About this Q&A

I often get emails from students and aspiring illustrators seeking advices or simply interested in what I do. As much as I love to answer every one of those questions, my busy schedule prevents me from doing so. So I decided to complied this page with the most frequently asked questions. I hope this will be of some help to you, good luck with everything and keep drawing!
 
Cities 

What are the influences of growing up in Hong Kong?
Chris Buzelli once told me this “ Style is overrated. Style merely means one's habit of drawing based on one’s own experiences. Therefore everyone has a unique life.”
I grew up in Hong Kong until 18, my parents still live there and I will always see it as home. I was exposed to Chinese art and craft from a young age, such as Nian Hua, Gong Bi Hua, and Lian Hua Hua. Unknowingly I have developed a keen taste for intricate lines and vibrant flat colors which led to my discovery of Japanese ukiyo-e, Art-Neurvo art, Chinese and Russian Propaganda posters and Golden Age illustrations. The energy, colors and dense urban textures from Hong Kong have also worked their ways into my work. 
How have the realities of migration impacted your work as an artist? 
Being in a foreign land forced me out of my comfort zone and routines. The excitement of the new place, as well as the disorientation and discomfort led me to reexamining the familiars and the mundanes with a new pair of lens, this helps me think out of the box when creating. Being emerged in multiple cultures also granted me valuable arsenals of both Eastern and Western thinking, stories, philosophies and metaphors to draw inspiration from.  

Why did you move to NYC upon graduation?
I moved to NY for job opportunities, as most of the big publishers and advertising agencies are in the city. I stayed for another 6 years in NY for the community. Freelance illustration can be a pretty lonely job, and artists are naturally talented in getting into their own heads. So it's quite important for me to have people who speak the same language around. The American Illustration, Society of Illustrators NY, ADC and other events + hang outs make this possible. There’s no place like New York. It is an inexhaustible source of inspiration, with its world class museums, restaurants, music and cultural events.etc.

Why did you move to LA?
For love. 
What would be the difference for you being an illustrator in Hong Kong VS NYC/LA?
From what I can gather, it would be a lot more difficult to make a living solely on illustration in Hong Kong - most of the illustrators I know there have a second job as graphic designer or art teacher. There isn’t much of an editorial illustration market there neither. For the publications that actually use illustrations, their budgets are much lower compared to the US due to the small circulations. The concept of illustration is relatively new as well. When people ask me what I do for a living, I just tell them I draw as the word “illustrator” often invite blank stares...

What countries have you lived in? What are some books you are inspired by?
Hong Kong, Mainland China, Britain, Japan, America. I think my work reflects my love for sci-fi and fantasy books, some of my favorites include Lord of the Rings, American Gods, Snow Crash, Game of Thrones and The Hitchhiker’s Guide to the Galaxy. I am also a big fan of stories which are rich in metaphors and symbolisms, from Greek metrologies, Aesop’s Fables, Chinese Fairy Tales to books like 1984, Brave New World, The Metamorphosis and Steppenwolf.

AS a Student

What was your biggest struggle as a student?
Finding my own voice was the biggest struggle at RISD. Since I didn’t have any formal art training until RISD, I was very overwhelmed by the influx of new knowledge. I was very anxious to metamorphose into a “professional” artist. And as I didn’t know how to, I started making a frankenstein body of work which were inspired by different artists I love. For the longest time, I confused artwork that I adore with artwork that’s true to myself. 
Did you find not having formal training before RISD disadvantageous, or is it unimportant in the long run?
Without formal art training made it a bit harder for me during freshmen year. Especially during class critics, when I had no idea what the technical terms mean or which artists people were referencing to. But in the end, it doesn't really matter. When it comes to artistic development, everyone starts at different places and travel at their own pace anyway. Curiosity and readiness to admit what we don't know is far more important.  

What are the benefits of going to art school besides the teachers and the education?
The alumni and industry network was valuable, but most importantly it offered me a tight group of friends whom I can go to for honest critics and constructive feedbacks. No friendship is as pure as those of fellow schoolmates, cherish them!
Career Choice 

When did you first start drawing and creating artwork.
I first started drawing when I was really young , though I'm not sure those drawings can be counted as artwork. My parents were really busy and I had pretty lonely childhood being an only child, so I began drawing to keep myself company an to stay amused while I was on my own.

What is the exact moment you decided to become an illustrators artist?
I have always loved to tell stories and communicate ideas with drawings since I was a kid, but have not heard of the term “illustration” until RISD. I entered the school with much passion about art but the vaguest idea of what I will do upon graduation. During freshmen year, I actually first declared major in graphic design, but when I happened on a presentation by the illustration department, I thought to myself, that’s what I want to do. 

How did you get started in the art world?
A classmate commissioned me to do a comic stripe and paid me generously in candies in third grade. 
If we are talking about professional commissions, I first got hired when I was a junior at RISD, SooJin Buzelli, a well regarded creative director and conveniently wife of my professor Chris Buzelli, saw my class work and decide to print it in her magazine. This strike of good luck resulted in a wonderful working relationship of 9 years and counting, as well as a portfolio with some published work by the time I graduated. SooJin has also graciously introduced me to Irene Gallo, creative director and publisher at Tor.com, and that's how I started branching out into the SFF industry. 
Upon graduation, I took my portfolio to AD Aviva Michaelov at the New York Times, she became my second client. After working with the Times for a couple years, Aviva recommended me to AD Jordan Awan at the New Yorker, this landed me an interview and the opportunity to work with this prestigious magazine.  
Through working with high-profile publications, building an online following and winning competitions, I gradually built up a name and started attracting other editorial as well as book and advertising clients.

What do you like most about being a freelance illustrator?
Getting paid to do what I love. Also the freedom of working from anywhere and at anytime.

