As of 2024 (posthumously), the 2011 sketch collection exists in fragmented forms:

| Feature | 2011 Sketch Collection | Later Work (2015-2020) | | :--- | :--- | :--- | | | Varied but controlled; brush pen dominates. | Extreme line weight variation; digital brushes mimic ink. | | Complexity | High density, but still “readable” as sketches. | Hyper-dense; some drawings become almost abstract textures. | | Error Visibility | Occasionally visible corrections (rare over-draws). | Virtually zero corrections; god-like confidence. | | Subject Matter | Balanced: reality (50%), imagination (50%). | Heavy tilt toward imagination and surreal mega-structures. | | Accessibility | Raw, inspirational for students. | Intimidating; demoralizing for beginners. |

Essential. The 2011 sketch collection stands as one of the most important bodies of observational drawing published in the 21st century.

List of known 2011 sketchbooks (by cover color and size). Appendix B: Technical glossary (hatching, pentimenti, line of action, perspective jumps). Appendix C: Links to verified 2011 live drawing videos (where copyright permits).

Kim uses parallel hatching and cross-hatching not just for shading, but to denote material properties:

One specific artifact, widely circulated among fans (though privately held), is Kim’s 2011 Moleskine Vol. 7. This 9x14cm notebook contains 192 pages of non-stop drawing.

The artist has cited his love of comic books and fantasy novels as a key inspiration for his work. His sketches often feature fantastical creatures and scenarios, which are rendered with a level of detail and realism that is both captivating and immersive.

A digital, high-fidelity facsimile of the entire 2011 Moleskines should be a priority for the Kim Jung-gi estate.

Roughly 100 pages of comic book layouts and storyboards.