Tag Archives: illustrator

The Absurdities of Life

From the Xu She series / 来自《墟舍》系列

Loneliness, depression, insomnia – these are the fragments of life that make their way onto the canvases of Qiu Dandan’s series Xu She (墟舍). The series’ Chinese title directly translates to “empty house” in English, but there is another layer of meaning behind the seemingly straightforward title. The word “empty” (墟) in Chinese is a homophone for the word “imaginary” (虚); this was a clever phonetic wordplay that alludes to both the surreal qualities of the series as well as the underlying theme of alienation. Comprised of bizarre, dream-like scenarios, Xu She is a visual reinterpretation of Qiu’s past experiences and pent-up emotions.


From the Xu She series / 来自《墟舍》系列
From the Xu She series / 来自《墟舍》系列
From the Xu She series / 来自《墟舍》系列

With a keen understanding of human nature, Qiu channels the anxiety and isolation of modern life through her poignant images. Many of her other works, such as the animated series Shi Mian (失眠), which means “Insomnia” in English, touch on similar motifs. All in all, her art isn’t meant to be merely viewed and appreciated – it aims to elicit empathy. “Everyone experiences loneliness, struggle, and hardships,” she states. “We are all subjects and observers. All of us experience pain and meaningless grief. I’m no exception.”


From the Shi Mian series / 来自《失眠》系列
From the Shi Mian series / 来自《失眠》系列

While growing up in Guizhou, Qiu has experienced first-hand just how unpredictable life can be and bore witness to the best and worst of human nature. These workings of society have given Qiu extensive material to draw from. “I won’t create an image based on any specific event, but all events. Everything I’ve seen and experienced form the foundation of my creative process. I’m deeply intrigued by our social behavior, but at the same time, I’m deeply disappointed by society. Human existence is based around unpredictability and absurdity.”


From the Xu She series / 来自《墟舍》系列
From the Xu She series / 来自《墟舍》系列
From the Xu She series / 来自《墟舍》系列
From the Xu She series / 来自《墟舍》系列
From the Xu She series / 来自《墟舍》系列
From the Xu She series / 来自《墟舍》系列

Website: artand.cn/daodou
Weibo: ~/刀豆的豆


Contributor: Chen Yuan

网站: artand.cn/daodou
微博: ~/刀豆的豆


供稿人: Chen Yuan

Little Thunder

Born and raised in Hong Kong, Little Thunder is a comic artist and illustrator whose distinctive style has led her to become one of the best-known artists in Hong Kong today. Often featuring empowered female subjects, her artworks draw inspiration from a variety of different sources, including Japanese manga, American pin-up art, and even Hong Kong’s rich cultural history. Her masterful approach to visual storytelling allows her to craft meaningful narratives even in the confines of a single frame.

Little Thunder(門小雷)是土生土长的香港漫画家和插画家。她从日本漫画、美式挂图艺术和香港的丰富历史文化中汲取灵感,创作出一系列充满力量的女性画像。加之以娴熟的视觉叙事方式,Little Thunder 让单幅的画像也营造出一种难得的叙事深度。

Little Thunder explores the theme of feminity through a mix of humor, sexuality, and observations of whimsical everyday occurrences. Describing the inspiration behind the empowered female subjects of her works, she says, “Some women have a natural air of confidence and independence. They’re really clear on what they’re doing and what they’re capable of doing, without blindly believing that, ‘Whatever men can do, women can do too!’ Men and women are different by nature, and the perceived ‘inadequacies’ of women are often some of their most attractive traits. These are the kinds of traits that fascinate me the most.”

Little Thunder 的许多作品都是通过幽默、性爱或者异想天开的日常主题来探索女性的本质。对此主题的钟爱,她解释说:“有些女性天生就有一种自信和独立。她们非常清楚自己在做什么、有能力做什么,而不是盲目地相信‘男人可以做的女人也可以做!’男人和女人天生就是不同的,有一些女性所谓的‘不足’往往是她们最吸引人的特质,也是最让我着迷的地方。”

Being also inspired by Hong Kong’s traditional culture, many of Little Thunder’s works convey a sense of nostalgia and communicates her hopes of preserving the fast-disappearing aspects of old Hong Kong. She says, “Hong Kong is developing so rapidly now; it’s copying what’s abroad or trying to appease China. It’s nonstop demolishing and rebuilding, and a lot of Hong Kong’s old architecture and history are disappearing. In terms of art and culture, it’s definitely a step back. It makes me think of how beautiful Hong Kong was when I was growing up. That’s the Hong Kong that always lingers in my memory, and now I can only express it through my art.”

