Thanks a lot to Kion Edwards for request. Only a fatal blow to the head by another Ghost can destroy a Ghost, because their heads are the only weak point.
The bearded spirit being led into the afterlife by a lover on the 3,500-year-old Babylonian tablet was identified by researchers after it had sat in the museums vaults since the 19th century, according to a report published in The Guardian.
However, there are also cases where Black Ghosts are left to their own will due to their host’s negligence to control them or failure to do so. The worlds oldest ghost drawing is thought to have been discovered at the British Museum on an ancient Babylonian clay tablet. These Black Ghosts also seem to have a will of their own and are shown to be quite intelligent and often mimic speech and the ‘core’ personality of their host.
Even though they are usually used for combat purposes, they can also be utilized in other ways if their hosts know how to control them properly. Each Ajin can manifest a unique Black Ghost. They normally have a humanoid form but can have inhuman characteristics, standing at over two meters tall. with the nib of your pen at a few mm above your paper. It is an INVISIBLE line your eyes can start seeing just before drawing. Black Ghosts are made up of Invisible Black Matter (the main source of an Ajin’s powers), resistant to physical injury and exhibit extraordinary physical strength. The ghost drawing is about simulating a movement before tracing it on paper (or any support).
The PDF is a printable drawing lesson for Easy Ghost Drawing.
Some of Ajins can also create “Black Ghosts”, highly dangerous combat-oriented entities that are only visible to other Ajins. Click the link below to view or download this drawing lesson. Ajins are a small number of humans possessing immortality and extreme regenerative abilities that trigger upon death, allowing them to completely recover from any mortal injury in a matter of seconds. He is a 17 years old student, who discovers he is an “Ajin” when he is fatally wounded in a traffic accident. Kei Nagai (永井 圭) is the main protagonist of the Ajin series. It will travel to Blackpool, Sheffield and Swansea later in the year.Let’s learn how to draw Kei Nagai’s Black Ghost from Ajin today! Not Without My Ghosts: The Artist As Medium is a Hayward Gallery Touring exhibition from Southbank Centre, London, developed in partnership with Drawing Room, curated by Lars Bang Larsen (art historian & writer based in Copenhagen and adjunct curator, Moderna Museet, Stockholm), Simon Grant (Editor, Tate Etc magazine, co-editor Picpus magazine) and Marco Pasi (Associate Professor & Director, Centre for the History of Hermetic philosophy, University of Amsterdam). Noviadi Angkasapura Robert Barry Vidya Gastaldon Jock Macdonald and Emma Talbot will be included in the exhibition tour. Participating artists are: William Blake Cameron Ann Churchill Ithell Colquhoun Louise Despont Casimiro Domingo Madame Fondrillon Chiara Fumai Madge Gill, Susan Hiller Barbara Honywood Georgiana Houghton Anna Mary Howitt Victor Hugo Augustin Lesage Pia Lindman Ann Lislegaard André Masson Grace Pailthorpe František Jaroslav Pecka Olivia Plender Sigmar Polke Lea Porsager Austin Osman Spare Yves Tanguy and Suzanne Treister with The Museum of Blackhole Spacetime Collective. The exhibition progresses onto Surrealist experiments with automatism, and moves through the 20th Century where work by artists Austin Osman Spare, Ithell Colquhoun and Cameron draws on techniques of automatism combined with an interest in ritualised forms of occultism. Concluding with works from artists such as Suzanne Treister, Lea Porsager and Louise Despont, Not Without My Ghosts demonstrates how contemporary artists are using the power of the unseen and the ghostly to explore the radical ambiguities of the world around them. The exhibition takes as its starting point the visionary work of William Blake and the largely forgotten Victorian spirit artists Georgiana Houghton, Anna Mary Howitt and Barbara Honywood, whose work based on experiences and communication with the world of the spirits was strikingly at odds with prevailing traditions of artistic expression. Bringing together 26 international artists from the 19th century to the present day, it explores the changing historical and aesthetic terms of artistic engagement with mediumship, from perceived spiritual inspiration and creation during séances and trances, to practices of automatism, channelling, and paranormal investigation, whilst also considering clairvoyant practices in relation to the history of feminism.