Memes, Refashioned 对生活报以真诚的假笑

January 30, 2019 2019年1月30日

There’s no obstacle in life that can’t be overcome with a genuine smile. But even in the hardest of times, a polite, insincere grin (even an awkward one) can still make do. On this premise, a meme was born.

If you have any investments in the meme economy, then you’ve probably heard the name Gavin Thomas. Best known as the “boy with the fake smile,” the eight-year-old American has gone viral worldwide. His hilariously insincere expression has garnered him huge followings on Instagram and Weibo alike. Just six short months after joining the latter, he’s already won over millions of followers, and many Chinese netizens are even hailing him as “world-class meme material.”

Recently, Chinese fashion label BIZZCUT released a line of products with the boy (or rather the meme) himself. It includes hoodies, iPhone cases, blankets, and even mousepads. Named auspiciously with the upcoming Chinese New Year in mind, the Peace and Prosperity collection pairs Thomas’s iconic fake smile with vibrant colors and bold Chinese characters, showing that memes can live beyond our device screens and find a place in the real world.

BIZZCUT was launched in 2014 and is run by a small but dedicated team made up of two fashion designers, a design assistant, a graphic designer, and a three-man operations department. We recently interviewed Da Yao, a graduate of Italy’s Istituto Marangoni and the founder of BIZZCUT, about her newly released designs and the challenges of running an independent brand in China.


如果你是关注网络文化的潮流青年,那么你一定知道这个红遍大江南北的假笑男孩Gavin Thomas。从 Instagram 火到微博,他的粉丝量在注册短短半年内就突破百万大军,堪称世界级的网红表情包。

最近,国潮品牌 BIZZCUT别闹联手腔调假笑男孩本人联名合作,出了包括卫衣、手机壳、毛毯和鼠标垫等等一系列周边,并为了呼应即将到来的中国新年,这个系列取了个非常讨喜的名字:平安富贵Gavin 标志性的假笑,配上大量鲜艳的色彩和硕大醒目的中文字,让原来活在手机里的假笑表情包,比起不正经来,更多了点酷。

我们采访了 BIZZCUT 的主理人大妖,毕业于意大利马戈兰尼设计学院(Istituto Marangoni)服装设计系的她,于 2014 年创立了这个品牌。现在的团队已经有另一个服装设计师、一个设计助理和一个平面设计师,和三人的运营团队。

Neocha: BIZZCUT’s Gavin Thomas collection draws on the aesthetics of memes; it’s a large departure from the approach of other domestic fashion brands. How did this idea come about? What was it like working with him?

Da Yao: When someone from Taobao Kongdiao (a fashion-focused platform run by the Chinese e-commerce behemoth) approached us about doing a collection with the “fake smile boy,” I was on board immediately. I’m a fan of Gavin myself, and I often use his sticker memes on WeChat. It felt like something in tune with the spirit of our brand, so everything just happened quite organically. It was a smooth process overall. Gavin and his mom approved our initial drafts right off the bat. It felt like we were on the same wavelength, so it was quite enjoyable working together.

Neocha: BIZZCUT “假笑男孩系列的产品有着浓浓的表情包风格,和一般国潮牌不太一样。是什么促成了这个系列的诞生?和假笑男孩的合作过程是怎样的?

大妖: 当时淘宝腔调的小二来问我们愿不愿意做一个合作款,得知是和假笑男孩合作我们毫不犹豫就答应了。因为我自己也是 Gavin 的粉丝,平时聊天也常会用他的表情。同时他的气质和我们品牌调性挺契合的,所以合作自然达成了。过程也非常顺利,我们提交初稿的时候就得到了 Gavin 和他妈妈的认可,可以说是一拍即合,非常愉快。

Neocha: What do you think are the primary reasons young people are drawn to your brand?

Da Yao: Maybe it’s our design philosophy. Compared to other brands, we don’t take ourselves that seriously. We enjoy making designs around self-deprecating humor. People are under a lot of stress nowadays, so a dose of quirky, offbeat humor resonates with them. Another thing is our perspective of what’s “cool”: Every brand wants to talk about being cool. To us, being cool is about exuding confidence. In other words, being “cool” in your own eyes is what’s most important. We hope that our products can help give people this type of self-confidence.

Neocha: 你觉得 BIZZCUT 能够吸引这些年轻人最重要的原因是什么?

大妖: 可能是我们的设计态度吧。相比较很多品牌我们可能显得没那么严肃和正经。就是说我们会用比较自嘲的方式去做设计,现在人生活工作压力都很大,所以一些出其不意、搞怪幽默的设计就会让很多人有共鸣。还有就是我们对酷的看法:每个品牌都在谈论酷,而事实上真正的酷首先是一种由内而外的自信,也就是自以为酷很重要。我们希望自己的产品能给大家这样的自信。

Neocha: What are some of the brand’s underpinning design philosophies and inspirations?