香港传统文化也是她的创作灵感之一,因此,Little Thunder 的许多作品都表现出一种怀旧情绪,传达出她想要保留住这些快速消失的香港文化之愿景。她说:“香港现在发展得这么快,或在照搬国外,或在企图满足中国。到处都在拆除和重建,很多香港的老建筑和历史都正在迅速消失。在艺术和文化方面,这绝对是大退步。这让我想起了在我成长过程中所见的香港的美好,那时候的香港一直留在我的记忆里,现在我只能通过艺术来表达出来。”

In terms of how she chooses the medium for a new artwork, Little Thunder tells us, “I’ll use whatever materials I can get my hands on.” These days, she uses a lot of ink and watercolor, though she’s comfortable creating in both analog and digital mediums. Similar to her artistic approach, Little Thunder strives to maintain a fresh attitude towards life. “My inspiration comes from observation and experience in my daily life, using different perspectives to observe and avoiding the trap of viewing the familiar as ordinary or mundane. This way, I’ll naturally find inspiration everywhere.”

在艺术媒介方面,Little Thunder 表示:“一旦我开始创作的话,可能什么材料都会用上。”近期她最常用的是水墨和水彩,即使她很擅长用胶片和数媒进行创作。与之相同的是 Little Thunder 对生活一样永葆新奇的态度。“我的灵感来源于我日常生活中的观察和经验,用不同的视角来观察,避免将熟悉的事物普通或平凡化了。这样的话,我到处都能找到灵感。”

Despite the role that social media has played on her road to success, Little Thunder has mixed feelings about how our digital interconnectedness can affect creativity and artistic motivations. She says, “Drawing is a really personal thing, but now that we live in a world of social media, it makes art more complicated. The artist will be affected by other people’s opinions, how many ‘Likes’ they’ll get, or whether or not their art will really resonate, which are all things that contaminate the purity of the art. I know that it’s hard to maintain that kind of purity, but at the very least you need to understand that you are the very first viewer of any of the artwork that you create, and if it’s able to give you a positive reaction, then it’s already a success.”

Little Thunder 在网络上吸引了大批的粉丝,现在已经成为香港最著名的漫画艺术家之一。尽管社交媒体是 Little Thunder 获得成功的因素之一,但她对于数字社交对人们创造力和艺术动机的影响有着复杂的感情。她说:“绘画本是非常个人的事情。但现在我们生活在社交媒体的世界里,这让艺术变得更复杂了。艺术家会受到别人意见的影响,会关心他们能得到多少个‘赞’,或者他们的艺术是否能与观众产生共鸣?这些都会玷污艺术的纯粹。我知道,要保持这种纯粹并非易事,但至少你需要明白,你是自己的作品的第一个观众,只要你喜欢它,它就已经是一件成功的作品了。”

Instagram: @littlethunder
Facebook: ~/runthunderrun


Contributor: George Zhi Zhao

Instagram: @littlethunder
脸书: ~/runthunderrun


供稿人: George Zhi Zhao

A Flabjacks Takeover of Shenyang

Over recent years, artist Ton Mak has rallied together a friendly cohort of chubby creatures in her FLABJACKS universe. The latest additions to her imaginary world consist of Sausages From Around the World, a group of emotional sausages hailing from different backgrounds; Fanana, a crew of friendly banana creatures; and Pansy in Pants, who’s described as “an introvert who struggles to change out of her favorite pair of XXXXL underpants.” Having lived solely within the confines of Ton’s sketchbook for the past two years, Pansy in Pants and Sausages From Around the World have recently made their debut at Tales of Creatures From Quite Far Away, Ton’s solo exhibition in Shenyang 1905 Cultural and Creative Park.

