Tag Archives: illustrator

Between Dreams & Reality

Jenny Yu is a Chinese-American artist and illustrator based in Los Angeles, California. She is the environment concept artist at Mindshow, an app for creating, sharing, and experiencing shows in VR. Her digital illustrations create worlds that border between the edges of fantasy and reality, expressing whimsical moments through lighting, color, and shape.


Jenny Yu是一位来自洛杉矶的美籍华人艺术家和插画家。她是Mindshow(一个创作、分享和体验VR动画电影的应用)的环境概念艺术家。她的数字插图呈现出一个界乎于幻想和现实之间的世界,通过光线、颜色和形状来演绎种种奇妙的瞬间。

Yu’s most notable influence is Hayao Miyazaki, but others include Yuri Norstein, Makoto Shinkai, Kazuo Oga, and Kevin Dart. In addition to animation, she looks towards film, cinematography, and photography for inspiration, citing the late Chinese director and photographer Fan Ho as another one of her influences.


对Jenny Yu的创作影响最深的是日本动画大师宫崎骏,除此之外,还有俄罗斯动画导演Yuri Norstein,新海诚(Makoto Shinkai),男鹿和雄(Kazuo Oga)和美国动画人Kevin Dart 等等。除了动画,电影、电影摄影和摄影作品也启发着她的创作。她表示已故中国导演和摄影师何藩也是一位对她影响很大的创意人之一。

In addition to studying the works of other artists, Yu takes inspiration from her own life and memories. She says, “Most of my inspiration comes from feelings and experiences from childhood that I selfishly want to preserve and the ephemera of moments.” Taking seemingly ordinary moments from everyday life, she manages to create images that are nostalgic, magical, and fleeting – images that she hopes will help “soften the edges of living.”


除了研究其他艺术家的作品之外,Jenny Yu也会从自己的生活和回忆中寻找灵感。她说:“我的大部分灵感来自于童年时期自己尤其珍视的心情和经历,以及每个时刻的稍纵即逝性。”她将看似平凡的日常生活场景,创作成充满怀旧风格和奇妙魅力的瞬间性画像,希望这些画像可以“朦胧美化现实的生活”。

Websitejennyyu.squarespace.com
Behance~/jennyyuu
Instagram
@yeuujjn

 

Contributor: George Zhi Zhao


网站jennyyu.squarespace.com
Behance: ~/jennyyuu
Instagram
@yeuujjn

 

供稿人: George Zhi Zhao

A Tender Sadness

Nowadays, it’s all too common to see a piece of artwork get passed around the internet without any credits attached to the creator. One particular artist who often encounters this issue is sheep, a Chinese illustrator who purposefully stylizes his moniker with a lowercase “s.” But unlike most other artists, sheep doesn’t particularly mind – he’s more concerned with making art than the recognition that follows. His illustrations are peculiar; they’re beautifully illustrated, but the beauty is layered with a sense of melancholy and unease. The characters of sheep’s world are often depicted in their most vulnerable state, but they still remain eager on sharing their untold stories.


有些作品大家都看过却未必清楚知晓作者出处,sheep大概就是这样一个插画师,默默地画着自己的画,默默地做着自己的人形,他的插画不算明媚也没有正能量,却是另一种黑暗又悲伤的细腻美,敏感纤弱的人物都仿佛诉说着关于自己的故事。

On first glance, some of sheep’s work might reveal hints of a Japanese influence behind the aesthetic. He explains, saying that one of his biggest inspirations is Hyakki Yagyo, a Japanese folklore about a night where a hundred different demons roam the streets, but his influences actually come from other sources that extend beyond Japanese culture, such as the fictitious worlds depicted in the Chinese books Classic of Mountains and Seas and In Search of the Supernatural. “When I was still a student, the works of a few Japanese manga artists really resonated with me,” he says. “So in terms of the technique and subjects I experimented with back then, it was influenced by Japanese culture. But for my newer works, I never stop and think if anything feels Japanese or Chinese – I’m simply interested in creating art with an overall Eastern aesthetic, art that transcends the boundaries of time and geography.”