Da Yao: It all starts with me thinking about whether it’s something I personally like—otherwise it’ll never hit the shelves. Secondly, it needs to fall in line with the brand of humor we’re known for. I like design that makes use of pop art; mainstream culture is also something that needs to be considered. After all, being a designer means staying open-minded. It’s about finding a balance between your own aesthetic preferences and what speaks to the masses.

Neocha: 在做设计的时候,你们的态度和出发点是什么?

大妖: 出发点是我首先自己很喜欢的单品才会上架售卖。其次就是符合我们品牌幽默有趣的定位,一些波普感的设计是我比较喜欢感兴趣的,至于大众文化潮流我觉得也很有参考的必要,毕竟作为设计师还是要有一个开放的姿态去做设计,从个人审美趣味和大众喜好之间寻求平衡吧。

Neocha: It’s been a few years since BIZZCUT was founded, and the brand has built a large following of dedicated fans. During this time, what are some the most difficult struggles and challenges you’ve faced?

Da Yao: The biggest risks we took thus far were our releases for the second half of 2018. We tried out some more serious designs, but the reception was lukewarm. It helped us realize that our audience still enjoys how we bring happiness with simple, unsullied humor. But we’re now back on track. This process provided us with a lot of clarity.

Neocha: BIZZCUT 从诞生到现在也有好几个年头了,目前也吸引了一大批忠实粉丝。但这个过程中你们有碰到过独立品牌好险差点没活过来这样的情况吗?

大妖: 最险的基本就是 2018 后半年吧,做了一些比较严肃正经的尝试,结果不是很理想,后来发现大家还是喜欢简单和纯粹的快乐,现在基本回到正轨了,这个过程中自我认知也清晰了许多。

Neocha: Once a brand becomes overly commercialized, it can leave a bad taste in people’s mouths. How do you strike a balance between an authentic independent spirit and being profit-oriented?

Da Yao: Commercialization isn’t necessarily a bad thing. Good business practice means getting more than what you’ve invested, and I think having an entrepreneur mindset is important for designers. We’re not artists. Design is intrinsically linked with marketing. That said, we still strive to strike a balance between mass appeal and our independent spirit. I consider this to be the most interesting part of being a designer—it requires an equilibrium between business acumen and artistic sensibilities.

Neocha: 很多品牌一旦走上商业化,年轻用户就会显得抗拒。你们在独立设计和商业化两者之间,是怎么权衡的?

大妖: 商业化不是一件坏事,商业规则要求一个基本的水平线以上的投资回报率。我觉得商业规则对设计师来说很重要,我们不是艺术家,设计的根本也是为了销售,在这个过程中我们一直在努力平衡独立设计和大众趣味的关系,我觉得这也是设计师这个职业比较有趣的一点——它需要商业嗅觉和艺术品味相结合。

Neocha: What do you think the most important qualities are for an independent brand?

Da Yao: The most important thing is the “independent” aspect of it naturally. Something we constantly remind ourselves comes from a quote by Hu Shih: “What is independence? Independence is following your heart. If you’re free but not independent, then you’re a slave. Independence means not being blind, not being duped, not imitating others, and not relying on others. It means not trusting what you hear second-hand, not trusting thoughts that aren’t your own, and not trusting vicarious experiences relayed by someone else. This the spirit of independence.”

In other words, it’s important to not blindly follow trends.

Neocha: 你觉得对一个独立设计品牌来说,最重要的特点或品质应该是什么?

大妖: 最重要的特点当然是独立啦。引用一段我一直用来提醒自己的话吧,胡适先生讲的:什么是独立呢?‘独立是你们自己的事,给你自由而不独立这是奴隶,独立要不盲从,不受欺骗,不依傍门户,不依赖别人,不用别人耳朵为耳朵,不以别人的脑子为脑子,不用别人的眼睛为眼睛,这就是独立的精神。


Neocha: How would you describe the BIZZCUT attitude in one single word?

Da Yao: Humorous.

Neocha: 用一个词总结形容“别闹”的调性,你会用?

大妖: 幽默。

Neocha: Aside from your online shop and brick-and-mortar retail location, you’ve recently opened a space for hosting events and exhibitions. Why this expansion?

Da Yao: This space is something new for us. There aren’t long-term goals for it. It’s just a place where we can meet and chat with guests, a place where we can share our design philosophy with people. At the same time, we do plan on hosting events catered to people looking for fun things to do.

Neocha: 除了线上线下店之外,你们最近还开了一个空间,可以举办各种艺术活动之类的。为什么想要开拓线下活动空间?

大妖: 那个空间也是一个新的尝试吧,也不算一个长期的规划,就是想找个地方招待一下一直以来想和我们见面聊天的顾客,然后让他们更加了解我们的设计态度,同时伴随一些有趣的活动,让大家找到一个好玩的去处。

Neocha: What can we expect from BIZZCUT in the future?

Da Yao: Surviving is high on our list of priorities. Refining our products and coming up with more thoughtful designs is also very important. We’d also like to work with some shopping centers and media platforms to do a pop-up store. Aside from these things, we’ll be putting out a premium collaborative projects once every year.