Is freelancing for everyone?
No. Freelance illustration is more than a job – it’s a lifestyle.
Being a freelancer is very much like being an entire company, at least in the beginning, there are many hats to wear: CEO, Artist, Marketing person, Accounting, PR and Janitor. That means the day to day is not always sugar and spice and everything fun, some days I have to spend more time answering emails and reading through contracts then drawing. 
The freelance lifestyle also demand a lot of self-discipline, in both work and play/rest. It's been challenging for me to separate work and personal life, especially without official clock in and clock out, weekends and holidays. Sometimes I have no choice but to let my social life take a back seat, cancel plans with friends due to rush deadlines or revisions. 
The hardest thing about freelancing is probably the toll on one's self-image and emotional well being, especially after one is cooped up alone in the studio for days, and sleep deprived. Freelancers attach their names to their work, which are extension of the artists' taste, experience and preferences, so it's very difficult to not take things personally when the project is not going well or when the work is being rejected. It's not uncommon to feel both moments of grandeur as well as doubts and depression during one single project. Therefore making an effort to socialize and be part of a supporting community is very important. I found sharing a studio with other people has helped a lot. 
How did you stay and work in the US being an international alien?
I was able to obtain the O-1 artist VISA during my one year OPT. I hired a VISA broker to help me better present the evidences and strengthen my case. It costed quite a bit ($5-7K in 2010) but I would recommend the professional help if you can save up that amount, as the process is quite complicated. Besides all that jazz such as supporting evidences and recommendation letters (see the details on US citizenship & immigrantion website), you would also need a sponsor - someone who contracts you work in the States. In my case, It's my agent.  

ON Being A Female And An Artist 

Do you feel that one's gender determine one's work?
Does being Victo Ngai determine Victo Ngai’s work? Sure. But does being a woman define Victo Ngai? Yes and no. I don’t think there’s one single attribute which can conclude one’s identity or work. Just as I am a female, Chinese, former New Yorker, current Los Angeles Resident, hotpot-lover, animal-enthusiast.etc, my work is shaped by all that shapes me as a person.

ON Being An Illustrator

In your opinion, whats the difference between an artist and an illustration? are you planing to be a professional artist.
Being a professional illustrator IS being a professional artist. Artist is an umbrella term which includes sub-catergories, illustration being one of them. 
If the question is about the difference between illustrators vs gallery/fine artists, then the most obvious answer would be the way we make our money. Most illustrators are commissioned by clients to create the work while most gallery artists create their body of work then sell them to their clients. In my opinion, the titles of "illustrator" and  "fine artist"  are just hats people wear, a person can easily be both and many other things. Also often the line between the two is not so clear, if we define artists who are commissioned to create images as illustrators, then Michelangelo and Da Vinci are both illustrators. If we define artists whose work are shown in museums and galleries as fine artists, then the above mentioned masters are also fine artist. 

What is the biggest lesson you have learned about being an illustrator?
The biggest and hardest lesson to learn about myself is that - no matter how hard I try, I can’t knock every piece out of the ball part. I looked up Joe DiMaggio’s slugging percentage and it’s somewhere around 0.5-0.6, which made me feel better. . 
It used to be a lot easier for me to experiment when I was starting out, as there's nothing to lose. But now, with external and internal expectations, I have to keep remembering Joe DiMaggio, stay positive and move on from the less successful pieces. Anyimprovement curve is like jumping, sometimes it's necessary to go back to go further. 
Although you’ve emphasized the importance of ideas over style, your work has a very distinctive look. Do you feel this has any bearing on the types of projects you’re offered, and if so, is this a good or bad thing?
Personal style is very important too, it's a signifies to the world of how you process information and communicate as an artist, I like to emphasize the importance of ideas as that's not as "sexy" as style and often overlooked by younger illustrators. My style has definitely affected the types of projects I am offered. For example, if Time magazine wants a realistic portrait of Obama, they are not going to come to me. And that's ok, as my interest is not in doing realistic portraits. 
It's worth mentioning that there are all kinds of niches out there for all kinds of artists, it's impossible for one person to do all of them. All of my clients may add up to be less than 1% of the entire industry but that's enough to keep me busy. It's good to be mindful to your client's need but it's more important to be aware of what makes yourself happy. Don't sacrifice the joy of art-making for the market , otherwise it's hard to have a long and sustainable career. 
Do you ever find yourself obsessed with the subject of an article after doing an illustration for it?
Certainly. One of the nice things about being an editorial illustrator is that we are "forced" to read things we normally wouldn't pick up. I hated finance and economy when I was in high-school, mostly to rebel against my father, who worked in the industry. Emo teenager Victo thought money was filthy and went into art school. Ironically most of my early clients were trade/business magazines. After reading many articles and doing research for the projects, I grew more and more interested in the subject matter. Now I read economic-related books written by authors such as David Harvey for leisure, love the NPR Money Planet and Freaknomics program, and my friends would tell you I am huge geek in credit scores and NY real estate.
What is your least favorite thing about art?
Hype.

What is your most favorite thing about art?
Its ability to convey emotions, communicate ideas and arouse empathy beyond the barrier of languages.


On Future/ Future Of Illustration

What’s something that you’d love to do but haven’t done yet?
I would absolutely love to author my own book or short animation. I have wanted to make this happen in a while now but haven't grasped a concrete idea/story yet. Since it would be a long-term project that I would really need to dedicate my time to work on – therefore I need to be truly passionate about it. I’m constantly learning and, I guess, “growing” each day, so I know one day – hopefully in the near future – I will make it happen.

What are your plans for the future? What are your hopes and dreams for the future?
I hope I will always wanted to draw, and keep making better work. 

What do you think is the future of illustration?
From cave paintings, to fresco, to tapestries to tablets, the media may change but I think illustration will always be around. 
Advices to new illustrators/ To yourself 

It’s important to research the clients and tailor the portfolio to their interest. For example, it would be silly to have an entire portfolio of dogs when meeting with a magazine that features only cats. Illustration is about visual communication and problem solving, so try to demonstrate both conceptual and stylistic ability in the work. 
It's a good idea to keep the portfolio neat, professional and consistent, meaning not a difficult to navigate collection of random class works, so the clients know what to expect if they decide to hire you. If you work with multiple different style, then organize these style under different pages within the website. Quality is always above quantity when it comes to the work being showcased, as the client always expect the worst.  

