The Street Art of Candy Bird

December 11, 2015 2015年12月11日

Candy Bird is a renowned street artist and illustrator, who creates unique and playful visuals addressing social injustices and environmental concerns around the world. This year, Candy Bird was also one of the 12 artists brought together by Gap REMIX Project to reimagine the classic Gap logo in an exclusive collection of graphic tees.


Candy Bird是壹位知名的街頭藝術家和插畫師,他獨具特色且趣味十足的作品旨在揭露社會不公現象以及全球環境問題。Candy Bird是參與2015年Gap REMIX項目的12位藝術家之壹,該項目邀請每位藝術家以各自風格重塑經典的Gap logo,從而打造出壹個特別版系列T恤。

 

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When Candy Bird first started experimenting with street art, it proved to be a challenge, especially financially. In his own words, “When I first started doing street art, I had no money. I was working two jobs: one in a noodle shop and one delivering stuff by motorcycle. When I was cruising around on delivery, I would look for walls that I could paint.” Many of his street art pieces could be found along his delivery route.


Candy Bird起初想要嘗試街頭創作,但事實證明這是壹場挑戰,尤其是資金方面。用他自己的話來說是“我壹開始塗鴉,我沒什麽錢。所以我就去打工。我打兩份工,壹個在拉面店,壹個是騎摩托車送文件。所以騎摩托車送文件的時候,我就順便找墻畫。”很多他的作品都出現在他騎行的路線上。

Born and raised in Taipei, Candy Bird has lived in the same bedroom his entire life, giving him a unique perspective on the city. He says, “Taipei is like a middle-aged man who still tries to wear the latest fashions. There’s a conflict between old and new, a transcendence of time and a feeling of loneliness. Before, Taipei used to be handsome, but now he’s a bit past his prime.”


在臺北出生長大的Candy Bird壹直以來都生活在同壹間臥室裏,這給了他獨特的視角去看這座城市。他說,“臺北是個穿著潮牌衣服的中老年男子,有種新舊沖突感,時空穿透性和寂寞共存,曾經很帥但有點年華老去。”

Candy Bird’s schedule revolves entirely around creating artwork and studying the works of others for inspiration. According to him, “My entire life revolves around art, it’s very simple. Some people will think an artist’s life is crazy and exciting, but it is nothing like that. I wouldn’t really view making art as my job. For me, it’s just like eating or drinking – if I don’t do it I won’t feel right.”


Candy Bird的生活幾乎都是在創作作品和從他人作品上學習且尋覓靈感之間循環。他說,“我的生活都跟畫畫有關,其實挺單純的。有些人以為我過得多屌多激情,但其實也沒怎樣。我不會視畫畫為我的工作,它就像吃飯喝水,不做就會感覺怪。”

Much of Candy Bird’s inspiration comes from his background in Buddhism. He is motivated to share with others the things that he has learned about life, meaning, and human relations through contemplation and observation. He says, “I like to observe others, especially really strange people who are excessively ambitious, or just common people on the street.”


Candy Bird大部分的靈感來源於他的佛教信仰,他希望與人分享他的人生哲學,關於生命、意義以及人際關系的東西。他說,“我喜歡觀察別人,觀察那些活得熱烈激昂的怪人,或只是販夫走卒的人。”

Each of Candy Bird’s pieces has an underlying message, whether about current events, politics or society. He tells us, “Ever since I first fell in love with street art, I realized that street art could broadcast messages to society from the wall, and it was more accessible to the public than any art gallery. I feel that as an artist, I have a responsibility to give something back to society and the world through my work. Maybe it won’t have any real effect, but that’s what I aspire to.”