Neocha: 对未来别闹的发展,你有什么计划?

大妖: 未来发展的话,先是活下去吧。然后把产品的品质更优,设计更成熟一点吧。也会和一些媒体和商场合作做一些 Pop-up Store,还有就是每年做一次优质的联名款。

Instagram: @bizzcut_official


Contributor: Chen Yuan
English Translation: David Yen

Instagram: @bizzcut_official


供稿人: Chen Yuan
中译英: David Yen

Breaking the Rule of Thirds 完美构图:摄影中的三分法

January 30, 2019 2019年1月30日
Image by vlas / 图片由 vlas 提供

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

The rule of thirds equally divides a frame with two horizontal and two vertical lines. The resulting overlay is used for composing and arranging subjects within the image. This technique is helpful for creating images that guide viewers through various parts of the image, but it is by no means a rule of law.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。


Break the Rules / 打破规则

Breaking the rules and finding the exceptions can be a great process for discovering new looks that stand out from the crowd. Here are a few ways you can reframe your image without using the rule of thirds.


1 — Align Center /  对齐中心

Image by nickspector / 图片由 nickspector 提供

Rather than using guides that split the frame into thirds, try using one line along each axis to create a single intersection point at the very center of the frame. This creates a much more symmetrical layout, especially when used with square images.

Image by lattiure / 图片由 lattiure 提供
Image by chamanprisme / 图片由 chamanprisme 提供

2 — Work the Edges / 运用边角

Image by jstn / 图片由 jstn 提供

By turning your attention to the edges of the frame, you can create unique compositions that diverge from more traditional approaches. This also tends to create areas of negative space within the image, which itself can turn into a creative tool. Try this if you want to experiment with a more minimal look.

Image by clairekeeley / 图片由 clairekeeley 提供

3 — Fill the Frame / 填满画面

Image by ohconnor / 图片由 ohconnor 提供

Stretching subjects across the entire frame is another way of breaking free of the rule of thirds. If you have a subject that repeats a pattern, or if you’re wanting to abstract a subject by getting in close, try allowing it to fill the image from edge to edge. This creates a singular visual plane that forces the viewer to seek out points of reference.

Image by byeymouchel / 图片由 byeymouchel 提供
Image by eskylabs / 图片由 eskylabs 提供

Scenes from a Breakup 劫后余生的恋人们

January 28, 2019 2019年1月28日

Like sketches from a love story, Korean illustrator Kang Jiyeon‘s drawings are intimate, suggestive, and poetic. She draws everyday scenes in large blocks of varying colors, with men and women who are sometimes shown in profile and sometimes have their backs to us. Even if we can’t see their expressions, the loneliness hangs visibly in the air, with a hint of sorrow. “All men and women in the world fall in love and split up,” Kang says. “The Romancer focuses mainly on expressing these two states of human relationships: loving and separation.”

她的画像一部轻描淡写的言情小说,亲密,隐晦,充满诗意。韩国插画家 Kang Jiyeon 用深浅不一的大面积色块将画布分割成一片片日常风景。画中的男女时而微露侧脸,时而完全转过身去,即使看不见表情,空气中依然阅读得出他们的落寞,以及那一丝浅尝即止的伤心。“世界上的男人和女人相恋又分离。《The Romancer》这一个系列想要表达的就是这两种人与人之间的动态关系。”

A scroll through Kang’s works on Instagram shows that she used to use simple black and white lines to depict love, like a doting couple interacting with each other. (In the work with the table lamp on the dresser, the picture on the wall is one of her past pieces.)

But in this series, her theme is separation, and the former happiness has faded into a memory on the wall. Here she uses dense colors to show the loneliness of those who have gone through a breakup. Whether it’s a still life or a figure in profile, her works are full of loneliness and estrangement. “Sometimes I regret changing my style, because it took me so much time and effort,” she says. “But his may also be one of the main reasons this series is one of my favorites.”

在 Instagram 里翻阅 Kang Jiyeon 过去的作品,以前她习惯使用简单的黑白线条去刻画爱情,比如说热恋中的情侣互动等等(像下方有一盏台灯的那幅画中,墙上的画作即是她复制自己过去的一幅作品)。




Contributor: Yang Yixuan
English Translation: Allen Young

Instagram: @heybaci


供稿人: Yang Yixuan
中译英: Allen Young

Theatrical Flair 你知道开心到极致的感觉吗?

January 25, 2019 2019年1月25日

Born and raised in northeastern China, Song Wanjie (a.k.a Julian Song) is a photographer who jokingly describes himself as a “folk artist with dreams of opening a dumpling restaurant.” After tasting his homemade jiaozi first-hand, I’d say his restaurateur ambitions aren’t that farfetched.

Song has taken an unorthodox career path. In college, he originally majored in economics before switching over to advertising, and was only inspired to learn the basics of photography when he was handed a camera and asked to help out on a commercial video shoot. Then love stepped in: a significant other gave him a film camera and opened the door to a new world. He took to it like a fish to water, snapping as many shots as he could. Conscious of his amateur background, he mostly stuck to imitating others, until one day someone asked him, “How come your work looks so much like so-and-so’s?” Only then did he realize he needed to find his own style.