近年来,香港视觉艺术家Ton Mak用一系列胖乎乎的可爱角色打造出她的 FLABJACKS世界。这个充满奇妙想象力的世界最近又迎来了新成员:《Sausages From Around the World》(来自世界各地香肠),这是她根据不同文化背景和深层情感因素创作的香肠形象;《Fanana》,一群可爱的香蕉;以及《Pansy in Pants》,这是“一个内向的姑娘,一直努力减肥想要换掉她最爱的那条XXXXL号裤子”。在创作了两年之后,《Pansy in Pants》和《Sausages From Around the World 》最近终于从Ton Mak的绘画本中走出来,在沈阳1905文化创意园举办的Ton Mak作品展“来自平行世界的小胖团”(Tales of Creatures From Quite Far Away)中首次亮相。

Aside from the abundance of creativity displayed throughout Ton’s work, the most admirable aspect of her art is its sheer purity. FLABJACKS was originally a simple doodling exercise that acted as a form of stress relief. It’s now grown into a world of its own, filled with goofy, plump creatures who are all eager to share their own stories. Despite the success of FLABJACKS and the opportunities that have followed, Ton’s motivation doesn’t stem from the superficial pursuits of fame or money. The ultimate goal for her is and has always been to see people who meet her FLABJACKS characters leave with a warm, fuzzy feeling inside.

Ton Mak的作品除了展示出极其丰富的是想象力之外,更令人赞赏的是其极为纯粹的风格。最初,FLABJACKS只是她为了缓解压力,随意绘画的涂鸦。之后就像滚雪球一般,慢慢独成一体,形成一个独特的世界,里面充满了胖乎乎的角色,蠢萌蠢萌的,各自分享着有趣的故事。虽然FLABJACKS大获成功,但名声和金钱从来都不是Ton Mak创作的动力。她的最终目标是让大家感受到她在FLABJACKS角色中带来的那份温暖和舒心感。

From the Pansy in Pants series.
From the Pansy in Pants series.
From the Pansy in Pants series.
From the Pansy in Pants series.

By placing the chubby creatures of her FLABJACKS world in familiar scenarios we can all relate to, Ton playfully captures the happiness and drawbacks of everyday life. This is most evident in the newly released Pansy in Pants, which acutely portrays the joys of lazing around at home as well as the anxiety-ridden moments of self-reflection. Fanana and Sausages From Around the World similarly feature personable characters with relatable stories, but these two series touch on the idea of animism, a topic of interest to Ton. Animism is the belief that living beings and inanimate objects alike all have a unique spiritual essence of their own. By reimagining and personifying mundane items and foods as adorable creatures, Ton hopes to redefine the notion of what can be constituted as being truly “alive.”

她把FLABJACKS世界中那些胖乎乎的角色,置于能观众产生共鸣的熟悉场景中,以幽默风趣的方式,去捕捉平凡生活中的幸福和挫折。这一点在她最新发布的《Pansy in Pants》系列中尤其明显。这一系列敏锐地描绘出宅在家中的慵懒生活所带来的乐趣,以及在自我反省时所产生的焦虑感。而《Fanana》和《Sausages From Around the World》同样呈现了十分可爱的角色,讲述令人产生共鸣的故事,此外还探讨了Ton Mak个人崇尚的“万物皆有灵”的观念,她相信,生命体和无生命的物体一样都有着自己独特的精神。通过将日常的物品和食物幻化成可爱的角色,她希望能够重新定义“生命”的真正意义。

Sausages From Around the World
Sausages From Around the World

Lately, Ton has begun experimenting with introducing a tactile component into her work. At her recent shows, this has been presented in the form of FLABJACKS plushies and bean bags. Her latest interactive offering comes in the form of What’s his face, a pink, furry wall with a friendly face that greets visitors to her Shenyang exhibition, beckoning them to step up and give it a good pet. “It’s sort of like giving a friend a pat on the back,” Ton explains the concept with a giggle.

最近,Ton Mak开始试验创作可触的实物作品。在最近的展览中,她以绒毛公仔和豆袋来呈现出FLABJACKS世界。她最新的交互式作品包括《What’s his face》,一面毛茸茸的粉红色墙壁,上面有一只萌萌的大脸,这是用来迎接她在沈阳举办的展览的观众们,可以直接走近并摸摸这面墙壁。“就像在拍朋友的肩一样。”Ton Mak 笑着解释作品背后的概念。

What's his face?

You can pet the furry wall and experience the whimsical world of the FLABJACKS in person at Tales of Creatures From Quite Far Away, which will be on display at Shenyang 1905 Cultural and Creative Park until January 25th, 2017. For more details about the event, click here or check below.