Candy Bird的每壹幅作品都有壹個隱射信息,無不關於當下實事、政治或社會問題。他說,“從喜歡上塗鴉那壹刻起,我發現塗鴉是墻上的擴音器,比在美術館裏更貼近大眾,適合講述關於社會的東西。我覺得身為壹個創作人,有義務通過自己的作品向世人傳達壹種社會責任的精神,雖然不壹定真有效果,但盡力去做就好。”

Website: candybird.net
Instagram
: @candybbird

 

Contributors: George Zhi Zhao, Adam J. Schokora
Photographer: Adam J. Schokora


網站: candybird.net
Instagram
: @candybbird

 

供稿人:George Zhi Zhao, Adam J. Schokora
照片攝影師:Adam J. Schokora

An Interview with James Jean

December 9, 2015 2015年12月9日

As a part of the GEISAI∞infinity project curated by Takashi MurakamiJames Jean recently held a solo show at Kaikai Kiki’s Hidari Zingaro in Tokyo. His new collection of work, titled Zugzwang, is a series of fantastical imagery rendered in blue, red, and pink, filled with demigods and cross-cultural characters. We spoke to James about his new work, living in Asia, and recent inspirations.


作为村上隆GEISAI∞infinity项目的一部分,James Jean近期在东京的Kaikai Kiki’s Hidari Zingaro画廊举办了一场个展。他的全新系列作品名为“Zugzwang”,该系列是一个以蓝、红、粉为基调的奇幻异想,其中充斥着半仙以及跨文化人物。我们跟James探讨了他的新作品、亚洲生活、以及近期的创作灵感。

Neocha: Being born in Taiwan and growing up in the U.S., do you identify strongly with this part of the world? What’s different about having a show in Japan, or in other parts of Asia?

James: I’m an alien wherever I go. Though I grew up in the U.S., I’ve never truly felt at home there, and since my ability to read and speak Chinese is non-existent, I’ll never truly feel at home in Asia either. Perhaps it’s this sense of isolation that has driven me into making art in the first place. I actually spent most of this past year living in Japan, and I love the attention to detail and the shokunin spirit that’s pervasive throughout many aspects of society. But sometimes I think I’m re-enacting the trauma of my youth by living in places where I’ll always be an outsider and an observer.


Neocha: 你生在台湾、长在美国,你对这种的背景有强烈的认同感吗?而在日本或亚洲其它地区办展又有什么不同的感觉?

James: 无论去到哪里我都是个异乡客。虽然我在美国长大,但我从没在那里得到过家的归属感。而亚洲也无法给我归属感,因为我即看不懂也说不了中文。或许正是这种孤立感成为我最初开始艺术创作的原动力。事实上去年大部分时间我都在日本生活,我喜欢他们那种在社会日常中贯穿始终的考究细节以及职人精神。但有时我也会想这是在让我以局外人和观察者的身份重蹈覆辙,体验自己年少时所经历的隔离感。

Neocha: Where do you like to go when you travel? What were some of your favorite places or experiences during the process of putting up this particular show in Tokyo?

James: The most inspiring places I’ve been to of late have been in the hot, undeveloped regions of Asia. I lived in Southeast Asia for a year in 2013, and I recently returned from a week in Cambodia courtesy of the Igloo Hong Foundation. The lack of resources forces the people to improvise and assemble their lives in a way that creates a landscape full of texture and chaos. In contrast, Tokyo is a city of amazing infrastructure and thoughtful planning. My show was treated with great attention and care by Takashi Murakami’s staff, which allowed me the freedom to create a large triptych on-site in only couple of days before the show opened.


Neocha: 你通常喜欢去哪里旅行 ?你这次在东京办展的过程中自己最喜欢的地方和经历是什么?

James: 近期最能激发我灵感的地方是在亚洲那些气候炎热且不发达的地区。2013年时,我在东南亚生活了一年,最近我也承蒙Igloo Hong Foundation之邀再次回到柬埔寨待了一周时间 。资源的短缺迫使这里的人们为了生存而临时打造或组装出一些建筑与融合在交错凌乱的周身环境中 。相比之下,东京则是一个经过深思熟虑且规划缜密的神奇之地。在村上隆团队的大力帮助下,让我可以自由地在展前的几天现场完成了一个巨大的三联画作品。

Neocha: What is Zugzwang? There’s a lot of animals, birds, fantasy, and almost deity-like figures in the work – what are some of the themes in these pieces from the show?