You created a lot of editorial illustrations, what do you think are important things for illustrators to consider in this kind of work.
There are a few important things for editorial illustrators. 
First, never misses a deadline. editorial jobs tend to have shorter turnaround times and inflexible deadlines. If an illustrator misses a deadline, the art directors is put in an uncomfortable bind to scramble for something a replacement, or leave a hole on the page. So likely the illustrator won't be hired again. 
Second, have a good concept. Good editorial illustrations make readers want to read the articles they accompany, so ideally the images should give a taste of the articles, rendering in interesting and provoking ways while not spoiling the writings.
Third, show a distinctive and consistent styles and work quality. Most editorial illustrators are freelancer, and they are hired because of their styles. Therefore unless otherwise requested, don't send in something totally different from pieces in your portfolio. 
Lastly, be nice to people. Illustration is not an easy career, and its hard to make it without others' help, may it be constructive criticism, job referrals, sharing of informations and experiences… So be create a good karma loop, always be grateful to the ones who have helped you, and be generous in helping others. 

Any advice you would give yourself before starting?Any words of advice to young artists, who want to get their name out there? Could you offer one piece of advice to new illustrator.
1)"It's not how good you are, it's how good you want to be." - Paul Arden . I truly believe in many who eventually succeed are not necessarily the most talented ones but the most persistent ones. 
2)Think outside the box, in both art and job descriptions. When I was in school I had the opportunities to intern for the New Yorker and a small local ad agency. I picked the latter because the New Yorker job description entails mostly fetching coffees and making copies, I though I wouldn't learn much. In hind sight, that was a mistake. After working for a few years, I realized what I can make out of a situation really depends on my own initiation. Knowing that I wanted to go into editorial illustration, just by being there in the office, I could have learnt about about the inner working of a publications just by keeping my ears and eyes open. And who knows, perhaps there would be chances to make connections and volunteer myself for small illustration or design work? Although I have worked with the New Yorker eventually, I wonder if the process of getting the call would be expedited if I have taken the internship. 
The same goes with commissioned projects, sometimes a client may have something very particular in mind, but that shouldn't stop the artist to pitch other ideas which are more exciting to him/her. For example, one time a client only wanted one illustration originally but after pitching him a sequential idea, he loved it tripled the size of the project. That's something I didn't know as a student, rules are only for those who believe in them.
  
What sorts of goals did you set for yourself to get where you are now?
I didn't have concrete ambitious goals such as, " I must win this and that award before this age!". Rather, I have always had the abstract desire to be the best. The beauty of an abstract goal is that it's flexible and adaptable. It can be the best of this week's assignment, the best of the class, of the school, in the field.etc. The last thing you want would be being discouraged by seemingly impossible goals. It's much better to focus on getting every baby step right, them before you know it, you are already on top of the mountain.

Often dreams seems impossible because they are indeed impossible from our current venture point. For example, picking a flower on the edge of a tall mountain would seem impossible to someone standing  in the valley. But after scaling the mountain and arrive at the cliff, one may realized there's actually a hidden pathway leading to the flower, that was invisible before. The artistic journey is a dynamic one, one's ability, understanding and view on the world changes as one changes. As we learn and experience, some previously deemed impossibilities would no longer be impossible.
We can never know when opportunities may present themselves to us, but if one is always striving for the best, one will be ready when the opportunities arrive.
Inspiration/Coming up with ideas 

What inspires your artistic vision and where does your illustration ideas come from?  
“Inspiration” can come from everything and anything - the environment, people on the subway, music, books and of course other artists’ work and much more. I think inspiration is kind of unpredictable, but if one is willing and open to be inspired, one will get the most extraordinary ideas out of seemingly ordinary things.
When “inspiration” is talked about, many have the mental image of a light bulb miraculously lighting up on top of someone’s head. But what’s not being shown here is all the time and effort that led to this eureka moment. I like to imagine inspiration as a clothes closet, when a special occasion arises, it’s much easier to find the right outfit if one already has a diverse and comprehensive collection, versus having to hunt down new clothes at the very last minute. To enrich the inspiration closet, I think it’s important to approach the world with a curator’s eyes: be eager and open-mind with new knowledge and experience, yet purposeful and selective with those we file away into our collection. After all, it's  impossible to create from nothing, I see the process of art-making as digesting the world through an artistic lens. 

Can you give us an example of how you come up with a concept for an editorial illustration to accompany an article?
When I am looking for inspiration for a particular commissioned project, I start with distilling what need to be communicated through the illustration, what is the the core message here? Sometimes certain words from the articles or the client's art direction would stand out to me, I would then brainstorm and see if I can elaborate on these hunches, rumbling in the inspiration close and see if I can find the most fitting yet surprising combinations of symbolisms/metaphors to tell this story. After that, I would start making thumbnails to visualize the concepts, sometimes if I am lucky, my own scribbling would serve as another enzyme which stirs up new and better ideas. Seldom the first ideas are the final one being used, so it's a good idea not to settle for the first thing but to keep pushing the brain and see what else is possible.
Working Process and Techniques

What are your favorite traditional and digital mediums to work in, and why?
My favorite traditional medium is nib pen because of the wide range of line quality it gives. My favorite digital medium is Adobe Photoshop. The way I work with colors is more like a designer than a painter. I like to plan and test out a few color palette before deciding on the final one. photoshop allows me to be adventurous with colors and texture without the fear of messing things up and missing the deadlines. It also allows me to bring mediums which are not physically compatible together seamlessly, like crayon and photos, to make interesting visuals.

What is your process like?
I use more or less the same techniques in all my work – I draw the lines with nib pens, sometimes brushes or radiograph pens, then I create layers of texture on paper with various media such as paint, crayon, charcoal, etc. I will normally provide three versions and go from there. I then scan them in and do the composition and coloring in Photoshop.

You’ve worked with Apple, Dreamworks, and now Johnnie Walker. How does the creative process work in these partnerships? How much creative freedom do you get?
It varies from client to client. Working with Dreamworks was an incredible opportunity, but it involved  adapting someone else’s story and characters, so there wasn’t as much creative freedom as other projects.  With Apple and Johnnie Walker however, there was more flexibility as they were open to my ideas. 