初见sheep的作品,很容易感受到一种日式氛围,但他的作品中的灵感来源也不仅仅来自日本百鬼,还有更多《山海经》和《搜神记》中的志怪传说。“早期学生时代会因为跟日本一些画家的作品产生共鸣感,所以技法和题材上会有意识在所谓的日式审美做尝试。反倒现在我创作的时候,也不会刻意去预设这是日式的,这是中式的概念了,就是整体的、我个人所想表达的东方的东西,无时代性和地域性。”就这个问题他如是说。

As we discussed his background and initial interest with Japanese culture, sheep shared that one of his favorite fairy tales as a child was Mimei Ogawa’s The Mermaid and the Red Candles. The story is about a baby mermaid that was left at a shrine and discovered by an old couple from a seaside village who never had children of their own. The couple, who ran a candlemaking business, took the mermaid in and raised her. As the mermaid grew up, she helped the family business by drawing pictures of the ocean on the candles. Soon, these drawing made their candles quite famous in the area. Rumors about good luck blessing those who bought and lit her candles at the nearby shrine began to spread, leading to more people buying the candles. Hearing these rumors, a businessman convinced the couple that mermaids were bad luck and bought the mermaid from them. After, he locked in the mermaid in a cage and quickly left with her on a ship. On the same night, a violent storm sunk the ship. From that point on, the couple’s candles became a symbol of bad luck. All of the fishermen who bought the candles in the past all suffered an ill fate. Their candle business soon ended. Not many years later, the city became deserted, eventually turning to ruins. Legend has it now, fishermen passing by the ruins of the town would sometimes see a faintly glowing red candlelight drifting around the shrine.


说到这里,我们又跟他聊了聊他最初对日本文化的了解,sheep跟我们分享了一个他小时候看的童话故事-小川未明的《红蜡烛与人鱼》:大概内容是说一条向往人类世界的人鱼,将自己刚出生的女儿送往了海边的神社。小人鱼被海边渔村一对没有儿女的老夫妇遇见收养。老夫妇靠卖蜡烛为生,人鱼姑娘长大后对大海充满憧憬,开始在蜡烛上画画,使老夫妇的红蜡烛名声远扬,成为出海人祈福的象征,神社香火也旺了起来。有一江湖商人闻此消息,欲重金买走人鱼姑娘,说人鱼是不祥之物。老夫妇迷失心窍,点头同意。商人把人鱼姑娘关在笼中,装运到海上。结果当晚雷雨暴风,巨浪滔天,货船沉没。从此,老夫妇的蜡烛成为灾祸之物,买过的渔民出海无一幸免,生意也再做不下去了。没过几年,山脚下那座小镇就成了一片废墟,不存在了。之后偶尔会有出海的人看到海上隐约的烛光一直飘到废墟神社前。

The Mermaid and the Red Candles doesn’t have a happy ending or a sense closure. There’s no repentance or redemption, but it does leave plenty of room for personal interpretations. And in a way, it’s similar to sheep’s artwork now, which all have concisely constructed narratives that still leave much to the imagination of viewers. In Narcissus, sheep’s latest compilation book of his recent works, he even features an illustration based on Ogawa’s story.


这个故事没有一般令人欣慰的圆满结尾,也没有十分需要令人悔改的警醒,但最后的一抹烛光却格外引人遐思,大概这也就像sheep现在的插画一样,说一个点到为止的故事,他的作品集《水仙》中也以绘本的形式诠释了这个故事。

Despite sheep’s impressive illustrative works, his interests and skills have gone beyond illustration alone. He originally comes from a background in ceramic design and has always been infatuated with sculpting. Eager to break the constraint of mediums, he began learning how to make sculptures and figurines by himself. His White Deer sculpture is even based off an earlier illustration of his. As part of the project, he also enlisted the help of photographer Ko Rou, to stage and set up a variety of scenes with the completed figurine.


陶瓷专业出身的sheep对人形和雕塑都很有兴趣,因为不想局限于平面创作,他也制作了自己的人形,靠他自己一点点耐心的自学,白鹿童子也从的画作里活化而出,他还与摄影师扣桑合作,完成了这组人形照片。

As our discussion meandered and we began chatting about the movie Ghost in the Shell 2: Innocence, sheep comments that he believes art often conveys messages that surpass the original intent of the work. “Creation is like eating. It’s to satisfy an appetite. Completing an idea gives you an unparalleled sense of gratification. When I’m creating, I don’t immediately define what concepts or ideas I want to convey through it. When other people view my work, they might be looking at an authentic piece of my soul, but to them, it could be completely meaningless.”