James: Zugzwang began as a series of drawings in my sketchbook. I had no preconceived notions of what I was doing, but the imagery began to resemble demigods and characters that contained elements and narratives from many disparate sources –mutants of culture. The series culminates in a piece called Pagoda II, which depicts a creature of ultimate decadence and doom.


Neocha: Zugzwang表示什么?这次的作品中许多动物、鸟,幻想中的和几近神化的人物, 这个展中有许多这类的主题究竟是想要传达什么?

James: Zugzwang起初只是我在素描本上的一个系列画作。之前我也没有设想过自己要准备拿它干嘛,但脑内已有了各种半仙和神秘符号及故事的臆想——变异的文化。这个系列的巅峰之作是一幅名为Pagoda II的作品,它描绘了终极末日的生灵。

Neocha: Tell us about your work process. Do you plan meticulously when you draw, or is your process more freeform? Why did you choose to only use a very selective number of colors for these pieces?

James: I was looking for a way to keep the series consistent, as if they all breathed and lived in the same atmosphere. I tend to go into work without forethought and decipher meaning afterwards. As soon as I combine imagery, a narrative is formed. Narrative is a mysterious force that occurs spontaneously between distinct elements, as one idea sparks a series of ideas that eventually resolve in a final image. It’s very difficult, if not impossible, for me to conceive of something all at once before starting. And it always changes along the way.


Neocha: 关于你的创作流程,你在创作时是否会精心计划 ,还是说你通常都自由发挥?为何你的作品中只选择使用几种固定的颜色?

James: 我试图找寻一种能统一整个系列的方式,让它们看似在同一氛围存在且相互关联着。我不喜欢在创作前预先设想或在完成后再诠释其含义,一旦我将这些画面完成 ,故事也就成型了。故事是由截然不同的元素之间自然而然所产生的神秘力量贯穿,因一个灵感激发了一系列的创意最终将其呈现在完稿之中。如果要我在开始创作前就将所有一切构思好也是几乎不可能的,而且很多东西都会在过程中逐渐浮现的。

Neocha: How has your work process changed from now back to when you were doing comic covers and more commercial work?

James: When I was doing commercial work, I was still making personal work at the same time. So the process hasn’t changed that much. If anything, working on the computer so much instilled a sense of fear when I painted. There’s no commitment in working digitally, which is a curse. So it did take a little while before I could regain my original confidence after retiring from commercial work.


Neocha: 你的创作流程是如何从创作漫画封面及更多商业作品中转变的?

James: 之前我在做商业创作时,其实也是在做自己的个人作品。所以整个流程并没有太多改变。如果说有的话,那么就是太过依赖电脑创作会让我对纸上绘画产生畏惧。我没法仰赖数码创作,这好像是一个诅咒。于是我放弃商业创作后用了很长一段时间才恢复自己最初的信心。

Neocha: Is there a particular image or idea you’re obsessed with?

James: There are motifs that recur frequently, such as foliage, spaghetti, veins, wedges of stratified land / cake. These elements form the landscape of my subconscious and constantly assert themselves in my compositions.

Neocha: What ideas are you really into currently?

James: There’s this one writer I’ve been listening to who speaks about resume virtues versus eulogy virtues, and the changing values among the generations. It mirrors the changes I face as I get older and navigate the world – living in L.A., the resume virtues of accomplishment and ambition reign supreme, but the eulogy virtues of humility, self-sacrifice, and compassion are set aside as everyone struggles for survival in an extremely competitive world.


Neocha: 有没有一个具体的图像或想法是你所痴迷的?

James: 有一些主题在作品里是有反复出现的,比如叶子、意大利面、脉络、岩层或糕点横切层的纹理。这些元素时常回荡在我的创意构思中,也将我的潜意识景象打造成型。

Neocha: 你目前投入的灵感构思是什么?