Why have you chosen this process? How long does your artwork usually take to complete?
This layering process evolved organically from print-making, a media which I have been in loved with since childhood. The time a piece takes really depends on the projects. Black and white pieces for newspapers calls for same-day turnaround. With color pieces, I can finish one in a week if I have to/am lucky. The most tricky and frustrating thing with art is that, sometimes I can be working for hours and get absolutely nothing done.

How do you strike a balance between your artistic sensibility and producing commercial art?
I try to treat every piece like a personal work, experimenting with new ways of working and sneaking in small details that makes me happy, as I believe great work comes from honest work. If I am interested in what I am doing, hopefully that passion would translate. Of course, there are times when clients have very specific requirements which I do not agree with, I would try to let them see my point the best I can. If it doesn’t work, I have to remind myself that sometimes a job is a job and distant myself from the piece ,find other creative outlets or move on to the next piece. 

FAVorite Artists/ Influencer/ Mentor

Who are some of your favorite artists?
Miro, Matisse, Monet, Calder, Hokusai, Jakuchu, Gauguin, Turner, N.C. Wyeth, Amano, Moebius, Eyvind Earle, Mary Blair and many more!

Who are the most Influential people in your life and Illustration career?
My life role model is my mom. Growing up during the Cultural Revolution, she managed to self-teach herself while working at the Communist labor camps, and eventually got into college when the school system was restored. My mother has worked many jobs in her life, some are more humble than the others but she has always given her best and excelled at every single one of them. At age 40, she decided to go back to college and get a Chinese Medicine Degree which took 10 years to complete. Everyone told her she’s too old to make such a drastic career change but now she’s a renowned doctor. She has raised me to dream the impossible and be a woman of action. I would be very happy if I turn out to be half the woman she is.
I think I've been really lucky with people. There has always been a few key figures at each crucial stage of my life that helped me grow into who I am today. I almost gave up doing art when I was in high school because art class conflicted with my other class schedule, Miss Eileen Tsang, my high school art teacher, who saw potential in me, sacrificed her own free time to give me private tutorials. It was under her guidance that I created the portfolio pieces which got me into RISD. My parents were really supportive about my decision of going to RISD, despite the expansive tuition and everyone’s opposition. In Hong Kong, most people typically do not regard art and design as serious and valid career options. I didn't have much proper rat training until RISD, and for a while I was overwhelmed by the new ideas and the amazing works that hit me. I tried to paint like the illustrators i admired, and forgot about my own voice until i met my portfolio professor, Chris Buzelli, in junior year. Chris not only introduced me to the editorial world but also helped me be honest with myself, and reminded me why i want to draw in the first place. he also recommended me to his wife who is major art director, SooJin Buzelli, which led to my first published work. Chris has been so generous with his teaching that he has probably saved me at least five years of “hustling” in the editorial illustration world. I hope to become a teacher like him someday. 

Self Promotion At The Digital Age 

What social media do you use regularly? Is social media important in promoting your work?
Facebook, Twitter, Tumblr, Behance and instagram. I think the internet makes promotion a two-way street. It allows clients to discover me. Thanks to the snowball effect, through re-blogs and retweets, my work can be spread to the most unexpected places and be seen by the most unexpected clients.
Can you clearly see a return? How important is social media in your promotional armory? 
Yes, my first big ad job came through the net. Leo Burnett was scouting out illustrators online for the McDonald’s Dragon New Year poster, they contacted me after seeing my portfolio on Behance. Social media plays an important role, sharing my work online is the only active promotion I do these days. I don't post very often as it can be very time consuming, it's important to prioritize the time for making work as ultimately that's what's really matter anyway. 

How does/do social media outlets (Tumblr, Facebook, Instagram) affect what you create and do you find yourself thinking about your audience while creating the work?
I really appreciate the following but I don't think about social media when I work. There really isn't a point to think about it as social media is quite unpredictable. Some of my okay work went viral while some of my proudest pieces, or award-winning pieces never picked up the momentum. There are so many factors contributing to this uncertainty - the posting time, who's reblogging, the artist's internet persona, pop culture references, etc. Internet popularity, in my opinion, is not directly proportional to how great an artist is.

Why do I need portfolio reviews if the clients can see my work online?
Internet promos are great but they are no match to personal connections. There are so many possible talented illustrators for an assignment. Often who gets the job depends on who comes to the art director’s mind first. With a face and (hopefully good) personality attached to the work, the impression an illustrator has on an art director is much stronger. 

Do you think the promotional landscape is changing?
Sure, fewer and fewer publications are doing portfolio drop-offs or reviews. Also more and more people, including art directors, are against printed promos due to environmental concerns. The internet will play a more and more important role in self-promotions.


On Achievements 

What has been your career highlight so far? 
When I received an email from a student, who told me that her parents read about my story and changed their mind about dissuading her from the pursuit of art. This makes me feel extremely lucky, I haven't really put in any effort to help anyone, yet by being self-serving and doing what I like, I manage to help others unexpectedly along the way. 

How do you define success?
Waking up every morning excited and going to bed every night satisfied. 

Whats your interpretation of a successful illustrator?
A great drawer/painter doesn’t make a good illustrator.  A great thinker also doesn’t make a good illustrator. Being a great illustrator means you have to have the best of both worlds: the ability to come up with good concepts and deliver them well visually. 

You've worked with a lot of major brands and companies since your mid-20s- these include tiger beer, general electric, McDonald’s the New York Times and more, is it a lot to take in for some one so young?
I have been extremely lucky to work with so many great clients within a 

Do you have self-doubts?
Of course. I believe every creative person has a complicated relationship with self-doubts. Without it, there’s no incentive to change, evolve and progress. Too much of it, it can be overwhelming, depressing and handicapping. It’s always a battle trying to have just the right amount of self-doubts.

Art And Its Influence On Public

What’s your all along believing in art in order to create a good piece of work which could reach out to the public? 
I think my motivations behind art-making has always been self-serving: I like to make a living by doing what I like, while hopefully making kick-ass works that excite me the same way many great masters’ work have excited me before. I hadn’t given much thought to the public, which is pretty easy to do when you work alone in the studio, until I started getting a following, I see it as sheer lucky that others happen to enjoy what I enjoy.