生长在东北,Julian 的简介是“民间艺人宋万杰,梦想是开一家饺子馆”。吃人嘴短,我绝对可以证明,他这个梦想不是空穴来风。

自称为“野路子”,非摄影科班出身的 Julian 最初学习的是经济学,辗转到广告学专业之后,一次广告视频的拍摄需要,他得到了自己的第一个相机,经历一点点的自学摸索的过程后,场景切换到一个浪漫的爱情故事,热恋期对象送他的一个胶片相机打开了他的新世界大门,对摄影这件事,他开始变得如鱼得水。但同样由于“野路子”的自我认知,他大量地去拍摄、积累甚至模仿,直到有一天发现有人对他说“你拍的东西怎么特别像那谁……”,他才突然发现得要找找自己了。

“Most people see you using similar colors and think you’re copying. But I think the colors can be similar—the content just has to be different,” says Song. “I want to get away from what people have seen before, do something different. Who’d have thought that a scene like this, with a jumble of everyday objects against a backdrop of clouds and sky, would work?”

Song is especially excited to tell me about his most recent series, Paradise Drama Club. “When the photos came out I was practically moved to tears. You know how when you’re so happy you want to jump off a building?” The inspiration for this shoot came from the music video for “Stubborn” (倔强), a song from 2004 by the Taiwanese pop band Mayday. Sensitive to visuals, Song must have unconsciously filed away the song and the video in some corner of his brain and suddenly reactivated it now.

“一般人就会觉得颜色相似,你就是在抄袭,但我觉得颜色或许可以相像,但内容一定完全不同,我想摆脱他们见过的一切,做不一样的东西。谁能想象这样一个场景,一些看起来无序的生活事件在同一个天空背景下却可以和谐共生。”Julian特别兴奋地跟我讲述他最近一次拍摄的作品《Paradise Drama Club》,“片子出来自己快被感动哭,你知道那种开心到想跳楼的感觉吗!”而这个拍摄的灵感起点是五月天的《倔强》的 MV,凭借一直以来对画面的敏感,这个 MV 场景跟整首歌一起被他长久无意识地储存在了大脑的某个房间里,在当下的某一刻被突然启动。

In person, he’s as bubbly and uninhibited as in his photos. He told me that much of his inspiration comes from S.H.E, the Taiwanese girl band he loved as a kid. (In fact, most of our interview took place with the SHE 17th anniversary concert album playing in the background). At the peak of S.H.E’s popularity, Song was just a teenager. Little did he know, memories of his idol would inspire his art as an adult.

就像作品里的那种乐观坦诚一样,他跟我大方地分享了承包他大半个童年并作为当下创作灵感来源的 SHE(整个采访对话发生的白噪音也是 SHE17 纪念演唱会),当年这个台湾女子组合红透半边天时,Julian 还是个少年,他自己也完全没想到,那个黄金时代的偶像记忆会成为他现在的摄影创作支撑。

In every shot you can probably find touches of real life: a model staring at a bottle of skin creme; a boy taking a selfie in a fitting room; a TV host striking a crazy pose in what looks like a live studio broadcast. To get images that seem to tell a story, Song spends a long time before every shoot getting prepared, reviewing the material, and listening to music for inspiration. “I refuse to do things mechanically. I don’t want to repeat myself, and I don’t want people to think an object or color in my work can be replaced,” he says. “So I put my story and what I understand of culture into every piece, and I make sure each one challenges me.”

你大概能在他的每张照片里都找到一个真实的生活元素: 处在模特直视中的一瓶大宝 SOD 蜜;试衣间里的自拍男孩儿;一个演播室里似乎正在直播进行时的疯狂女主播….而为了营造这种独特的的叙事感,每一次创作前 Julian 都会花大量时间查资料听音乐去做充足的前期准备,“我很拒绝机械化生产,不想一再去重复,让别人觉得我的东西可以被某个物件某种颜色代替,所以我把我理解的文化跟我的故事注入每次创作里,并确保每一次都是在挑战自己。”

If there’s one thing people notice about him, says Song, it’s that he’s down-to-earth. I might add that he’s got an eye for making things look just right. And after seeing his photos, you can’t help but admit, this photographer will definitely wrap a beautiful dumpling.

接地气,是 Julian 觉得自己能被记住的原因,而看完所有这些照片你也不得不承认,这个摄影师一定能把每只饺子都包得很好看。


Instagram: @juliannn_song


Contributor: Shou Xing
English Translation: Allen Young

Instagram: @juliannn_song


供稿人: Shou Xing
中译英: Allen Young

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Eye on the 8Ball 如果我们没钱也没女朋友

January 23, 2019 2019年1月23日

“We rap about our lives, real life. We don’t talk about being rich or anything like that,” How-Z says. “We’re just honest. If we don’t have any money or girls, that’s what we’re going to rap about.” His friends BatOne and RedLee both laugh. They’re all crammed together on a train station bench in Taipei, leaning into How’s phone for our video chat as commuters filter hurriedly by all around them. This is 8Ball, the Taiwanese rap trio.