James: 我曾听这么一位作家谈论简历技能和悼词美德,以及每一代人价值观的转变。行走于世,随着年岁渐长,他所说的也正映射着我所面对的世界变化: 在洛杉矶,所谓简历技能,那些满纸成就和抱负,往往至高无上;而悼词美德,那些人性中的谦恭虚己、自我牺牲与同情怜悯,却被搁置一旁,只因人人在这个不是鱼死就是网破的世界中为生存苦苦挣扎。

Neocha: Physically and mentally, how does the process of painting and drawing / illustration differ for you? Can you hole up for an entire day, or days just painting? Is it a full-body experience? Do you listen to music or do anything else ritualistically to enable your work?

James: I can very easily isolate myself for days working on a piece. I usually listen to podcasts or have documentaries playing. I’m addicted to new information, even though I retain very little. The voices allow me to become less self aware about what it is I’m doing, which makes for a better picture and allows the process to surprise me along the way.


Neocha: 手绘和电脑插画,从身心角度出发,对你来说有什么不同?你会埋头在家画一整天甚至好几天吗?这是一个全身心投入的体验吗?你会在创作时听音乐或是做些其它惯例性的事情吗?

James: 我很容易为了完成一幅作品而将自己隔离起来。我通常会听线上音乐或将纪录片 播放在那。我对新资讯很着迷,尽管记在心里的甚少。这些声音会减少我对自己在做的事情的关注,这样反而能促成一幅更好的画作,并能让我在创作过程中不断遇到惊喜。

Neocha: What’s next on the horizon for you?

James: I’m working on another show for late 2016 and also more publications. I’m also building a new studio and we hope to finish it in a few months.

Neocha: If your superpower was that anything you draw can instantly become a 3D living breathing piece of reality, what would you create?

James: A pegasus.


Neocha: 接下来你有什么计划?

James: 我正在筹备2016年下半年的一个展览以及更多的出版物。我也在筹化新的工作室,希望可以在接下去的几个月内完成。

Neocha: 如果你有种超能力能将你画出的任何东西立即变成3D活物,你会画什么?

James: 一只飞马。

Website: jamesjean.com
Instagram: @jamesjeanart

 

Contributor: Jia Li


网站: jamesjean.com
Instagram: @jamesjeanart

 

供稿人:Jia Li

Hand of Paradox

December 8, 2015 2015年12月8日

 

无法观看?前往优酷

Hand of Paradox is a new pair of prints from Chinese artist Nini Sum’s Yin Yang silkscreen series. Nini is one half of the Shanghai-based screen printing studio IdleBeats, who recently collaborated with the Parisian studio Frenchfourch in the first edition of an exhibition series called Tale of Two Cities at UNDEF/NE.

《悖论之手》是中国艺术家Nini Sum的《阴阳》丝网印刷系列中的新作品。Nini是上海丝网印刷工作室IdleBeats的创始人之一,他们最近在UNDEF/NE举办了“双城记”系列展览,该展览的第一期是与巴黎Frenchfourch工作室合作完成的。
Yin Yang is a new series of paired black and white images, that were inspired by ancient Taoist philosophy. In line with the other prints from this series, Hand Of Paradox examines the connection between natural forces and human power. The hands that are illustrated in the print can be seen as both palms and the backs of hands. The image is open to interpretation and is intended to inspire the viewer to find different meanings when viewing the artwork.

《阴阳》是以古代道家哲学为灵感的全新黑白系列作品。为了与该系列其它作品风格一致,《悖论之手》探寻了自然力量和人力之间的关联。作品中描绘的手既可以被看作是手心也可以是手背,整个作品为观者带来开放性思维,启发他们探寻不同层面的含义。

 

The artist asks us: do absolute extremes and polar opposites really exist? Can things in this world be described so simply as black and white, right and wrong, good and bad? The universe is endless with seemingly infinite possibilities – how much can we really control? And in which manner do we interact with the world? Do we go with its natural flow, or do we follow the rules set by man?

该艺术家 抛出一个问题:终极绝对和两极差异真实存在吗?这世上的东西真的能被如此简单地以黑白、对错或好坏区分吗?整个宇宙伴随着无穷持续的可能性,又有多少是我们所能控制的?我们又以怎样的方式与世界对话?我们只是顺其自然,还是受绊于规则?