Do you think art can be a means for social change? If so, how?
Definitely, good art does not just tell a story but “emerge” the audience with vivid colors. While using art as a mean of communication, the ideas are appealed through gut reactions and emotions . The reasons which make visual art the preferred mean in political propagandas and commercials are the same reasons why art can become a powerful mean for social changes.


Client Relationship 

What kind of promotional activity do you do?
My agent sends out mailer and e-mailer blasts for me. We both promote via social media. For the handful of ‘dream clients’, I target them by mailing them personal notes, cold-calling for portfolio reviews and introducing myself (shamelessly) to them at illustration events and openings. I also enter major competitions (American Illustration, Society of Illustrators NY Annual Competition, Communication Arts, SPECTRUM Fantastical Art.etc), which proved to be quite an effective promotional tool. Recently I have started giving public talks at events hosted by Society of Illustrators NY, ICON and Ovilgy HQ.etc, this allows me to show my work to fellow illustrators and ADs. Above all, being published by the New York Times and the New Yorker may be the best (accidental) promotion I have ever done. More clients came to me because they have seen my work on these publications than from any other promotional effort. 
Do you have an agent/ rep?  What do you like or dislike about it?  
Yes, I am represented by Morgan Gaynin.Inc. The biggest benefit of having a rep is   that I can focus on making art when they do the money talk for me: negotiating contracts and rates, selling me for potential projects, chasing payments etc.

How do you protect yourself from poor quality clients?

I have a few First, watch out for these red flags: Clients using the word "collaboration" or "submission", instead of "commission" (Translation: They usually don't have a budget. ) Clients who promise you "publicity". (Translation: They want you to work for free.) Clients who ask you to do works in another artist's style. Clients who ask numerous illustrators to pitch ideas for free before committing to hiring one. Clients who spell your name wrong. Clients using non-company emails, such as google, AOL and hotmail.
Second, be thorough with your contract, never start work without a signed contract. What kind of rights are you granting, does it justify the pay? Have you include a kill fee for sketch and final stage? How many rounds of revisions do the client gets? After that, how much would per revision cost ( I usually charge by hour for extra revisions)? If it's a large project, it's a good idea to be paid in stages. (E.g. 50% at sketch stage and 50% after work is finished.) Make sure to state when the clients need to pay you. (E.g. Within 30 days upon receipt of final work. )
Third, if a client is proved to be a nightmare to work with after you take on the project. Try to be professional, finish the project the best you can and blacklist them for the future.

Are there any nightmare clients you've dealt with and what have you learnt from that experience?
Definitely. If the client is a bully, it's important to stand up for yourself. You don't have real power until you are able to say "no". Sometimes, a client is faultless but his/her way of working is not for me. Just as clients are choosing illustrators for the right jobs, illustrators can pick the clients they enjoying working with for their career. I don't have a long list of clients, but I have a few loyal ones whom understand me well and we make great works together.

Q&A 中文版


是否可以介紹簡單地介紹自己?或是任何您想說的話/可給我們介紹一下你自己嗎?例如出生地、曾就讀學校、主修科目、作品風格、個人作品展

我出生於廣東,兩歲跟爸媽搬遷到香港。Victo這個名字是由兒時英文名Victoria減縮出來的暱稱。中學於聖士提凡女子中學就讀,中學會考選課曾因為對未來的“現實考慮”以及科目時間表的衝突差一點放棄了美術課,但有幸當時的美術老師Eileen Tsang對我有伯樂之恩,主動犧牲了個人休息時間,課餘一對一地指導我。這讓我在會考美術課上拿到了好的成績,同時積累了一份不錯的作品集。
會考結束後我對未來重新思考,覺得還是想要進入藝術大學深造。當時的反對聲音不少,很多人認為我的學習成績不錯,應該考慮其他比較“靠譜”的專業,比如律師,公務員等,而把藝術視為興趣對待。於是我跟家人提出了一個提議,我只申請世界上最好的一所藝術院校:羅德島設計學院,如果不被錄取就算了。這個賭博幸運地成功了,於是在2006年,中六結束後我便前往美國,展開了四年的留學,主修為插畫。我小的時候爸媽工作忙碌,做為獨生女的我為了自得其樂,打發時間,便以畫畫給自己講故事。所以回頭看選擇插畫這個專業也是理所當然。
2010年大學畢業後,我決定到紐約發展自己的工作室,2016夏天這個工作室遷移到了洛杉磯。在過去六年的時間內,我有幸跟世界各很多行各業的客戶合作,包括紐約時報,紐約客,華爾街日報,紐約地鐵,麥當勞,美國運通,通用電力,漢莎航空,夢工廠,Johnnie Walker,虎牌啤酒,大疆DJI,以及這次的Apple等。也感恩作品也得到業界的肯定和支持, 包括入選福布斯 “30歲以下30位俊傑 (藝術時尚)” Forbes 30Under30 (Art & Style)榜,連續七年入選Communication Arts 插畫年鑑,榮獲紐約插畫師協會金獎,大中華插畫獎金獎等
除了畫畫,我一直也很喜歡旅行,這些走過的看過的同時成為了創作的養分。現在由於我工作的自由性質,經常可以藉者參加活動以及演講的機會順便到世界各地遊玩,也是一大樂事。 幾年前領養了一只喜歡在工作檯下打盹的小狗, 在大風雪不斷的紐約嚴冬,他作為工作室的暖腳器功不可沒。
對自己作品的定位

看你的画,给我的第一印象是具有奇幻并炽热的色彩,你如何定义与定位自己的创作?
我認為好的作品必須是誠實的,有感而發的。如果畫者不被感動,就不能奢望畫作能感動別人。所以我作品裏面的一些風格,像是您提到奇幻的元素或是炙熱的色彩,也是個人的偏好。除了一些政治性很強的主題,必須用到象徵性強的元素,我一般喜歡讓自己的作品既能貼題,又能脫離原著,从而有着獨立生存的價值。插畫對我來說是一個夢的世界,它的魅力在於能夠創作出天馬行空的奇幻世界。所以我希望作品有足夠的空間讓大家以自己的方式去感受。作品產生以後,就會有了自己的生命。只要我的東西能給別人帶來一種感覺,而不僅僅是好看的花瓶,我就會滿足。至於那些感覺跟我原本創作的意念是否一致,我覺得並不重要。