“我们只唱我们的生活,真实的生活。我们不谈论富裕或那些东西。” How-Z 说。“我们很诚实。如果我们没有钱也没有女朋友,那这就是我们会唱的东西。”他的朋友 BatOne 和 RedLee 都笑了。他们三人挤在台北一座火车站里的长椅上,靠近 How-Z 的电话和我视频聊天,背后还有通勤者的身影匆匆走过。他们是台湾说唱三人组合 8Ball

Listen to some of our favorite tracks from 8Ball below / 点击即可试听 8Ball 的几首歌曲

Those commuters’ indifference is typical—rap is still pretty underground in Taiwan, even among the kids. And Taiwanese rap, specifically, is even farther off the map. “Taiwan doesn’t want to support Taiwanese rappers, because we’re not famous or cool. They can’t discuss us with their friends,” How-Z explains, furrowing his brow in frustration under a winter cap. “Chinese rappers are way more popular than Taiwanese rappers, even here in our hometown. Higher Brothers and WILD$TYLE? They’re very famous here. They’re even more popular than American rappers.”

那些通勤者的冷漠态度是常见的,毕竟说唱在台湾仍然属于地下活动,即使年轻一辈也是这样认为。而台湾本土的说唱呢?更是如此。“台湾不想支持台湾的说唱歌手,只因为我们不出名、不酷。他们不能把我们当做和朋友讨论的话题。” How-Z 解释说,同时沮丧地皱起眉头。“在我们的家乡,中国说唱歌手甚至比台湾说唱歌手更受欢迎。Higher Brothers 和 WILD$TYLE 在台湾都非常有名,比美国说唱歌手更有名气。”



This doesn’t mean 8Ball doesn’t have an active fanbase. During a recent event at Kaohsiung’s Cocco & Co., as part of a mini-tour in support of their newest album, Never Too L8, 8Ball had a stylish young crowd bathed in neon lights animatedly jumping up and down, screaming the hook to their song as loud as they could. They’re also part of Brain Zapp, a popular local label.

但这不表示 8Ball 没有一群活跃的支持者。作为最新专辑《Never Too L8》迷你巡演的一部分,他们最近在高雄 Cocco & Co. 举行了一场演出。在现场纪录中,台下有一大群时髦的年轻听众,沐浴在闪烁的霓虹灯里,几近疯狂地上下跳跃,尽可能地放声尖叫。8Ball 也是近来相当受欢迎的嘻哈音乐厂牌 Brain Zapp 的一分子。

The underground nature of Taiwanese youth culture means artists form tight bonds across the borders of genre or medium. When rappers perform at nightclubs, it’s usually as part of a night featuring all kinds of music, not limited to one style. Skaters and graffiti writers also make up a big part of the scene, with lots of overlap between them. “I was originally invited to do some graffiti for one of their videos and just became a part of 8Ball after that,” BatOne says. “They inspired me to pick up rapping, and four years later I’m still doing it. Hip-hop is a big part of graffiti and skate culture here, but you don’t have to listen to hip-hop to do either.”

台湾的地下青年文化,是由一群跨越流派和媒介的艺术家之间的紧密联系所构成。当说唱歌手在夜店表演时,它通常只是当晚众多音乐风格表演的一部分。而滑板玩家和涂鸦艺术家也是形成此场景的重要元素。“我最初是被邀请为他们的视频做一些涂鸦创作,之后就加入了 8Ball。” BatOne说。“他们启发我开始说唱,四年后我仍然在做这件事。嘻哈是涂鸦和滑板文化中很重要的一部分,但听嘻哈音乐并不是做这两件事的前提。”

This connectivity was captured in 8Ball’s video for “Can’t Catch Me” (“你抓不到我”), which follows lone skater through the streets of Taipei dressed in all white with a backpack full of spray paint. BatOne’s verse is dedicated strictly to that graffiti life, referencing cops, beefs with other graffiti writers, and the local aerosol brand PP. “It’s not that difficult to paint in the streets here,” he says. “The police still don’t really know about it. And it’s not really a big crime either.” His parents still don’t know he does graffiti, or even that he raps. “I just want to avoid that trouble.” he laughs.