Event: Tales of Creatures From Quite Far Away
Exhibition Dates: December 1st, 2017 ~ January 15th, 2018
Hours: 10:00am ~ 19:05 PM

Shenyang 1905 Cultural and Creative Park
No. 8 Xinghua North Street
Tiexi District, Shenyang
People’s Republic of China


Website: www.flabjacks.com
Facebook: ~/flabjacksart
Instagram: @flabjacks
Weibo: ~/flabjacks
WeChat: flabjacks


Contributor: David Yen
Images & Footage Courtesy of Ton Mak & Shenyang 1905 Cultural and Creative Park

活动: “来自平行世界的小胖团”
展期: 201712月1 —— 2018年115
时间: 早上10:00 至晚上 7:05



网站: www.flabjacks.com
脸书: ~/flabjacksart
Instagram: @flabjacks
微博: ~/flabjacks
: flabjacks


供稿人: David Yen
图片与素材由Ton Mak与铁西1905创意文化园提供

Inkee Wang’s Strange, Quirky World

A master’s graduate from the Royal Academy of Arts in London, Inkee Wang is a Shanghai-based illustrator with a lovable and colorful style. Her quirky sense of humor shines through in her characters and their strange, elongated limbs. In recent years alone, she’s collaborated with notable publications and brands such as Bloomberg, Art Bazaar, and ONE.

从伦敦皇家艺术学院硕士毕业的Inkee Wang(王颖琦)目前居住于上海。她的插画风格很受欢迎,活泼欢乐的主题、长手长脚的画中人,怎么看都有一种奇妙的幽默感。近年来,她与Bloomberg、Art Bazaar、“一个”及其他各大商业或文艺媒体都有过合作。

With regard to her unique style, Inkee tells us that it developed almost accidentally. “My older works were more rigid because I was just learning how to use the Path tool in After Effects and creating twisting motions was the best way to express this tool’s features so I created a dancing black cat. The long limbs came about because I thought they were aesthetically pleasing.” Inkee has always enjoyed sharing the untold stories of different individuals. While the characters in her works are not necessarily direct portrayals of people in real life, they’re nevertheless subtly inspired by the mannerisms and personality traits of the people that surround her.

对于这样的诙谐画风,Inkee表示它来自偶然,“我之前的画比较僵直,因为那时候我刚学会在 After Effect 里面用 Path 做动画,扭动比较能体现这个工具的特征,所以就创作了一只舞动的黑猫。而长手长脚是因为我觉得相对有美感。” Inkee一直想要展现人物背后的小故事,画中的人们在现实生活中虽然没有一对一的参照,但其性格特征、说话方式,都会受到长期生活的身边人所影响,所以也都会在她的画中潜移默化地展露出个性。

For Inkee, inspiration comes mostly from people and plants. Even in a piece that was clearly themed around music, Inkee is able to find a way to incorporate her favorite subject matter. “I wanted to use the boiling of of my four favorite vegetables to depict the rhythmic qualities of music – together, they become a healthy and tasty quartet.” (QUARTET was featured in the Soft Candy manga series published by ONE)


From attending school to working full-time, Inkee has persevered with her illustrations. “The most simple reason is that I like it,” she says. Inkee describes herself as “still having a lot of questions about the world” and plans to improve on her visual storytelling, learn more about 3D art, and create more works by hand. But for now, Inkee says that her most important task at hand is to read more books so that she can satisfy her sense of curiosity.


Website: cargocollective.com/inkeewang
: ~/InkeeWang


Contributor: Chen Yuan

网站: cargocollective.com/inkeewang
: ~/InkeeWang


供稿人: Chen Yuan

Femininity, Vectorized

Yuschav Arly is a graphic designer and digital illustrator from Bali, Indonesia. After half a decade in the graphic design world, he now primarily focuses on digital illustration. His stunning, vector portraits of women are minimalistic and clean, yet elegant and full of restrained emotion.

Yuschav Arly是来自印度尼西亚巴厘岛的平面设计师和数码插画家。他曾在平面设计行业工作5年,现在主要专注于插画创作。他所创作的女性矢量肖像画令人赞叹,风格简约利落又优雅,更蕴含着饱满的情绪。

Arly’s creative process is simple – it involves a lot of procrastination along with some coffee and music in a comfortable place. “Daydreaming is always my first step,” he says. “It’s basically making a finished artwork but just in my head. Once I get a full picture, I grab my pen and do a rough sketch in my notebook, but with a little description just so I don’t forget about the initial idea. And after that, it’s just long, fun hours with a pen tool and eraser.”


