Canto Cutie - Volume 3

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Tell us more about the processbehind your recent works. How doyou locate the textures? Whatprograms do you use? Whatinspires you?可以分析你近期作品背後的創作過程嗎 ? 你是怎樣選取材質的 ? 你用甚麼軟件 ? 有甚麼啟發了你 ?I try to draw every day, and I aminspired by my everyday encounters.Whether it is a memory that Isuddenly thought of or something thatmakes me feel happy or reminiscent.As I am currently based in London andwe are in a lockdown, drawing to me isa therapeutic process to ‘travel’ todifferent places and memories.Recently, I have been missing home alot and I love researching oldtraditional Hong Kong objects andinterior design. When I recall somespecific objects I used to see in mychildhood, I message my family to seeif they can take photos for me in HongKong, as well as researching online formyself. Then I start sketching theseitems roughly on my sketchbook witha fine tip pen. I try to use sketchbooksmore often as it allows me toappreciate every stroke I draw, even ifthere is a mistake. For me, sketchinglike this feels more authentic and ‘real’.Then I use either Photoshop orProcreate to fill in the colours andtextures.When creating patterns and prints, Ireally recommend creating them onProcreate, as they have a functioncalled “Drawing Assist” and it is superhelpful when you have a wallpaperprint or tile design you want to createin a short amount of time. Then, Iexperiment with colourcombinations, seeing what works andwhat doesn’t work. For colours, I oftendraw inspiration from Victo Ngai,who is a Los Angeles based illustratorfrom Hong Kong and she has aSkillShare class called ‘ColorMasterclass: Simple Steps to CreateVivid Art’. Her works are always aninspiration to me, they are veryintricate but also very vibrant withperfectly balanced colour andpatterns.我嘗試每日都繪畫 , 因為我的靈感源於日常經歷 , 可能是突然想起的回憶 , 或是一些令我快樂或懷緬的事情。因為我現在身處倫敦 , 而我們正在封城中 , 繪畫對我是一個治癒的過程 , 帶我「遊覽」不同地方和回憶。最近我很想家 , 我很喜歡研究傳統老香港的物件和室內設計。當我記起兒時見過的某些特別物件 , 我就會通知家人 , 問他們可否幫我在香港找那些物件拍照 , 我也會自己上網研究 , 之後就會開始用細尖的筆在畫簿粗略素描那些物件。我盡量多用畫簿 , 因為即使會出錯 , 我也可以欣賞自己的每一筆。對我來說 , 這樣的素描感覺較為實在和真實。之後 , 我就會用Photoshop 或 Procreate 加上色彩和質感。Karon NgChinese New YearDigital Illustration154
我推薦用 Procreate 創作圖案及印刷畫 , 它「Drawing Assist」的功能 , 在你需要短時間內創作牆紙或瓷磚設計非常有用。之後我就會試不同的顏色配搭 , 看看那些可行 , 那些不可行。顏色方面 , 我經常從現居洛杉磯的香港插畫家 Victo Ngai 的作品取得靈感 , 她主持了一個 SkillShare 課堂「Color Masterclass: Simple Steps to Create Vivid Art」( 顏色大師班 :創作鮮明藝術的簡單步驟 )。我的靈感很多時候均來自她的作品 , 它們都很細緻 , 同時很有活力 , 顏色和圖案都達致完美的平衡。155
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An art zine about the Cantonese dia
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I dedicate this volume to:今期
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location which lends itself to bein
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Christina Young 843D renderBrandon
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Steven KinDetroit, USAI am a fourth
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Steven KinAsian Diaspora Rocks Cup
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Sally ChenNew York, USA“flipping
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the sight ofa glowing convenience s
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莉子おうち火鍋Illustratio
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莉子雨降り酒楼Illustrat
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莉子監視カメラと茶餐
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Julie LaiLockdown ComfortDigital Il
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Julie LaiHong KongJulie Lai is an i
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The process was very organic,stemmi
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As you grapple with the “East vs
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Lockdown Comfort is a collection of
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karLondon, UKPrior to 1997, my pare
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Cheng Tim TimHong KongA coworker of
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Misato PangGather round the dinner
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Misato PangSt. Louis, USAOne of the
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Megan SooHooLos Angeles, USA“firs
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J. Hyde T.New York, USAAs a 竹升
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You call them muffled liesdisguised
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Lauren ManTyphoon WorldsDigital pho
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The basement.45th Avenue.My home.Wh
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Lauren ManTyphoon WorldsDigital pho
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Lauren ManHong KongCOVID-19 brought
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However, when COVID-19 struck, I en
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The driver spoke of his childhood f
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Wandy ChengToronto, CanadaAfter bei
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Christina YoungNew York, USACarts a
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Brandon ChuHong KongI wrote this po
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Landscapes of Blood and Smoke 血
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Most of your work isabstract, but y
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What is the idea behind the title o
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Page 108: Karen Kar Yen LawHeathen ChineeSilk
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Page 113 and 114: Cherie KwokBirmingham, UKInspired b
Page 115 and 116: Atom CheungHong Kong"The Players" i
Page 117 and 118: Pamela KwongNew York, USAI grew up
Page 119 and 120: Adrienne HughHong KongThe farther I
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Page 123 and 124: The first time we entered the marke
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Page 133 and 134: About PÚCApuca.myportfolio.com @im
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Page 146 and 147: Interview withKaron NgHome CookedDi
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Page 152 and 153: Karon NgFragments (previous page)Di
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Canto Cutie - Volume 3

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