嘻哈和涂鸦的连结性在 8Ball 的音乐视频《你抓不到我》里有很好的呈现。一位滑板玩家身穿全白,背着一个装满喷漆的背包穿越台北的大街小巷。BatOne 的创作专注于涂鸦生活的大小事——躲避警察、和其他涂鸦艺术家的不合、当地气雾漆品牌 PP 等等。 “要在台北街头涂鸦其实并不困难。”他说,“警察不太了解这件事,这也不是太严重的犯罪。”但他的父母仍然不知道他会涂鸦,也不知道他玩说唱。 “我只是想尽量避免麻烦而已。”他笑着说。





Contributor: Mike Steyels
Photographer: Huang Juntuan

Chinese Translation: Yang Yixuan



供稿人: Mike Steyels
摄影师: Huang Juntuan

英译中: Yang Yixuan

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Walk in the Sun with Agave 感受阳光洒落的一刻

January 23, 2019 2019年1月23日

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

Agave (AGA1, AGA2, AGA3) is the second preset pack in VSCO’s Walk in the Sun collection. Delivering jewel tones and punchy pastels, Agave makes the most of natural light, and with some easy edits you can make the look your own.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。

Agave(AGA1,AGA2,AGA3)是 VSCO Walk in the Sun 滤镜系列中的第二个预设包,能为你的照片增添一股多彩的宝石色泽和有力的柔和色调。它是衬托自然光线最好的助手,通过一些简单的编辑,你可以创造出属于自己的风格。

Shift Tones / 调整色调

Utilizing the HSL tool can allow you to control the tonal shifts from your preset choice. In colorful photos, HSL gives creative freedom while editing for color.

尽情使用 HSL 工具进一步调整色调,它能提供你在色彩上无限的创作自由。

Color Pop / 增艳色彩

Once you’ve found your setting, try not to worry too much about the final edit. Instead, focus on exploring your subject matter. Experiment and embrace color, Agave works well at adding a pop to your image.

选择好你想用的滤镜,不要过于担心最后的呈现。将注意力放在探索主体上,多加实验,拥抱色彩的多重可能性。Agave 滤镜可以很好地为你的图像增艳,使你的照片更加突出。

Pixel Perfect 像素霓虹灯点亮的天际线

January 21, 2019 2019年1月21日
A close-up of Corporations

Pixel art was never exactly meant to be a style of its own. It originated as a byproduct of technological limitations, a way for game developers to create believable graphics within the constraints of available computing resources in the ’80s and ’90s. As processing power became faster and cheaper, the style fell out of favor.

In recent years, however, pixel art has made a comeback, becoming a stylistic choice for many indie game publishers and giving rise to gems like CelesteEnter the Gungeon, and Hyper Light Drifter.

The last of which in particular has been a major source of inspiration for 19-year-old Singaporean pixel art enthusiast Kenze Wee Hon Ming. Aside from being impressed by the game’s immaculate art direction, its dialogue-free approach to storytelling opened the young artist’s eyes to the different ways a narrative can be shown.

像素艺术并不是从一开始就自成一格,它是一种因应技术限制而生的副产品,是游戏开发者在 80、90 年代资源的约束下,创建图像的一种应变方式。随着电脑处理能力变得更快速、便宜,这种风格便被淘汰了。

然而,近年来像素艺术卷土重来,成为许多独立游戏发行商的选择,产生了许多顺应此潮流的杰作,例如《蔚蓝》(Celeste)、《挺进地牢》(Enter the Gungeon)和《光明旅者》(Hyper Light Drifter)。

上述提到的光明旅者,特别是来自新加坡的像素艺术爱好者 Kenze Wee Hon Ming 的主要灵感来源。这位年仅 19 岁的艺术家除了受这款游戏无懈可击的艺术表现吸引之外,其零对话的故事推进方式,也大大革新了他的叙事思维。


Today, Wee creates pixel art creations with a similar approach, often relying on color and motion to convey mood and information. His clever use of movement on otherwise static images—often showing elements like clouds, trains, and spacecrafts exiting and returning into the looped GIF—seems to tease at a breathing, sprawling universe that exists beyond the frame.

His pixel animations depict visions of a utopian or dystopian future: a world with neon-lit skylines plastered in undecipherable holographic ads, lone protagonists traversing vast and mysterious landscapes, and arachnoid mechas outfitted with state-of-the-art weaponry. Much like well-designed video games, Wee’s sci-fi animations have an immersive quality to them.

如今, Kenze 以类似的方式来创作。他通常仰赖颜色和动态图像来传达情绪和信息,巧妙地利用 GIF 和充斥其中的元素,比如说云、火车或太空船不断离开又重回画面中,仿佛在景框之外也存在着另一个庞大的宇宙。

而他的像素动画描绘的是充满乌托邦/反乌托邦色彩的未来愿景:一个霓虹灯点亮的天际线被难以辨认的全息广告所占满的世界、孤独的主角只身穿越广阔的神秘风景、装备着最先进武器的节肢动物。就像精心设计的视频游戏一样,Kenze 的动画为这些科幻角色创造了一个让人身历其境的世界。


While the resurgence of pixel art in modern games reaffirmed Wee’s love for its aesthetics, that’s not what drew him to the medium.

A few years earlier, while searching for creative inspiration, Wee discovered Gerardo Quiroz and Valeriya Sanchillo, artists whose intricate pixel art creations instilled in him a sense of awe and wonder. He was amazed by how such a dated, bare-bones form of digital art could produce images that were, paradoxically, “so simple yet detailed at the same time.”