Drawing from diverse sources such as illustration, photography, modeling, architecture, and design, Arly’s images make use of clean shapes and lines to frame his subjects and their surroundings. With elegant women, symmetrical compositions, and muted tones being the common denominators throughout his work, Arly humbly describes his creative process as simply piecing all of these different elements together. “It’s all connected somehow in a mysterious way when I start to visualize an image,” he says. “It’s like playing a game of Connect the Dots.”


Instagram: @yuschav
Behance: ~/yuschav


Contributor: George Zhi Zhao



供稿人: George Zhi Zhao

The Boys of Summer

Yuzhou Feigou (whose moniker roughly translates to “A Worthless Cosmic Dog”) is studying visual communication design at the China Academy of Art. Despite declaring to us, “I’m a conservative guy,” his newest illustrations boldly explore themes of homoerotic desire and fantasy. Featuring a cast of young male characters flaunting their luscious bodies, the lazy scenes and bright colors create a sense carefree summer days. Feigou’s simple, yet distinct, style hasn’t gone unnoticed. Recently, VOGUE Me tapped him to create artwork for the magazine’s October issue. Despite this commission, Feigou told us he isn’t interested in becoming a professional illustrator. Even though drawing is just a “passion” project for him, he assured us with a smirk: “As long as I have that lust within me, I’ll keep drawing.”

宇宙废狗,一个在中国美院念视觉传达的学生。尽管他宣称:“我是个保守的人!”但他的插图却不然。他最新的插图主题大胆地探索同性恋的欲望和幻想:以一群年轻的男性为主角,展现他们丰美的身材。其中慵懒的场景、明快的色调,营造出无忧无虑的夏日风情。他简单、透彻又独特的风格不会被忽视,今年的《VOGUE Me》十月刊就把他的作品收入了内页。尽管这样,废狗还是表示他对成为职业插画师没有太大兴趣,绘画对他来说只是一个“激情”项目。“只要还有情欲的话,我就会一直画下去。”

Weibo: ~/宇宙废狗
Instagram: @_dagou


Contributor: Shou Xing

微博: ~/宇宙废狗
Instagram: @_dagou


供稿人: Shou Xing

The Major Arcana

The Empress (III)

Tang Xiao Ming is a Malaysian illustrator with a passion for editorial illustrations and visual storytelling. His illustration series, The Major Arcana, is an editorial approach to the twenty-two card tarot suit. Often used for divination and occult purposes, the Major Arcana has been understood as an archetypal system for psychological and spiritual advancement and has been reinterpreted by numerous artists since its invention in the 15th century.

马来西亚插画家Tang Xiao Ming热爱刊物插画和视觉叙事创作。他的插画系列《Major Arcana》(大秘仪)就是以塔罗牌中的22张主牌Major arcana为灵感创作的刊物插画。Major Arcana 通常用于占卜和其它神秘的用途,一直以来,它被人们视为是一个有关心理和精神层面发展的原型系统,自15世纪问世以来,已经被无数艺术家重新诠释过。

The Hanged Man (XII)
The Hierophant (V)
The Sun (XIX)
The Magician (I)

Tang’s interpretation of the Major Arcana series was a stepping stone for his personal style, which brought about its own challenges and rewards. He tells us about the creative process behind the series: “As an artist, sometimes you’ll run into a brick wall creatively, but it’s only temporary and it has the potential to change your life. It’s only from being stuck that you will start to think differently, and your creative process is forced to change. Because of this, it will unlock further possibilities in life and work.”

Tang以自己个人风格来演绎《Major Arcana》,当中也带来了相应的挑战和收获。他跟我们分享了这一系列创作过程的故事:“作为一名艺术家,有时候你会碰到创意方面的瓶颈,但它只是暂时性的,并且有可能会改变你的生活。只有当你感觉遇上了瓶颈,你才会开始有不同的想法,从而迫使你改变自己的创作思路。正因为如此,它会为你的生活和工作带来更多的可能性。”

Temperance (XIV)
Strength (VIII)
The Emperor (IV)
Judgment (XX)

Growing up in Malaysia, Tang was influenced by his society’s lack of awareness towards mental health. Instead of drawing influence from local Malaysian art and culture, he focuses on the psychological struggles of young people as a consistent theme in his work. Tang says, “In Malaysia and most of Asia, mental illnesses and psychological factors are not widely talked about – because of this, I think that many of my illustrations are themed around the mind and the emotions, because many of us do not know how to express ourselves or understand who we really are inside.”