跟sheep聊到押井守的《无罪》,他觉得作品也会像这样传达一些超越内容本身的东西,“其实很多创作就跟本能吃饭等一样,是一种类似快感的欲望,完成脑中所想的这件事会带来不可替代的幸福感,所以我不会特别预设自己是要传达什么意义或者想法,其他人看到作品就是当时我所脱壳出的一部分我,反而他们其实某种层面来说是没有意义的。”

Weibo: ~/ssheepp

 

Contributor: Shou Xing
Images Courtesy of sheep & Ko Rou


微博: ~/ssheepp

 

供稿人: Shou Xing
图片由sheep与扣桑提供

Vans Custom Culture Asia

Vans has brought the Custom Culture Competition to Asia for the first time ever this year. With a well-established reputation for individualism and self-expression, the Vans brand spirit is perfectly embodied through this competition. Working with the goal of rallying Asia’s creative community and providing a new platform to help showcase the region’s burgeoning creators, the contest invites everyone to flaunt their creativity for a chance to see their design make its way onto a pair of these iconic canvas shoes.


今年,Vans 首次将 Custom Culture 鞋履设计比赛带到亚洲。这一比赛充分体现了Vans 一向推崇个性化和自我表现的品牌精神,致力凝聚亚洲创意社区,为新兴艺术家提供一个新的创意平台。比赛邀请一众亚洲艺术家,尽情发挥他们的设计创意, 获奖者的设计将会被用于设计该品牌的全新帆布鞋产品。

For the competition, Vans has invited various respected artists from around Asia as both mentors and judges. Mentors will help the selected finalists to flesh out and complete their final design. These mentors include Chinese visual artist Lin Wenxin, South Korean illustrator Original Punk, Hong Kong-based woodworking atelier Start from Zero, Singapore-based husband-and-wife creative duo Sabotage, self-taught Malaysian street artist Fritilldea, and India-based street artist duo Varsha Nair. Judges include renowned San Francisco-based illustrator Jay Howell, Nini Sum of the Shanghai-based artist duo IdleBeats, plus many more.


在今年比赛中, Vans邀请了亚洲各地备受推崇的艺术家作为导师和评委。导师将帮助决赛选手改善其设计作品。这些导师包括来自重庆的视觉艺术家林文心, 韩国插画家Original Punk, 香港木艺画室Start from Zero, 新加坡夫妻组合艺术家Sabotage, 自学成才的马来西亚街头艺术家Fritilldea和印度街头艺术家组合Varsha Nair。评委则包括来自旧金山的著名插画家Jay Howell,来自上海 IdleBeatsNini Sum等等。

For the chosen winner, in addition to seeing their design brought to life and made available as a limited-edition item throughout Asia, they’ll also receive a grand prize of $2,000 USD and the opportunity to co-host a global House of Vans workshop with their respective mentor. Submissions are open from now until July 31st. Click here to learn more. Be sure to submit an entry before it’s too late!


比赛获胜者除了其设计会被用在品牌于整个亚洲限量发售的全新产品上之外, 还将获得2000美元的奖金。比赛投稿现在已经开始,将一直持续到731日。点击这里,了解更多。记得在截止日期前递交你的参赛作品哦!

Website: vans.com/customcultureasia

 

Contributor: David Yen
Images Courtesy of Vans


网站vans.com/customcultureasia

 

供稿人: David Yen
图片由Vans提供

Bicycle Boy

After visiting Seiseki-Sakuragaoka, the Japanese suburbs that the 1995 Studio Ghibli film Whisper of the Heart was modeled after, Polish-born and Tokyo-based artist Mateusz Urbanowicz was inspired to paint his Bicycle Boy series, which consists of ten watercolor paintings that bring the film’s narrow roads and suburban landscapes to life. Urbanowicz uses 6B pencils to sketch out each moment before coloring them with Schimincke and Winsor & Newton watercolors. This series takes us on a journey of a dedicated bicycle boy who rides up challenging inclines and through the elements in order to reach his destination. Many of Urbanowicz’s other illustrations are also inspired by his new adoptive home of Japan as well as the animated backgrounds that feature in many Japanese anime films.