Even though simplicity is a large part of pixel art’s appeal, creating an engaging piece of pixel art is anything but easy. Each of Wee’s creations requires hours of focus and precision. Every pixel is placed with purpose; even minor misplacements of a few pixels can have a drastic effect on the final image.

虽然说 Kenze 正好见证了像素艺术的复兴,但是此种美学的再次流行并不是吸引他的原因。

几年前在寻找创作灵感的同时,Kenze 发现了 Gerardo Quiroz 和 Valeriya Sanchillo,这些艺术家的复杂像素作品让他为之惊叹。这种过时、简陋的数字艺术形式竟然能同时涵盖两种极端的特质——创造出既简单又丰富的图像。

尽管简单是像素艺术的一大亮点,但要创造出引人入胜的像素艺术作品绝非易事。Kenze 的每一件作品都需要数小时的全神专注和精细工作。每一个像素都是有目的地放置,即使是少量的轻微错位也会对最终图像产生巨大的影响。

The making of Ramen
The making of Corporations

Despite Wee’s meticulous efforts, there’s only so much definition that can be rendered with pixels. This isn’t exactly a disadvantage, though—in fact, it’s exactly these limitations that have kept the retro aesthetic so captivating even after all these years. These constraints are also what lends Wee’s work its je ne sais quoi. This art style asks the audience to look past the medium’s shortcomings and apply a bit of their own creativity. In doing so, the viewers become more than just spectators—they become participants whose own imaginations are tasked with filling in the remaining details.

尽管 Kenze 在像素艺术中投注大量心力,但它的发挥之处毕竟有限。这并不是一个缺点,事实上正是这些限制,使得这种复古的美学在多年之后依然如此迷人,也赋予了 Kenze 的艺术一种难以言喻的魅力。这种艺术风格希望观众超越媒介的局限和发挥一点创造力。观众不再只是观众,而是参与者,必须善用自己的想像来填补剩余的细节。

Behance: ~/KenzeWeeHonMing
Instagram: @emperor_wee
Twitter: @seppuku_doge


Contributor: David Yen
Chinese Translation: Yang Yixuan

Behance: ~/KenzeWeeHonMing
Instagram: @emperor_wee
Twitter: @seppuku_doge


供稿人: David Yen
英译中: Yang Yixuan

Never out of Fashion 当你的连衣裙变得扁平化

January 18, 2019 2019年1月18日

If Bertha Sun‘s illustrations look a bit like fashion sketches, that’s no accident. A Hong Kong-based illustrator and designer—and recently named one of Perspective magazine’s 40 under 40—Sun started out working in the textile industry, and she honed her skills sketching outfits and fabric designs. Maybe that’s why so many of her drawings feature either women striking a pose, or abstract patterns that wouldn’t look out of place on a summer dress.

如果说 Bertha Sun 的作品让你想到了时尚的设计草图,这并不是意外。这一位来自香港的插画家和设计师,在 2018 年登上了《Perspective》杂志“40位40岁以下的艺术家”。她在织品服装业开启职业生涯,同时不断磨练自己在绘画和织品设计方面的技巧。这也许解释了为什么在她的​​插画里,主角不是一位正在摆弄姿势的女性,就是一系列适合出现在夏日连衣裙上的抽象印花。

Sun’s been drawing since she was small, and she studied art formally in college at the Rhode Island School of Design. Rather than major in illustration, she opted to take a more practical route and study textiles, and went on to take a job in fashion. That field that gave her the chance to see her designs in the real world. “Textiles, to me, meant creating interactive artwork,” she says. “You can look at it, wear it, sit on it, or all of the above. Illustration back then played a smaller role in my work—I simply used it as application drawings.”

Bertha 小时候就开始画画,并进入罗德岛设计学院正式学习艺术。她并没有主修插画,而是选择了更实际的路线——织品设计,并在毕业后从事时尚工作。这个领域让她有机会在现实世界中实现她的设计。“对我而言,织品意味着创造互动性的艺术品。”她说,“你可以看它,穿它,坐在上面,或者同时做这三件事情。插画在我过去的工作里只占一小部分,我将它当作一种应用工具。”

After several years working in the fashion industry in Hong Kong and New York, Sun decided to set out on her own and expand to other media. Now her studio, Yet Another Name, handles branding and design for a portfolio of clients from the fashion world and beyond. As she puts it, she couldn’t resist the temptation of working in more than one kind of art: “I guess I just became greedy.” And that work led her back to illustration.

在香港和纽约时装界工作了几年之后,Bertha 决定自立门户,并将触手拓展到其他领域。现在,她的工作室 Yet Another Name 为来自时尚界及其他的广泛客户进行品牌规划和设计工作。正如她所说,她无法抗拒在多重艺术领域中工作的诱惑。 “我猜我越来越贪心了。”也正是这项工作,让她重新回归插画。

She works both by computer and by hand, switching back and forth for maximum control and freedom. “I like creating layouts on the computer so I can really play around, and I like doing the actual drawing by hand to get a more natural touch,” she explains. “It also allows room for happy accidents.” In the work shown here, she explores human figures, flowers, and abstract patterns and shapes.