The Chariot (VII)
Death (XIII)
The Star (XVII)
The High Priestess (II)

Some of Tang’s early influences include notable comic artists Olivier Coipel and Stuart Immonen, as well as graphic novels like Watchmen. Currently, he identifies his primary influence as visual artist James Jean: “Jean’s paintings deal with the unknown – they are very emotionally driven. They relate to me and inspire me to do what I’ve always loved to do, which is to create. I hope that my creativity will, in turn, inspire others and allow them to understand the way that I feel.”

Tang的早期影响还包括著名漫画家 Olivier Coipe和Stuart Immonen,以及《守望者》等漫画。目前,他说自己最主要的影响是视觉艺术家James Jean :“Jean的画作都是有关未知的主题,蕴含着饱满的情感,让我很受触动,也激励着我去做自己一直喜欢做的事情,那就是创作。通过我自己的创意,我希望可以反过来激励他人,让他们明白我的感受。”

Justice (XI)
The Devil (XV)
The Fool (0)
The Lovers (VI)
The Moon (XVIII)
The Hermit (IX)

Instagram: @imtxm


Contributor: George Zhi Zhao

Instagram: @imtxm


供稿人: George Zhi Zhao

Stowaway Jellyfish

Born in 1990 in Shenyang, Xinmo Wu graduated in 2012 from the photography department of the Luxun Academy of Fine Arts and is currently based in Shanghai. Wu has always had a natural fascination with jellyfish, at first capturing their forms through photography, and later casting them as subjects in her illustration and installation work. From fascination to borderline obsession to observant detachment, Wu’s relationship to this subject matter has been a continual process of change.


Separating these aquatic animals from their backgrounds through color and form, the jellyfishes seem to be fossilized in the canvas, immortalized in images resembling a photo negative. Wu presents a message through her reinterpretation of jellyfishes, using the images as a metaphorical device to explore concepts of identity and gender. In the natural world, jellyfishes are able to reproduce asexually at certain stages of their life cycle, attaining a sort of immortality through their self-replication. But people often project gender attributes onto them, viewing their gentle, flowing forms as feminine, sensual, or even erotic. In our internet-driven world, concepts of femininity are constantly reassigned and redefined, fed to the population in the form of digital media. But when we set our preconceptions aside, perhaps we’re left with an opportunity to understand that being authentic is more important than conforming to society’s ideals of feminity.


Instagram: @mmorganwoo


Contributor: Dawen Ding

Instagram: @mmorganwoo


供稿人: Dawen Ding

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。

Now, the six talented finalists from China, Korea, Hong Kong, Malaysia, Singapore, and India have all finished their designs alongside their respective mentors. The final round will decide who will win a trip to House of Vans London and have their creation debuted in stores Asia-wide next year! See the final entries below and vote for your favorites by clicking here.

现在,六位来自中国、韩国、香港、马来西亚、新加坡和印度才华横溢的设计师分别在各自导师的帮助下完成了最后的鞋履设计。最后一轮比赛的结果将会决定谁最终能赢得前往参加House of Vans伦敦站的机会,获胜的设计还将在明年亮相亚洲地区的Vans门店公开发售!下面是所有最终入围的决赛作品,来看看哪一款是你的最爱,点击此处,为它投上一票。

Felix / China

“The initial idea of this design is to make it appealing to a large audience while also bringing the Vans spirit alive. The reason I used this color combination is because I wanted to design a pair of summer shoes. It’s mainly green, dotted by red, with a little watermelon feeling.”

Felix / 中国


Kim Young Hyun / Korea 

“My design is inspired by comics. It’s a bit different from what people see in popular comics. This idea I came up with can be easily executed on a pair of Authentic shoes. I wanted to make a scary character in a witty situation, in order to maximize the humorous atmosphere.”

Kim Young Hyun / 韩国


Taka / Hong Kong 

“First things first, it’s got to be something I would wear. I like to wear simple colored shoes for ease of outfit matching. I wanted to create something for everyday use, yet as an artist, it has to be a recognizable shoe that was designed by me.”