 

Hand of Paradox can be purchased separately or as a pair of prints exclusively on the Neocha Shop. Each print was screen printed in two layers of silver and black – with special silver ink mixed in both layers, on 330gsm heavy acid free art paper, in a limited edition of 44.

你可以从Neocha网店独家购置限量44幅的《悖论之手》,可单幅或成对购买。每幅作品皆为银色和黑色双层丝网印刷而成, 且全部使用了特质银色墨水,纸张为330gsm无酸艺术纸

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店



Nini Sum的《悖论之手》之一

立刻购买 ¥650



Nini Sum的《悖论之手》之二

立刻购买 ¥650



特别优惠 Nini Sum的《悖论之手》之一和之二

立刻购买 ¥1050

 

 

Details:

  • Edition size: 44
  • Screenprint size: 30 x 30cm
  • Number of colors: 2
  • Paper: Materica 330gsm Acid Free Paper
  • Price: $105 for single print without frame
  • Special offer: $185 for both prints without frames

详情:

  • 印刷数量: 44
  • 作品尺寸: 30 x 30cm
  • 颜色: 2
  • 纸张: 蒙特利卡330克无酸艺术纸
  • 价格: ¥650单幅无装裱作品
  • 特别优惠: ¥1050双幅整组无装裱作品

Websiteidlebeats.com

 

Contributor & Videographer: Leon Yan
Photographers: Leon Yan, Banny Wang


网站idlebeats.com

 

供稿视频摄影: Leon Yan
图片摄影: Leon Yan, Banny Wang

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Hitachi Seaside Park

December 3, 2015 2015年12月3日

One hour north of Tokyo along the coastline of Japan’s largest island Honshu, the subtly named Hitachi Seaside Park is notable for its year-long displays of surreal nature scenes. The landscape changes psychedelic hues with the season changes. In the springtime, baby-blue flowers called Nemophila bloom all over the park in a phenomenon called “Nemophila Harmony”, for which Hitachi is famed. Later in the fall, small cotton-shaped shrubs called Kochia bloom, making for an even more bizarre landscape.


東京北部から1時間、日本最大の島、本州の海岸線沿いにそっけない名前のひたち海浜公園はあり、この世のものとは思えない自然の風景を一年中眺められることで有名です。風景は季節ごとにサイケデリックな色彩で変化します。春には、ネモフィラと呼ばれる小さな青い花が公園全体に咲き乱れ、「ネモフィラハーモニー」と呼ばれる幻想的な光景でひたちは有名です。しかし、秋には綿花のような低木のコキアが紅葉し、さらに風変わりな光景になります。

The Kochia, also known as the bassia scoparia, is a knee-high bush that is usually green most of the year. However, in October every year it changes from green to flaming gradients of crimson for a few weeks, peaking in mid-October and fading out by November. Photos taken in the Kochia fields during peak season look as if they were shot with infrared film.


コキアは「ホウキギ」としても知られていて、膝くらいの高さの低木で、通常一年の大半は緑色です。それが毎年10月になると、緑から燃えるような真紅のグラデーションに数週間で変化し、10月半ばにピークを迎え、11月までに消えてしまいます。ピークシーズンに撮られたコキアの写真は、まるで赤外線フィルムで撮影したように見えます。

The park itself is 470 acres and contains a wide range of different plant species. There are about 4.5 million blue Nemophila plants, one million daffodils and 170 different varieties of tulips. Fields of buckwheat, from which the region’s famed soba is made, curve alongside flowering fields.


公園自体の広さは470エーカーで、多種多様な種の植物があります。450万本のブルーネモフィラ、100万本のラッパスイセンと170種類のチューリップがあります。花畑沿いにカーブしたそば畑からは、地方特産のそばが作られています。

Every year, the phenomenon of koyo (trees changing colors) attracts city-dwellers to head north to Hitachi to enjoy the amazing intensity of the surrounding hills.