波兰出生的艺术家Mateusz Urbanowicz目前生活在东京。在参观完日本郊区圣迹樱丘(Seiseki-Sakuragaoka)——1995年吉卜力电影《心之谷》(Whisper of the Heart)的场景原型后,Urbanowicz创作了《自行车男孩》(Bicycle Boy)水彩画系列,通过十幅水彩画,栩栩如生地呈现出电影中出现的狭窄小巷和日本郊区景观。Urbanowicz在创作时,先使用6B铅笔画出草图,然后用Schimincke和Winsor&Newton水彩上色。这个水彩画系列带领观众,跟随一名骑自行车的男孩,骑过艰难的斜坡,经历各种天气,朝着目的地进发。Urbanowicz的许多其它插图的灵感还来自于他如今生活的日本,以及许多日本动画中的场景。

Website: mateuszurbanowicz.com
Facebook: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz

 

Contributor: Whitney Ng


网站: mateuszurbanowicz.com
脸书: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz

 

供稿人: Whitney Ng

An Artful Aftermath

Cleveland-born and Singapore-based artist Debra Raymond knows first hand about being in transit. After leaving Ohio, she lived in Jakarta before relocating to the little red dot; in her art,“constant migration” remains as a heavy inspiration. Contemporary social issues such as urban alienation and technology’s hindrance on human connection feature heavily within her body of work.


艺术家Debra Raymond出生于美国克利夫兰,如今定居新加坡。对于”迁徙“,她深有体会。离开俄亥俄州后, 她先是在雅加达生活,后又移居新加坡。在她的作品中, “不间断的迁徙” 一直是一种沉重的创作灵感,她在作品中深入探讨着各种当代社会问题, 如城市异化和科技对人际关系的影响等等。

During her BA (Hons) Fine Arts in Singapore’s LASALLE College of the Arts, she explored the significance of play in childhood development and how to encourage human interaction through art in our technologically advanced era. In late 2016, Raymond completed an artist residency at the Children Centre of Japan in the Miyagi Prefecture’s Ogatsu-cho. During her residency, she conducted workshops with local children to create a series of works to remember the 2011 tsunami and earthquake.


在新加坡拉萨尔艺术学院(LASALLE College of the Arts)攻读荣誉学士学位期间, 她研究了戏剧在童年发展中的意义, 以及如何在科技先进的时代通过艺术来鼓励人类互动。2016年9月, Raymond 完成了“艺术家驻住计划”(Artist-in-residence),居住在日本宫城县小村庄Ogatsu-cho的儿童中心。期间, 她以2011年的海啸事件为灵感,为当地的儿童举办艺术讲习班。

Inspired by the houses that survived the tsunami, Raymond created 20 sculptures out of wood that was foraged from the area. The sculptures are based on 30 sketches that were painted in 30 days. The series was created to commemorate “the everydayness that we often take for granted” and installed around the prefecture.


Raymond 以海啸中幸存的房子为启发,利用当地获取的木材,并以她在驻住期间完成的30幅作品为基础创作了20个雕塑。她所创作这一系列雕塑,被安放在村庄的不同角落,目的是为了赞颂 “那些往往被人们当作理所当然的平凡生活” 。

Website: debraymond.com
Instagram: @deb.ra

 

Contributor: Whitney Ng
Images Courtesy of Debra Raymond

 


网站debraymond.com
Instagram@deb.ra

 

供稿人: Whitney Ng
图片由Debra Raymond提供

When Pigs Fly

 

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For many people, the mere mention of Hong Kong conjures images of harboursides, modern skyscrapers, a smorgasbord of culinary delights and a true retail mecca. But if you look closer, the vintage stores and dated architecture of the city are very much interconnected to this port city’s identity and history. As Hong Kong develops, many of these older stores are disappearing. Fortunately, illustrator Flyingpig is determined to preserve the memories and stories of these disappearing shops.


提到香港,也许多数人的印象是现代化的玻璃大厦,多国美食和购物中心。可是,这座开埠多年的城市,只要细心去发掘,会发现许多老店和旧建筑与这城的关係密不可分,却渐渐在发展中消失。插画师飞天猪,希望用笔触画下香港各式旧区老店,记下充满人情味的故事。

Despite studying animation in college, Flyingpig is an avid illustrator. After graduating, she worked in film post-production before transitioning towards digital illustration. Amongst balancing her work life and illustrating in her spare time, she found herself questioning her current career path. Sundays became the only day when she could unwind and take the time to sketch. As her sketches accumulated and continuously received positive feedback online, Flyingpig began to understand that drawing didn’t mean working alone. “I realized that my work could send a message,” she says. “I never considered that I could make a living off illustrating alone.” She soon quit her job and plunged head first into illustration.