Taka / 香港 


Khiddir Baharudin / Malaysia

“My design was inspired by how Vans has influenced the people in different parts of Asia. The design portrays different cultures in Asia, with people from Malaysia, Singapore, China, India, and Korea,  focusing on traditional outfits, transportation, and architectures from the ’60s and ’70s.”

 Khiddir Baharudin / 马来西亚


Edmund Seah / Singapore

“As an artist, I paint on various platforms, bringing the style and flow of the Japanese craft onto different media apart from the skin. I do not merely want to create a pretty image without flow and form.”

Edmund Seah / 新加坡


Anaghaa Chakrapani / India

“My inspiration for the shoe comes from the local essence of places I’ve traveled. I’ve traveled to many major cities in Asia. The elements in my shoe are inspired by the things I’ve observed and loved in the Asian region and my motherland India.”

Anaghaa Chakrapani / 印度


Website: houseofvansasia.com


Contributor: David Yen
Images Courtesy of Vans

网站: houseofvansasia.com


供稿人: David Yen

Juli Baker & Summer

Image Courtesy of The Jam Factory

The first time I saw Phaan’s artwork was on accident. I was scrolling through Instagram when her bright and colorful images caught my attention. I felt like I had discovered some kind of modern embodiment of French painter Henry Matisse, reincarnated in the hot and bustling streets of Bangkok, but with a dash of femininity and Southeast Asian flavor.

第一次看到Phaan的作品是无意间在Instagram上“滑”到的, 她的作品色彩缤纷亮眼,会让人有一种Henry Matisse 活在2017年并穿梭在曼谷热闹街区作画的一种南洋感受,当然还多了一点少女情怀,实在令人难以错过这个曼谷插画艺术家的作品。

Phaan (whose real name is Chanaradee Chatrakul Na Ayudhya) is a 23-year-old artist who graduated from Bangkok’s Chulalongkun University. Despite having graduated with a major in fashion design, she realized that fashion design wasn’t as she imagined when she first began attending school: designing clothing involves much more than simply conceptualizing designs and fashion sketches. It also entails pattern making, deciding on materials, brand marketing, and sales operations. In the wake of these realizations, doubts toward her pursuit of becoming a fashion designer had begun to fester. Phaan found that she only enjoyed the early stages of the design process, such as collecting image inspirations, forming creative concepts, and penciling drafts. In her sophomore year, she took the opportunity to partake in a student exchange program to the UK where she began taking illustration courses. This affirmed her interest for illustration, and Phaan began shifting her focus towards art, but she didn’t exactly intend on abandoning fashion design as she saw that fashion and illustration were closely linked with one another.

Phaan,本名Chanaradee Chatrakul Na Ayudhya,23岁,毕业于曼谷 的第一学府朱拉隆功大学,主修应用美术系的服装设计部门,对于服 装设计有着强烈的喜好。在校阶段,她发现服装设计不仅仅是前端的设计发想,还有到材质选用、版型制作,甚至到后端的品牌行销及销售经营等,这样一连串的学问让她对服装设计的热诚感到有些怀疑, 开始发觉自己好像比较享受服装设计一开始的灵感搜集、创意发想及设计草图绘制部分。大二那年有机会到英国交换学习,在那边修习插画课程,才更加确定自己对于插画的热情,从那个时候她更着重在插画艺术方面的创作,但仍旧不完全脱离服装设计产业,对Phaan来说, 服装设计和她的艺术创作是息息相关的。

In college, Phaan already began paving the way for her future career in art, even though her work was inconsistent at the time. Depending on her mood, she switched from subject to subject on a whim. But in terms of technique, there was a sense of consistency that can be observed in her use of bold, contrasting colors and the fluidity of her lines. In junior year, she became a columnist for Thailand’s independent magazine Cheeze, where she contributed articles as a writer and illustrator. This was the first of many steps she took in becoming the successful artist that she is today. Phaan’s big break happened when she was commissioned to design the cover art for Stay at Home, an album by the Thailand-based Plastic Plastic, a highly popular local indie band. This opportunity helped her become a recognized name in the local creative community and has contributed massively to her fanbase on both Instagram and Facebook.