毎年紅葉の季節には、都市生活者達がひたちへやって来て、周囲の丘の驚くような色彩を楽しんでいます。

Address:
605-4 Onuma, Mawatari, Hitachinaka 312-0012, Ibaraki Prefecture
Japan

 

Phone: +81 29-265-9001
Websitehitachikaihin.jp


住所:
日本国〒312-0012馬渡字大沼605-4

 

電話番号: +81 29-265-9001
ウェブサイトhitachikaihin.jp

Contributor & Photographer: Jia Li


記事と写真: Jia Li

The Drawings of Calvin Ho

December 2, 2015 2015年12月2日

Calvin Ho is an artist, illustrator, and graphic designer based in Hong Kong. Since 1996, he’s been the one-man studio AtomicAttack!, working for a variety of clients such as Nike, Adidas, GAP, and more.


Calvin Ho是一位香港藝術家、插畫師和平面設計師。從1996年起,他便開設了自己的獨立工作室AtomicAttack!,並爲Nike、Adidas、GAP等各種客戶提供服務。

Calvin’s work has two distinctive styles: digital illustrative work with textured layers, and hand drawn pen and ink illustrations. While his digital work is quite well-known, his hand drawn illustrations have been a new development over the past few years. He tells us about how his work process has evolved.


他的作品有著兩種獨特的風格:數碼紋理和筆墨手繪。他的數碼作品已然十分知名,而其手繪的表現風格則是他近幾年來新拓展出來的。他爲我們講述了他創作流程的演進。

Neocha: How has your work process changed?

Calvin: I mainly use pen and ink in my hand drawn illustrations and artwork. I have been cautious in experimenting with digital coloring, and have found this to be more practical when it is for commercial commissions. There always seems to be the need for small adjustments and producing the work digitally is very helpful for editing. I still prefer to be working directly on paper or canvas rather than digitally though. I love trying to retain a certain rawness and imperfection by hand that you cannot replicate on the computer.  


Neocha: 妳的創作進程是如何改變的?

Calvin: 我在大部分手繪作品、藝術類插畫或畫廊參展作品裏,主要用筆和墨完成。在實驗數碼上色方面,我是一直持謹慎態度的,後來發現它在商業項目中更爲實用。它可修改性高,並且數碼化制作對後期編輯來說很有幫助。但相比數碼化實現,我仍更傾嚮直接在紙或畫布上作畫。我愛手繪那種特定的原生和不完美,那是電腦永遠無法模擬的獨特質感。

Neocha: What are some themes and ideas you’re currently obsessed with? What’s something you could draw over and over again?

Calvin: I guess I keep revisiting the themes of night and day, the sun and the moon. I just like it as a metaphor for our personalities, and how we as humans have this tendency to dichotomize – like the fleeting emotions of love and hate, introverted and extroverted characters, and our nature to view things as black or white. I have this affinity to express issues with dualities of past and present. Coincidentally my Chinese name is Ming, which is also comprised of the Chinese characters for Sun and Moon.


Neocha: 妳最近著迷于哪些主題和靈感?妳會反複畫的東西是什麽?

Calvin: 我想我會反複探尋日與夜、日與月的主題。我正是喜歡以此象征我們人類喜歡用二分法看待事物的個性。正如愛與恨,內嚮與外嚮、以及我們生來好用來定性事物的黑與白。我執著于以過去和現在的二元性來展現問題……巧的是,我的中文名是“明”,正是“日”與“月”的結合。

Neocha: What are you currently inspired by, and what inspired you to become a designer or illustrator in the first place? 

Calvin: I keep comparing my work to music and this is usually what inspires me the most. It’s a bit hard for me to explain. Just like a musical score, it is a melting pot of different instruments, varied notes and compositions, and it can take a person on a short journey somewhere. I am also inspired by meditation and where this can take me for that day. I can shut the voice of my ego and it helps me to stay calm in times of stress and daily obstacles. I read a lot and I love good stories. I guess I can say I am not too good with words and respect writers who can make me fall into their world. I am very much a musical and visual person and find it amazing how writers can do the same with words, especially when they combine them together with pictures. That is why I love manga so much, especially classics like Osamu Tezuka’s Buddha, Yoshihiro Tatsumi’s A Drifting Life, and some darker stories from Suehiro Maruo and Junji Ito.