你是如何看你插画中的诸多中国元素的?这些元素是否很受美国媒体的关注与欢迎?
這些元素都是成長的烙印吧。亞裔的背景的確有給了我一些優勢。在風格上來說,我不一樣的成長背景讓我的作品更加獨特和鮮明。在市場角度來說,由於中國崛起,很多文章都跟中國有關,越來越多的廣告也會考慮中國市場。所以對於帶有東方味道的插畫需求也越來越大。

喜歡的創作題材是?/ 你的作品中,动物也是很重要的组成部分,可以和我们聊聊你的想法吗?不同的动物有着不同的隐喻吗?
動物,大自然等都很喜歡。他們形態萬千,在創作上允許了很大的塑形和藝化空間。 還有就是帶有神話和超現實味道的東西。 能夠置現實世界規矩不理的題材讓我覺得很自由。 我很喜歡動物,他們的形態動靜都特別漂亮有趣。而且他們特徵明顯,這給我一個很大stylize的空間。所以有時候動物成為我玩設計的一個載體。再來我喜歡用動物因為他們是中性的。也許因為電視電影的關係,很多人的外表會被typecast。比如說我們看到金髮碧眼身材豐滿的女生就容易覺得她是個花瓶。或者看到尖臉鷹鉤鼻的就會認為他是冷酷的人。可是我們對動物沒有這種偏見,所以我可以更有效的運用他們來說故事,能讓他們表演出我希望的情感和寓意,而不用擔心觀眾的先入為主。

事業

为什么会选择插画,而不是其他的艺术形式?
我喜歡畫畫以及用視覺來說故事,所以插畫成為了自然的選擇。插畫要面對的題材很多也很廣,我喜歡這種跳躍的新鮮感和挑戰。可以恰到好處地把抽象的概念形象化,讓讀者更好地理解文章;或者能夠把小說提煉凝結成一個定格,吸引讀者去刨根問底會給我帶來很大的滿足感。

从Rhode Island School of Design毕业时你有多大?毕业后马上就以freelancer的身份在纽约开始工作了。纽约是一个充满艺术活力的城市,竞争激烈,刚毕业的那段时间你的收入来源于哪里?每天都在做什么?怎么找到你的第一份工作?
畢業的時候我22歲,很幸運的大三的時候已經開始為雜誌畫插畫,然後大四的時候拿到一筆獎學金,這成為了搬去紐約的經濟基礎。在紐約一開始積累客源時是必須厚顏無恥毛遂自薦的,像是給客戶寄印有我插畫的明信片和帶著作品集扣門等等。不過回頭看,一路走來我有很多貴人和伯樂提攜,像是紐約時報和紐約人這兩個大客戶都是因為被它們的美編賞識而拿到的。所以還是覺得蠻順利和幸運的。

最大的挑戰是什麼?
如果說最大的挑戰,應該是應付紐約昂貴的生活。畢業以後決定要搬到紐約闖世界,可是人生地不熟所以一開始也比較倒霉。我和前室友因為付不起好區的租金,第一間房子租在布魯克林比較亂的一個地方,入住兩個星期房子就被偷了,無奈又要搬家。這樣搬來搬去用了不少積蓄,工作又還沒有穩定,所以前幾年還是比較節省。不過那時候是很開心的,生活很簡單,事業每天一小步一小步往上,又還沒有成功和輿論的壓力。

哪些工作接,哪些拒绝,你根据什么来衡量?
幾個方面衡量吧:題材我感不感興趣,客戶尊不尊重,價格和時間合不合理,題材有沒有牴觸到我的一些價值觀。

插画师在美国的生存现状又是什么样的呢?最近几年有发生过(好/坏)变化吗?
插畫在美國有很長的歷史,加上市場較大,所以稿費也給的起。雖然自從照片的流行以來,插畫師並沒有像是Golden Age時那麼吃香風光,整的來說做插畫在美國還是有比較多的機會。

靈感

你的作品充满奇异的想象力,你平常是如何激发或训练自己的想象力的?艺术家的灵感通过来自日常的累积,不工作的时候,你有什么样的爱好?哪些曾给你的工作带来灵感吗?如果方便可以讲个故事。

我覺得想像力跟練肌肉是一樣的,熟能生巧,我會經常做一些聯想性的練習和腦袋風暴。不要只安於一開始想到的幾個點子,看看有沒有辦法強迫自己,更上一層樓。當人脫離自己的“溫室”時,才會成長。一般卡殼的時候我會去散散步,讓自己放鬆,給靈感找上門的機會。/想像力跟練肌肉是一樣的,熟能生巧。不要安於一開始想到的幾個點子,看看有沒有辦法push自己,更上一層樓。當人脫離自己的comfort zone時,才會成長。一般卡殼的時候我會去散散步,讓自己放鬆,給靈感找上門的機會。很多時候越是鑽牛角尖越是想不出來。經驗也是重要的,如果真的沒有靈感可是deadline逼人,有一些過往的方程式可以套用一些。
很多人覺得靈感就是頭上出現一個燈泡,其實不然。靈感不是點A到點B的直線關係,它更像是一個潛意識裡的複雜網絡,很難定位到靈感的最最源頭。不工作的時候我喜歡吃飯看電影,讀書還有旅行。 有時候旅行時看到的元素會出現在我的畫作裡,在我參觀敦煌石窟的時候,飛天的眩目色彩讓我腦洞大開,也影響到我其後的作品。

對你來說最具影響力的的人/導師

有沒有什麼人事物特別影響您的作品? 在插畫之路上是否有過轉捩點?
對我影響最大的兩個人是我母親和我大學老師Chris Buzelli。我母親從小培養我對藝術的欣賞,當我決定報考美術學院時,雖然大家都說讀這行出來沒錢, 媽媽還是支持我去追尋自己的夢想。 等我工作穩定以後她才告訴我其實那時候她是真的有擔心我會餓肚子。進入大學以後,每天都泡在藝術的環境下。吸收了很多新東西,也認識了很多以前不知道的大師作品, 不過卻有點眼花繚亂,每天像是在追別人地花蝴蝶忘了自己的聲音。有一段時間我充模仿一位大師到模仿另一個。 後來Chris 跟我說“每個人都是有著獨特的風格,因為每個人都有著獨特的生活經歷。”, 我才恍然記起當初選擇插畫的原因-不是為了追求某一種完成的效果而是因為畫畫過程給我帶來的樂趣。慢慢地我不再強求,反而找到了自己地聲音。

