It seems like a fresh take on integrating various activities into a picture book. What message did you aim to convey to young readers through the book?

 

Urban GANADA is a book about Hangeul because I found beauty in its form. A city is one of the things made by humanity where light and shadow coexist. It would be endless to talk about this. But, readers tend to focus on learning Hangeul rather than the story about cities. It’s actually the charm of picture books that they sparkle with their own energy, regardless of the author’s intention. And, I believe that such energy will reach readers and have a positive influence on their dreams and values.
The book Downpour was motivated by my memory of a childhood friend. That friend used to get a zero on dictation, but she always had a big smile on her face. It would be so great if the two books could be used in a variety of ways for children.

 

 

You are a writer and also an illustrator. What synergies does this create in your overall creative life, and what are the relative challenges?

 

The beginning of making picture books was as an outsourced project, where I would receive a manuscript and draw the illustrations. I didn’t write the text, so I tended to work with the publisher’s intentions. Working on both the text and illustrations was great because it allowed me to play with different ways of visualizing the story - it opened up all sorts of possibilities. However, I think it can be challenging because creative ideas don’t come to you every day.

 

You must be putting much effort into the ideas or concepts for your works. It seems that picture books require authors to be at eye level with children and to capture their childlike spirit. Is there any particular activity you are doing for your work as a picture book writer-illustrator?

 

The main audience of picture books is still children. I think I should continue to make efforts to understand children. And, I’m making dummy books and holding exhibitions regularly with a group of writers. It’s very inspiring to see the works of my colleagues, drawn in their unique outlines. Even though we have different orientations towards picture books, different ways of life, creativity, and passion, it actually enriches our opinions and thoughts on each other’s work. This experience not only helps us understand children, but also helps us get off our own island of thought and create better works. Organizing a get-together might be worrisome for creators, as their ideas are their property, but for me, the benefits far outweigh the risks. The dummy book exhibition, which is held every two years, provides unspoken pressure and creative drive for even the slackest of creators. It’s also a great way to get feedback from publishers by putting your work out there. One of the dummy books we exhibited was published as The First Day When A Little Wolf Got A Pair of Glasses.
Meanwhile, as picture book boundaries have begun to break down these days, more picture books are targeting all age groups. To be prepared for the trend, I’m exploring the works and writings of my favorite artists and getting motivation. It’s something that any writer would do, but I think it is important to do it with the utmost diligence.

 

 

It’s actually the charm of picture books that they sparkle with their own energy,
regardless of the author’s intention.

 

 

We are sure that every picture book writer has some memorable works that they read as a child. What fairy tales or picture books do you think influenced you to become a picture book writer in some way, and what kind of energy do they generate when you are writing?

 

I don’t remember growing up with many picture books in my house, but I do remember reading them to my youngest sister often, especially the Korean folk tale Heungbu and Nolbu, which I enjoyed acting out while reading. Last year, I published a book about the swallow from that story. I think the childhood picture book memories stayed somewhere in my head and guided me to creative writing.

 

The recent winning of the picture book award is expected to become an important turning point for you in your career. It heightens expectations for your future work. Could you please share with us your future plans and goals?

 

I’m working on a follow-up to the recent work. It’s a nonfiction picture book about another essential thing in life. I hope to continue to make picture books that inspire people.

 

 

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