喜欢绘画的飞天猪,大学时修读动画,毕业后从事电影后製,及后任职电脑绘图,工作所学什多,然而每天辛劳过后,她发现一切并非自己所渴望,倒是能够休息的星期天,在城市中写生的时刻,她才感到是属于自己的空间。随着写生数量渐多,放在网上所得的迴响,飞天猪发现写生不再是她一个人的事情「原来我的画作可以传达信息。以往从没想过可以靠画画维生。」于是决定辞去全职工作,专心投入画画的世界,做自己喜欢的事。

On canvas, the colorful portrayals of vintage stores are beautifully and purposefully executed. But, beyond the canvas, Flyingpig finds her interactions with these store owners to be infinitely more meaningful and important. She enjoys learning the history and stories behind these stores, building a connecting between herself and the community. “There was a time when I went to draw the shopfronts in Sheung Wan. As I sat by the roadside, the shopkeeper offered me a leather suitcase to rest my drawing pad on. He began to tell me about the little things that he had around his shop. It made me realise that amongst these spaces, there were so many stories that were just waiting to told.”


画框之内是吸引眼球、色彩班烂的旧区小店,然而,画框之外与店主的交流,暸解小店背后的故事,接触社区,对飞天猪来说才是最重要,也衍生一份使命感驱使她不断创作「我到上环的朱荣记画画,当时坐在马路边,老板好心给我纸皮箱垫袋子,还分享小店每件货品和子承父业的故事。从那时便意识到每间小店可以有属于自己的绘本,我想为它们记下各自的故事。」

Looking at Flyingpig’s debut illustration book, Lao Dian Feng Qing Hua (which translates into vintage shop illustrations), her love of watercolors is ever present. Not only is this a casual, effortless medium, but she can allow her personality to flow through each brushstroke. These watercolor illustrations carry a laidback and mellow vibe, combined with the warmth of quaint Hong Kong shops.  “City folks are always in a rush, people are growing further apart and don’t have a sense of community. Meanwhile, these beautiful details of life remain overlooked and are slowly disappearing. What I hope for when people view my work, is that it’ll make them want to support these small local shops rather franchised retail stores.”


飞天猪出版的首本着作《老店风情画》,从书中画作可见,她爱以水彩绘画,认为其流畅轻快的特点,与自己放胆去画的个性相近。加上水彩看来轻鬆,配合画中的主题,能够传递出小店的温暖。「城市人来去匆匆,不去关注生活的社区,人与人的关係会变得冷漠,逐渐失去生活中可以珍惜的细节。我希望画作令人看后,会想起买一枝樽装水,可以去街角的士多,而非连锁式的超级市场。」

As the city advances and develops, these old shops are silently fading into the background. Despite having a mellow, paced approach to creation since childhood, Flyingpig is now painting with haste and vigor in order to capture these disappearing scenes. Aside from drawing on paper, she has begun to release 360 degree videos. By using AR technology to enhance her drawings, she can immerse viewers into the very thick Hong Kong’s bustling shophouses. Throughout the interview, Flyingpig stressed that “every drawing must have a story” and she remains dedicated to bringing these stories to life through her art.


城市快速的更替,旧区的小店逐渐无声被淘汰。从小喜欢安静在一角画画的飞天猪,却愈画愈起劲,似要追赶发展的步速,在小店消失前继续画下去。她的画作除了以平面展现在画纸上,也推出以360度影片让人观赏。未来她想尝试以AR技术,让人亲自走入社区,在手机上重现她画下,却在现实消失的建筑。无论以何种方式呈现作品,毕竟画面上的温度,都是来自背后承载着的历史和故事,如飞天猪在访谈中多次强调,「故事是每幅画必须的!」

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Website: flyingpig.work
Instagram: @flyingpigwong
Facebook: ~/flyingppig.art

 

Contributor: Yabee Wong
Additional Images and Video Courtesy of Flyingpig


Website: flyingpig.work
Instagram: @flyingpigwong
Facebook: ~/flyingppig.art

 

供稿人: Yabee Wong
附加图片与视频由Flyingpig提供

Victo Isn’t a Boy’s Name or a Typo

Growing up in Hong Kong as an only child, Victo Ngai spent much of her childhood drawing and creating imaginative stories from her artworks while her parents were away working long hours. Upon graduating from the Rhode Island School of Design, Ngai blossomed into a decorated illustrator, creating her visual stories on a much larger scale through her characteristically fluid and surreal drawing style. In 2014, Ngai was listed by Forbes in the 30 under 30 of the Art & Style category for her impressive illustrations. Her thought-provoking works are often featured in the likes of The New Yorker and The New York Times where she brings some of the world’s most pressing stories to life. Most recently, she collaborated with Apple to produce a Chinese New Year billboard in celebration of the Year of the Rooster, which was unveiled at the Apple Store on Canton Road in Hong Kong. “I like things that are not very realistic. That is the charm of illustration – it completely allows you to create your own magical world.”