大学时期, Phaan就开始自己的创作生涯,作品的主题经常因为自己的心情转变,不变的是使用大胆的对比色、随性的线条,介于现实及插画间完成一幅又一幅多采多姿的佳作。大三那年,为泰国独立时尚杂志《Cheeze》撰写关于电影及服装的专栏,并为该专栏绘制插画 ,借此渐渐打开的人气。一直到被泰国著名的独立乐团Plastic Plastic邀约设计《Stay at Home》专辑封面后,Phaan立刻受到泰国年轻族群的瞩目,让她不管在Instagram和Facebook都拥有一票死忠追随者。

Recently, Phaan invited me to visit her studio space on the outskirts of Bangkok. The vibrant studio was quite revealing of Phaan’s child-like sense of wonder and playfulness. Inside, an entire wall is used as a mood board, covered with an assortment of visual inspirations: Polaroid snaps of daily life, rough sketches, cut-out pages of magazines, and various movie posters are all pinned up in disarray. The rest of the studio is populated with vintage furniture, toys, and various patterned textiles. The entire feel of the space, which is actually located in Phaan and her parents’ house, was warm and joyful, a feeling native to her own artistic style. Phaan shares with us that she’s always had a close relationship with her family and this has been an integral part of her creative development. Growing up, she often enjoyed watching all kinds of movies and would watch foreign films with her father. To her, a movie is like a journey. Each scene and narrative helps her to understand, or at least fantasize about, the different cultural stories and backgrounds depicted in the films. With cinema at the root of her creative interests, she felt it the name Juli Baker and Summer to be perfect for her art and crafts label. In Rob Reiner’s comedy film Flipped, the main character, Juli Baker, shared a relationship with her dad that reminded Phaan of her own relationship with her parents. As for the word “summer,” Phaan tacked that on as she felt like bright and summery vibes characterized her own art perfectly.

来到Phaan在曼谷郊区的工作室就像来到一个大孩子的房间, 处处充满童趣。一整面墙宛如她的mood board,上面贴着日常生活照片、草图、杂志内页、电影海报等,工作室内摆着复古家具、玩具、充气沙发和各种花样的布料,完全和她的个性及作品相吻合,是那么地温暖、欢乐。事实上,Phaan的工作室就在她的住处内,和父母关系极为融洽的她仍 和家人同住,对她来说和家人相处的和乐感也是自己创作的来源之一 。受到爸爸的影响,从小就喜欢观赏各种电影,经常和父亲一起欣赏各国电影,对她来说看电影就像是旅游,由电影的场景与剧情,Phaan 可以了解或是幻想不同的文化背景及故事。电影启发了她的创作,她 的网站名为Juli Baker and Summer,就是源自于Rob Reiner所执导的青少年浪漫喜剧片《怦然心動》(Flipped)。片中女主角的名字就是Juli Baker,电影里Juli Baker和她爸爸的相处模式让Phaan联想到自己和父亲的亲子关系,至于为什么后面还会加上Summer则是反映她的作品随时让人感受到阳光正面的夏日清凉感。

“In October, I plan on releasing an illustrated travel book,” Phaan shares of her plans for the remainder of the year, speaking with the same sense of optimism and excitement that’s found in her art. “As for the rest of the time, if I’m free, I’d like to travel. I want to refuel myself with a trip and find more inspiration so I can draw more for the people who like my work. For me, art is both cathartic and a medium for self-expression. I hope that my art can bring people happiness.”

问到这个年轻艺术家的下一步是什么?她笑说,”十月预计出旅游游记绘本, 接下来剩余的时间就看看自己有没有机会到处旅游了。希望可以到国外充电一下,带回更棒的题材呈现给喜欢我的观众。艺术对我来说就是展现自己最佳的方式也是一种心理治疗,我希望藉由我的作品人们可以放松而有开心快乐的感觉。”这位随时充满笑容的艺术家, Phaan,如同她的画作一样,总是让人心情愉悦、充满活力。

Image Courtesy of The Jam Factory

Website: julibakerandsummer.wordpress.com
Facebook: ~/julibakerandsummer
Instagram: @julibakerandsummer


Contributor & Photographer: Etty Liu
Additional Images Courtesy of Juli Baker & Summer and The Jam Factory

网站: julibakerandsummer.wordpress.com
脸书: ~/julibakerandsummer
Instagram: @julibakerandsummer


供稿人与摄影师: Etty Liu
附加图片由Juli Baker & Summer与The Jam Factory提供