For Sun, illustration is a way to freely explore both her emotions and her technique. “I’m always experimenting with ways to combine my love of patterns and shapes into my illustrations,” she says. Her sketches here are a series of studies in line and color, and the questions they raise are of a formal nature. “What effect does it give a piece when certain parts of the subject become just a flat shape? What happens when the patterned background swallows the foreground?” The answer is a series of works with a casual, offhand elegance.

对于 Bertha 来说,插图是一种自由探索情感和技巧的方式。“我一直在尝试将我对图案和形状的热爱融入插画中。”她的插画是一系列针对线条和颜色的研究,也是关于自己创作形式的提问:“当主体的某些部分变成一个扁平的形状时,会对作品产生什么效果?或当有图案的背景融合到前景时,又会发生什么?”答案即是一系列充满了漫不经心的优雅的作品。

Instagram: @berfa


Contributor: Allen Young
Chinese Translation: Yang Yixuan

Instagram: @berfa


供稿人: Allen Young
英译中: Yang Yixuan

Fighting Evil with Evil 黑吃黑,恶制恶

January 16, 2019 2019年1月16日
“Ye Zhong and You Guang are evil spirits who appear in the dead of night and strike fear in other devils. Fighting evil with evil, men came to evoke their names to ward off war and plague, calling them the Gods of Night.”


This is the description that opens the photo series Historical Photographs of the Gods of Night Vanquishing Demons, by Chinese digital artist Zhao Guodong. The series was inspired by folktales that date back to the Han dynasty—in the tales, Ye Zhong and You Guang were menacing deities believed to be powerful and evil enough to fend off wounds and plague.

“野仲、游光厉鬼也,三更出而百鬼惧之。后人以恶制恶,题其名可避刀兵瘟疫,谓之夜游神。 ”



“The night deities are beings whose unparalleled malevolence is believed to counteract lesser evils,” Zhao explains. “I think the main reason people put their belief in these wicked deities as opposed to good spirits wasn’t that they wanted evil beings to destroy one another but that they considered the compassionate deities unreliable. Even today, the world is paralyzed with similar fears: for the common people, law and justice aren’t enough to shake off the uncertainty and fear of falling prey to evil-doers. People cheer on vigilantes who operate outside of the law. This observation, combined with my interpretation of the demons and gods of ancient lore, is what inspired this series.”


While undeniably nightmarish, the demons and beasts of Zhao’s work are a marked departure from the over-the-top character designs of Hollywood blockbusters. He explains he didn’t want to overdo their features, and against the ramshackle, overgrown backdrops, they look even more realistic. The spirits he’s conjured—from a chimerical beast with a lion’s head and a dragon’s body to a humanoid creature with jagged horns—are all culled from Chinese mythology. I love animals, especially the legendary creatures depicted in traditional Chinese sculptures,” he notes. “It was from studying their forms that I learned about how art can be powerful and humorous at the same time.” 

Zhou, leveraging Chinese mythology and modern fears, has managed to restore one of China’s oldest folktales in spine-chilling fashion. Don’t stare too long at these images after dark, or you just might find yourself inside one of these haunting dreamscapes the next time you close your eyes.



Weibo: ~/sandaosi

Contributor: Chen Yuan
English Translation: David Yen

微博: ~/sandaosi

供稿人: Chen Yuan
中译英: David Yen

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Using White Balance 世上的白并不仅仅只是一种白

January 16, 2019 2019年1月16日

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.


The White Balance tool is best used for making broad color adjustments. If you use a preset that creates a strong color cast, or if you just captured an image where the colors feel a bit off, you can use the White Balance tool to create a more accurate feeling tone.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。



Looking at Color / 观察色彩

The White Balance tool gets its name for its ability to make sure the white hues in an image display without any off tints or casts. By balancing for known white or light gray tones, other colors will often fall into place. With this in mind, look for a reference point in your image that you can confidently ‘match’ by making adjustments with the White Balance tool.

顾名思义,白平衡工具就是用来调整图像中的白色调,使其不带有任何其它色调。通过调整白色调或浅灰色调, 其它的颜色也会获得相应的调整。因此,不妨先在图片中找一个参考点,然后就可以更有把握地使用白平衡工具进行相应的调整。

Finding Balance / 寻找平衡

Once you find your reference point, try to identify what might be making it feel off or how you may want to intentionally shift the color.

Is it too warm and yellow, or too cool and blue?

Use the Temperature slider.

一旦你找到参考点, 试着找出色调感觉不合适的原因,想想你应该如何有目的地调整色彩。



Is there a green tint, or does everything feel a little too pink?

Use the Tint slider。



By working with these four colors, you can use the White Balance tool to correct almost any kind of light. Working in small increments, use the sliders to gradually shift the color to a point that matches what you had in mind. By practicing this process, you’ll soon be able to spot easy adjustments and quickly eliminate color casts, especially in tricky lighting conditions.