Neocha: 最近激發妳靈感的是什麽?最初又是什麽啓發妳成爲一名設計師或插畫師的?

Calvin: 我總是將我的作品比作音樂,而這也是最爲啓發我的地方。這很難解釋,就像樂譜,它是一個將不同樂器、各種音符、曲調混合的熔爐。我被冥想和當天它引領我抵達的境界所啓發。我得以屏蔽掉內心自負的聲音,幫助自己在遭遇壓力和日常問題時冷靜下來。我大量閱讀,熱愛好故事,但我對用文字表達並不在行,因此我敬重那些能讓我沈迷其書中的作家。我是個相當音樂或視覺型的人,然而我發現作家們可以用文字替代音樂和視覺帶來同樣效果,特別是圖文並茂的那種。這就是爲何我很喜歡看漫畫,從經典系,比如手塚治蟲的《佛陀》、辰巳喜弘的《漂流人生》,到丸尾末広和伊藤潤二的暗黑系故事。

Neocha: Stylistically how have you changed? 

Calvin: I have two very different styles. One is produced digitally and the other is hand drawn. I guess the medium does influence how I create an idea or how the work is born. For digital, my approach is more like painting as I use ready-made existing images and textures from random photos and I build up the work as paint. It’s never planned and I trust that something will develop from that. It is a scarier process but having the luxury in digital platform the paint never dries so I can craft and fine tune as I please. I have been developing this digital style for over 12 to 15 years now and it has had the most exposure and recognition.

A few years ago, I started to explore hand drawing again. For me, drawing is so much more personal and closer to my heart. I don’t think I’ve completely dropped the digital work but I am just following what inspires me right now and to create work and try to be push myself to new ways of expression. 


Neocha: 風格上妳是如何轉變的?

Calvin: 我有兩種不同的風格。一種是數碼創作,另一種是手繪。我想介質確實對我的創作靈感或作品誕生産生了影響。在數碼創作中,我的方式更像是繪畫,我從隨機的照片裏找現成的圖片和紋理素材,再像繪畫一樣將作品構建起來。這些創作就是這樣順其自然地發生了,並沒有預先的計劃,我相信它仍能形成不錯的東西。它是個刺激的過程,但數碼的好處就是畫作永遠不會幹掉,我可以任意添加或微調。我發展這種數碼風格已有超過12到15年之多,因此它已經得到了最大程度的曝光和認可。

幾年前,我開始重新探索手繪。手繪可以說是十分個人且更貼近我內心的東西。我並不認爲自己徹底放棄了數碼創作,我只是在追隨一種當下所産生的靈感並進行創作,試圖促使自己找到新的表達方式。

Neocha: What would be your fantasy project?

Calvin: I have been quite lucky, as a kid I’ve always wanted to have a record shop and produce my own magazine, both of which have come true in my lifetime. As most designers who are also into music would agree, working on a record label is a dream come true. Most of my own goals for professional or personal projects have come true. What now? Maybe a bigger exhibition of my new works would be nice. I also want to work on a game with my illustrations and to make characters into toys both of which I am working on right now. I have also wanted to make my own music.


Neocha: 對妳來說什麽是夢想項目?

Calvin: 我嚮來還算走運。小時候我一直想擁有一家唱片店、做自己的雜志,而這兩者此生都已經實現了。正如多數喜歡音樂的設計師都會贊同的,能與唱片廠牌合作簡直是美夢成真。我自己的職業或者個人目標其實大多都實現了。現在呢?一場更大型的作品展會不錯吧。我還想要用自己的插畫做成一個遊戲,把遊戲中的人物做成公仔,這兩樣我目前都正在嘗試中。除此之外,我還想創作自己的音樂。

Neocha: What are you looking forward to?

Calvin: I have just completed a commission for a private collector and have a few others lined up which will keep me busy. Also building slowly towards a collection of small sized drawings that hopefully will run as a series towards my upcoming exhibition and want to also focus on a series of larger works. I’m looking forward to moving into a bigger studio space so I can create more diverse work.