从你对你母亲的描述中能够深刻感觉到她也是一个非常不同于传统的新女性,那能不能给我们举1-2个具体的,发生在现实生活中的小故事呢?
我母親一直是我的為人的模範。媽媽的經歷讓我覺得只要敢想,肯努力,遇到難關不放棄,沒有什麼是不可能的。她年輕的時候經歷了文革,下過鄉做過工廠。雖然不是自己挑選的工作,可是她還是會把每一件事情都做到最好。後來工廠想提拔她做領導,可是她一直希望上大學,所以總在一天辛苦工作以後,不休息反而默默的自學。文革結束以後考進了國家重點的中山大學中文系。來了香港以後她做過很多不同的工作,像是報紙編輯,市場策劃經理等。在她快40歲的時候因為我和我父親身體不好,她決定去鑽研中醫。這一讀就是10年,現在她成為了口碑很好的中醫師。我媽媽的確是一個很有想法的女性,她一些自創的育兒方法還蠻獨特的。
例子1,我從小就非常調皮倔強,第一次看到仙人掌就特別想去抓。我媽媽把我拉開了好幾次我還是要去。後來她決定要讓我知道痛這事才能一了百了,所以她拿著我的手輕輕的碰了一下仙人掌的刺,這以後我再都不去抓了。她的理念就是小的撞版是好的,吸取教訓了才能避免大的傷害。
例子2,我媽媽很有心培養我的想像力,所以小時候每天晚上講故事的時候,她總是在最精彩的時候停下來,讓我自己想一下情節會是怎麼樣發展。第二天晚上會讓我先講我的版本,她才會把故事說完。
你最喜欢的画家或者艺术家是谁呢?这种喜爱是因为他/她的作品还是艺术家的个人魅力呢?
喜歡的藝術家實在是太多,不能盡錄,隨便從書架上拿幾個講講。Vincent Van Gogh, Henri Matisse, Paul Gauguin, Mary Blair: 我喜歡他們大膽的用色,自信的筆觸和各具一格的透視感。Andrew Wyeth 和 Eyvind Earle: 他們的留白太正了,構圖形狀設計感一流。 John Singer Sargent 和 William Turner: 光和影的魔術師. Yoshitaka Amano, Gustav Klimt, Virginia Frances Sterrett, Kay Nielsen, Aubrey Beardsley: 很喜歡他們線條的流暢感以及華麗的細節和圖案。Katsushika Hokusai, Utagawa Kuniyoshi and Hiroshige: limited palette的大師。還有很多很多。。。我認為如果希望作品豐富有特色,興趣廣闊很重要,所以盡量還是要多看多吸收。

在Ins上看到你非常喜欢分享各种艺术和思考,哪本书、哪部电影或哪个人对你影响最大?在哪个方面?给大家推荐一些书或影片吧。
最近看了幾部大紅電視電影留意到一個有趣的共同點:West World,新海誠的妳的名字,The Arrival,他們的故事題材都截然不用,然而同時都利用了模糊時間概念的插敘手法來製造懸念和劇情逆轉。我覺得這點很有趣,因為雖然我們知道時間並不是獨立的直線,而是时空闭联集( space-time continuum)。但是因為我們的日常生活的局限性沒有辦法親身體會,所以還是會以鐘錶直線前進的方式想像時間,當我們看到影像時便不假思索地將故事理解為直敘。這種不假思索是人類進化中形成的一種慣性(habbit),這讓我想到一本最近看過的書-The Power Of Habbits,書裡提供了很多有趣的案例講述人類理所當然的習慣如何被商家加以利用,而消費者全然不知。比如說Target能夠準確地以用消費者的購買習慣以及大數據去推斷婦女的懷孕週期去有目標性的打廣告, 由於新父母們的購物最容易被誘導,這個資訊是一個改變市場營銷方法的金礦。這些案例的時候讓我非常興奮,因為如果能找到一個引爆點可以帶來意想不到的顛覆。我現在在思考有什麼我們平常不加思考的視覺habbit可以在作品裡拿來玩。

我居住過的城市

在深圳学习绘画的这段时间,你觉得你学到些什么?这些东西是如何影响你之后的求学与创作走向的?
小燕老師的教學模式非常先進,她很提倡小孩子的想像力和鼓勵他們尋找自己的聲音。這跟當時很多強調技巧,抓臨摹素描的畫院很不一樣。我覺得這樣的學習方式讓我真心地喜歡上和享受畫畫,因為我不是為了完成任務,或者討好他人去做這件事情。小學中學美術課的作業總是讓我期待的。從而走上了插畫創作這條路。

求学时常在香港与深圳两个城市之间行走,之后去到纽约,觉得这3个城市有何异同?
在深圳求學的時候我還很小,大概從5歲學到8,9歲。加上只是假期時候斷斷續續地去學畫畫,到過的地方很有限,所以對深圳影響不深。香港和紐約都是節奏很快的大城市。香港是個非常美麗多彩的城市,給予了我東西方文化元素的熏陶。紐約相對而言更加多元豐富,進一步拓展了我的視野。我認為紐約最可貴的在於她的包容性,沒有單一美的標準。她對於有能力的人相對一視同仁,各種文化背景和年資的人都有發展的空間和機會。