来自香港的倪传婧(Victo Ngai )是家里的独生女。因为父母经常外出工作只留她在家,倪的童年大多数时间在一个人奇思妙想和画画中度过。从罗德岛设计学院毕业后, 倪传婧成为一名插画家,以流畅的线条和超现实主义的绘画风格,描绘出她脑中构想的故事。 2014 年,她凭借出色的插画作品,入选福布斯艺术与风格类“30 Under 30:Art & Style”榜单 (30位最具潜力的30岁以下的杰出新秀)。 她根据世界上发生的重大新闻事件,创作出发人深省的插画作品,并常常被发表于《纽约客》(New Yorker) 和《纽约时报》(The New York Times)等报刊杂志。最近,她与 Apple 公司合作,创作一个庆祝中国鸡年春节的广告牌,于香港广东道的Apple零售店展出。”我喜欢超现实风格的东西。这也是插图的魅力所在。它让你可以构建一个属于你自己的神奇世界。“

Website: victo-ngai.com
Facebook: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

Contributor: Whitney Ng


网站: victo-ngai.com
脸书: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

供稿人: Whitney Ng

What if Kobe Bryant was a Samurai?

From a samurai-fied Kobe Bryant to a skeleton warrior rocking Jordans, Vanz Chiang’s illustrations seamlessly combines elements of Japanese culture with modern-day NBA superstars. The Taiwanese artist’s fearlessness to mash together unlikely elements from different cultures has led to collaborations with local Taiwanese streetwear goliath Remix Taipei, renowned streetwear brand Mishka NYC, and American sportswear brand Champion.


从穿着武士装的科比,到穿着乔丹球鞋的骷髅头战士,台湾艺术家江振嘉(Vanz Chiang)将日本传统文化和NBA球星做结合,创作出一系列出色的插图作品。正是这种大胆文化碰撞的风格,促成了他与台湾本地著名街头时尚品牌Remix Taipei、著名服饰品牌Mishka NYC和美国运动服装品牌Champion的合作。

Being someone who’s never bought into the rigorous structure of traditional academic curriculums, Chiang would often absent-mindedly doodle away during class and daydream about being a manga artist. “I’ve never had a concrete plan for the future,” he says with a nonchalant shrug. “My line of thinking was simple: I just wanted to do the things I loved. I’ve been lucky enough to have been able to find a career in something I’m interested in even before I even finished college.”


因为不喜欢学校严格的课堂气氛,江振嘉上课时总是心不在焉地涂鸦,或是发白日梦,幻想着成为一名漫画艺术家。”我对未来从来没有具体计划。”他耸了耸肩说,”我的想法很简单,只想做自己喜欢的事情。我很幸运,在大学毕业前就找到了自己的事业,还是自己感兴趣的事情。“

Chiang’s collection of books offers a revealing glimpse into his varied interests and creative inspirations. Inside his Banqiao studio space, his bookshelf is filled to the brim, from literature about skate culture like Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine and the Supreme monograph to art books like James Jean’s Xenograph and The Skateboard Art of Jim Phillips. But by far, the art books that dominate his shelves are those by Japanese artists. Chiang credits the famous Japanese manga artist Takehiko Inoue as being one of his biggest influences. Inoue is best known for the wildly popular Slam Dunk, a sports-themed manga series about a high school basketball team, and Vagabond, a manga series about a wandering swordsman. The influence from these two series is immediately obvious in many of Chiang’s works. Aside from the illustrative styles, the narratives presented in the manga are equally important to Chiang’s creative processs. “The manga series I enjoy reading are usually ones that explore human nature and the meaning of life,” he comments. “I suppose that might be because I’m quite introverted and often like to overthink.”