Neocha: 妳接下來有什麽期待和計劃?

Calvin: 我剛剛完成了來自一個私人收藏家的項目,接下來我的時間表還被其它一些項目填充著。同時我也在逐步完成一批小幅手繪作品,希望這些作品可以作爲一個系列在我即將到來的展覽中展出。我也想要集中精力創作一個稍大幅的作品系列。但願可以搬到一個大點的工作室,這樣我就可以創作更多的多樣性作品。

Website: atomicattack.com
Instagram: @atomicattack

 

Contributor: Jia Li


網站: atomicattack.com
Instagram: @atomicattack

 

供稿人:Jia Li

The Hand Lettering of Sachin Shah

December 1, 2015 2015年12月1日

Sachin Shah is a calligrapher and a lettering artist from Mumbai, India, who specializes in traditional calligraphy and handwritten typography. By day, he is also a professional computer engineer, who works at a global IT company. “I am very passionate about calligraphy and dabble with different hand types,” he says, “So you can call me an engineer by profession and an artist by passion. “

Purely handwritten without any kind of digital editing, Sachin’s typography work looks beautiful, natural and organic. He likes to study and explore different kinds of traditional letterforms. He tends to create visually appealing lettering on canvas or paper. He also likes to experiment with colors, whether it is with inks or paints, which he often uses for his calligraphy. In the past, he has also created calligraphy works on walls, and has also dabbled sometimes with tattoo designs and drawing logos.

Sachin has been hand drawing letters in sketchbooks ever since he was a child. He didn’t know exactly what calligraphy was until he came across the Speedball Textbook during a visit to the British Council Library about two decades ago. Sachin instantly fell in love with the art form, and since then has started doing his own calligraphy work.  He has even customized his own writing tools, for example, by chipping and grinding fountain pens, and even chiselling ice cream sticks and wooden strips.

He has started teaching calligraphy as well, because he believes that the best way for him to learn actually was to teach others. Sachin also takes on privately commissioned work, such as calligraphed quotes, brand identity work, logos and tattoos. Basically he can work on anything which has letterforms in it and for anyone who really values handwritten typography. For him, the most satisfying designs have usually been artwork that he created for himself, or for his family and friends. He says, “I get my inspiration from everywhere: nature, daily objects, the patterns that they create in subtle ways, from my emotions and state of mind.”

Neocha: Tell us about your explorations in calligraphy.

Sachin: My love and passion for letters drives me to pick up a pen or a brush whenever I can, anywhere I am. I can see letters everywhere around me. Besides wanting to excel at calligraphy, I like to inspire budding artists across the globe and help them to learn this beautiful art. Though there are several master calligraphers in this world, I still think this art is underexplored in this digital world. Every letter created with hand is unique to an individual just like a fingerprint or the retina of the eye. I feel calligraphy is the purest form of typography. The smell of a paper, the color of the inks and the fluent strokes inspire me to write everyday. I have a strong emotional connect with letters and calligraphy to me is the most powerful form of self-expression.

Neocha: Can you describe your process of making calligraphy?

Sachin: Calligraphy is all about thinking through your hand. The ideation and planning takes the most time. Once you know what you have to write, you need to select the right writing surface for that letterform and prepare your nibs and inks. If you are writing long content, it makes sense to plan your layout with a pencil so that you achieve symmetry. You can also draw guidelines on the paper so that all of the letters are sized correctly. The entire process of completing a calligraphy work can take about two to four hours on average. It can take few days if you have to calligraph a wall.

Neocha: Tell us about some of your side projects, and what you have in the works for the near future.

Sachin: Right now I am working on a few tattoo designs for a father who wants to get the names of his two daughters tattooed on each of his arms. I am also working with a greeting card company to create some type designs for them. In the future, I would like to make and release instructional videos on calligraphy and make them available to everyone who wants to learn calligraphy.

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Facebook~Sachinspiration
Behance~sachinmshah
Instagram: @sachinspiration

 

Contributor: Banny Wang