一踏进江振嘉位于板桥的工作室,就能看到他的书架上摆满了各式书籍。从有关于滑板文化的《Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine》和《Supreme》到Jame Jean的 《Xenograph》和 《The Skateboard Art of Jim Phillips》。但是,占满他书架的主力军还是日本漫画书。江振嘉说,著名日本漫画家井上雄彦(Takehiko Inoue)是对他影响最大的人之一。井上的作品包括广受欢迎的《灌篮高手》,一部关于高中篮球校队的体育主题漫画;以及关于流浪剑客的漫画系列《浪客行》。在江振嘉的许多插图作品中,都能清晰看到这两部漫画的影响,除了对他画风的影响之外,对他作品在叙事上的影响也同样重要。”我喜欢的漫画作品通常是以探索人性和生命意义为主题的,但我想这可能是因为我比较内向,常常会想太多。“

A closer look around studio reveals the full scope of his love of Japanese culture: various Japanese paraphernalia – such as oni masks, samurai helmets, and even a katana – decorate the workspace. “I like things that are intricate and mysterious,” Chiang explains, motioning towards the sheathed katana on his desk. “Many aspects of Japanese culture fit these two criteria. But I like Western armaments as well. Their heavy armor and bulky weapons still possess an inherent beauty. Japanese weapons are still my favorite. Katanas are elegant and simple, yet so powerful. Japanese armor is also beautiful and well-designed.


环顾他的工作室,你能充分感受到他对日本文化的迷恋:各种日本摆设品,包括恶鬼面具、武士头盔,甚至还有武士刀。”我喜欢复杂和神秘的东西。”江振嘉一边摆弄着他收藏的武士刀,一边说。“日本文化的许多方面都符合这两点。其实,我也是西方武器的粉丝。那些重甲和大型武器有一种内在的美。但我更喜欢武士刀,优雅简单,但威力强大,还有日本的盔甲,设计十分精美。“

Though perhaps not as readily apparent as the influence from Japanese culture, Taiwanese culture also plays a role in his creation process. “The temples of Taiwan, which can be found almost everywhere, definitely influence me,” he says. “I’m inspired by the architecture and the artistic details of the deities. I also love dragons, which are present in almost every temple. If I pass by one, I’ll often stop and take in all of the work that went into the details.”


虽然,在他的作品中,台湾文化的影响可能不如日本文化明显,但也影响着他的创作。“在台湾,随处可见的寺庙是我的创作灵感。寺庙的建筑结构,神像的艺术细节,都让我备受启发。我也很喜欢龙,几乎在每个寺庙都能看到龙的身影。我常常会停下来,认真欣赏所有的细节,思考它们的创作过程。“

In recent years, Chiang has invested much time and energy into collaborative brand projects. In 2017, he plans to readjust his focus and produce more art for himself. He’s currently in the preliminary stages of planning an exhibition and is in discussions with a few galleries. As Chiang pencils in additional details onto a new Monkey King illustration he’s been working on, he eagerly says, “I’m really looking forward to opportunities for showing off more of my personal artworks this year.”


最近几年,江振嘉将不少时间精力花在和各品牌的合作上面。但在2017年,他计划将工作的重心转移到个人作品的创作上面。最近,他正在和几个画廊联络,安排将在今年举办的一些个人展览。访问结束后江振嘉继续着他工作台上画到一半的作品,一幅孙悟空形象的插画。“我很期待今年的展览,让更多人看到我的个人作品。”

Website: vanzchiang.com
Facebook: ~/VanzChiang
Instagram: @vanzchiang

 

Contributor & Photographer: David Yen


网站: vanzchiang.com
脸书: ~/VanzChiang
Instagram: @vanzchiang

 

供稿人与摄影师: David Yen

20 Years of Convenience

For the last 20 years, South Korean artist Me Kyeoung Lee has traveled around her home country, armed with acrylic inks and a penchant for painting quaint little convenience stores. Throughout her childhood, Lee recalls frequenting these charming corner stores that are now becoming few and far between in modern-day South Korea. In each painting, she captures every little detail, highlighting each store’s idyllic features, its traditional signage, and miscellaneous bric-à-brac.


过去20年,韩国艺术家Me Kyeoung Lee带着她的丙烯颜料上路,走遍了韩国许多地方,寻找那些旧式街边小店。在时髦的韩国城市街头,这样传统的杂物小店越来越少,甚至只能在她的童年回忆中才能找到 ,Lee决定用画画的方式将它们保存下来。在这些作品中,Lee仔细描绘每间小店的一砖一瓦,画出小店丰富的杂物细节,也保留了它的传统特征和质朴的风味,

Artsy~/me-kyeuong-lee

 

Contributor: Whitney Ng


Artsy~/me-kyeuong-lee

 

供稿人: Whitney Ng

The Wanderlust of Sunga Park

Jaded by the daily grind of work, South Korean graphic designer and illustrator Sunga Park found solace in traveling around the world. Inspired by her travels, she would draw the buildings that she saw and the people that she met as a means of retaining these precious memories. Drawing these exotic locations became a form of respite for her, a welcome relief from her day-to-day routine.


厌倦了在韩国单调重复的生活,平面设计师和插画家Sunga Park选择周游世界,以调节自己。旅行的确带给她新的灵感,Sunga把旅行中看到的建筑物和遇见的人画下来,以保存这些珍贵的记忆。在旅行中画画带给她一个喘息的机会,将她从苦闷的生活中释放出来。

What makes Park’s work distinctive is her soft and fluid use of pen and watercolor. “Watercolor is the best medium for creating my art; the unpredictable characteristic of water allows me to give my art a natural aspect. My repeated attempts of working with watercolor led to a ton of failures. In a way, this medium taught me a lot about life.”


Sunga Park作品的独特之处,在于她对钢笔和水彩的出色运用,呈现出柔美而流畅的风格。“水彩是我创作时最好的伙伴;水的“不可预知”让我的作品中有一种自然的风格。在不断尝试用水彩创作的过程中,我也有过无数的失败。某种程度上,水彩也教会了我许多生活的道理。”

Park felt that her move from using software to using watercolor on real paper was truly liberating. “In graphic design, we have easy commands such as Ctrl+Z and Ctrl+S. But in reality, no one can save their real experiences onto a storage device and what we’ve done cannot be undone.” Working with watercolors led her to create a slew of projects in which she combines her previous graphic design experience with her love of visual art – she feels that her web design for House at Khlebny is one such project that has defined her as an artist.


对她来说,从电脑作画转为使用纸张和水彩作画是一种真正的解放。“用电脑创作平面设计时,我们可以很方便按下Ctrl+ Z和 Ctrl+S来操作。但在现实中,没有人可以将自己的真实体验保存到某个存储设备中,所有的行为都是无法撤消的。”她的水彩作品为她带来了许多设计项目的机会,在这些项目中,她将自己的平面设计经验与对视觉艺术的热爱出色结合。为 House at Khlebny 打造的网页和插画设计更她真正确定自己作为一名艺术家的身份。

Her most memorable travel experience took place when she was sketching along the streets of India and around Central Asia. In these countries, where she was unable to communicate in any language, she used art to bridge the gap. “Locals become really open-minded as soon as they came to understand what I was doing. They wanted to see my sketchbooks and even asked me if I could draw them. This is one of the greatest things that art can do – it allows me to share my talents with people and even give them a laugh.”


她最难忘的旅行经历是她在印度和中亚国家的街道上写生。在这些国家,她无法通过语言与当地人沟通,于是,她转用艺术作为沟通的桥梁。“每当他们知道我在画画的时候,就会自然放下防备。有时他们还会想看看我的速写本,甚至问我能不能画一下他们。这就是艺术的魅力所在——让我能够与他人分享我的才艺,甚至为他们带来欢乐。”

Currently on the move, Sunga feels incredibly blessed that her art has enabled her to travel to wherever her heart desires. Her upcoming itinerary includes a journey to Europe via the Trans-Siberian railway as well as North America and South America. This trip will form the basis of her next project, a foldable travel map that will depict all of her adventures. “The idea is to create a map that is almost like a book, so that I can share all of my travel stories with people that I meet on the road. My art can’t be completed on my own. It’ll be created with the people that I meet along the way.”


现在,Sunga 还在旅途中,她觉得自己十分幸运,因为艺术带她前往自己想要拜访的所有地方。接下来,她将要乘搭西伯利亚大铁路前往欧洲,之后再去到北美和南美探险。这趟旅行是为她的下一个项目作准备——Sunga要打造一个可折叠的旅行地图,在上面描画她的冒险旅程。“我想要创造一本像书一样的地图,这样我就可以和我在路上认识的人分享我在旅途中的故事。我的艺术不是由我自己一个人完成的,而是我和我一路上遇到的人一起创造的。”

Website: parksunga.com
Facebook: ~/parksunga.art
Instagram: @park_sunga

 

Contributor: Whitney Ng


网站: parksunga.com
脸书: ~/parksunga.art
Instagram: @park_sunga

 

供稿人: Whitney Ng