为什么会选择去纽约读书?香港和纽约,你更喜欢哪个城市?这两个城市最吸引你的地方在哪里
(我大學Rhode Island School of Design位於羅德島州的普羅維斯,不在紐約。)當時選擇這所大學其實算是一個賭注。高中時打算報考藝術大學但是當時大家並不是很了解和支持我的想法,因為作為一名成績不錯的高中生我可以去報考香港大學裡類似法學這類畢業後生活較有保障的專業。其實長輩們的憂慮我也能夠理解,因為在藝術圈裡只有達到比較高的水平才可以享受安逸的物質條所以件,但是當時我對自己的藝術造詣水平不是很確定,所以決定只報考世界最好的藝術大學之一作為對我自己的一個考驗。
我覺得香港,紐約,洛杉磯(現居地)這三個城市我都無法取捨,每個地方對我的成長歷程都有不同的意義。香港永遠是我的家,紐約是我事業的起步點,洛杉磯是現在,而未來說不定還會有所不同。(而且這三個城市都有很多好吃的,這個是重點!笑)

創作過程與技巧

平常創作的主要媒材是什麼?
我一般的創作模式是傳統和數碼的結合:線條用鋼筆和水墨勾勒,線條完成後, 我會把畫放到燈箱上, 在上面另外放上一張紙, 用不同的材料, 像是炭筆、鉛筆、水彩等, 達到我想要的質感。再來就是把這些準備好的「半成品」掃描進iMac, 經Adobe Photoshop 合成和上色。我在畫具上並不挑剔。去年在巴黎一家小書店意外找到一款Brause 古董鋼筆頭很喜歡, 後來在ebay上大量買了一百多個, 所以現在都在用那個。 

在纽约通常接到一个约稿,到交稿需要多长时间?在这段时间里,你是如何展开工作的?
這個要看項目性質。最短的是報紙新聞版的,一般是5-6小時,因为它们通常要求当天就要完稿,并印刷。月刊的話有1-2星期。如果是廣告,大概2-3個月。產品開發,品牌包裝或者電影動畫這種就需要好幾年才完工。工作的流程其實大同小異,簡單來說就兩個步驟:初稿和完成稿。初稿階段我會提供2-3個不同的方案給客戶選擇,方向定下來以後就會進行創作。如果客戶有什麼特別的需要或者反饋,主要也是在初稿階段進行調整。

通常用什麼媒材、工具或技法創作?在畫具和用色上是否有什麼特別的堅持?
線條一般是用鋼筆和水墨勾勒。線條完成後,我會把畫放到燈箱上,在上面另外放上一張紙,用不同的材料,像是炭筆,鉛筆,水彩等,達到我想要的textures。再來就是把這些準備好的“半成品”掃描進電腦,經Photoshop合成和上色。我在畫具上並不挑剔。去年在巴黎一家小書店意外找到一款Brause&Co的古董nib很喜歡,後來在ebay上看到了就大量買了一百多個,所以現在都在用那個。用色的話還是看題材需要吧。

生活行程

可否分享一下您的一天生活行程?通常你工作的一天是怎样的?例如工作从几点到几点,午饭怎样解决?作为freelancer你肯定身兼数职,你又是如何协调自己的时间的?

以前在紐約的時候是在家裡工作的,但是自從搬到洛杉磯以後,我建立了一個分別的工作室,這樣我有一個更加系統的工作時間和工作地點。每天朝九晚七, 午飯一般在工作室附近吃,太忙的時候會請助手幫忙帶外賣。的卻作為freelancer我需要兼顧工作的方方面面,比如作品創作,商業運作,PR, 媒體採訪等等, 以前事業起步時期,我很摳門(笑)所有的事情都自己做, 現在工作量越來越大,無法兼顧,發現有時候回覆郵件的時間比創作的時間還要長。而且老了(笑)也沒有像以前那樣能熬夜, 所以也慢慢學會放手讓助理承擔一些創作以外的雜活。
我工作的時候喜歡聽有聲讀物,因為平時工作繁忙沒有時間讀書但是創作是需要精神食糧的。我不喝含有咖啡因或者提神的飲料,如果聽懸疑小說還可以幫助我保持腎上腺素水平,不至於犯睏。
我比較需要也享受自己的空間。一個人的時候比較好想東西,也可以沉浸到書本的世界裏。而且現在各種social media都很方便,在家裡也還是可以跟外界保持很密切的聯繫。週末的時候也會跟朋友出去,所以我並不覺得孤獨。
對將來的計畫

最近有什么计划和打算吗?会按照现在的方向一直走下去吗?
最近多了很多跨領域的合作機會,所以也蠻讓人興奮的。不過還是把目前的項目一個一個做好吧,太遙遠的事情就先不去想了。

身分標籤

最近一两年有很多媒体会炒作90后这个概念,似乎漂亮的年轻女孩或男孩是个很好的标签。你也曾经被媒体或别的什么人贴过标签吗?例如外来者,亚洲人,美女…… 你如何看待这样的身份标签?


一開始挺不爽的,因為我希望大家看到的是我的作品,而不是我的年紀或者外貌。可是後來也能理解標題黨的無奈,因為我們身處於一個快餐文化時代,沒有吸引眼球的標題就沒有點擊率,沒有點擊率就沒有年終花紅。(笑)說實在的,比起插畫更多人喜歡看年輕小鮮肉,所以媒體也就投其所好吧。如果來圍觀美女的觀眾中有那麼幾個因為這個機緣巧合了解到並喜歡插畫也是一個美麗的意外。(笑)

当别人问你做什么的时候,“插画家”这个回答会遭到“blank stares”。作为一个女性,自由插画家(freelance illustrator)这个身份,是否会为你带来无形的压力?比方说,很多人(尤其是长辈)会希望女孩子有稳定的工作,而不是他们单方面认为的“闲赋在家”、“不切实际”。你的家里人会对你有这样的要求吗?
“自由職業”的確是一個比較新的工作模式,在美國有時候也需要三翻解釋別人才會有點懂。沒有老闆,不屬於任何公司,可以穿著睡衣上班的工作好像讓很多人都覺得不靠譜。再加上普遍認為搞藝術的都是沒飯吃的,“自由插畫家”這個title是會讓長輩腋下出汗。“女性自由插畫家”更加是雪上加霜。因為傳統思想認為女性應以家庭為重,天職乃相夫教子。老人家有時候會念一下讓我還是進大公司比較好,有了穩定的工作,趕快結婚生子。一開始我會煩,不過後來想一下他們也是以他們的方式關心我,只是我們的價值觀與世界觀不一樣。其實我算是蠻幸運的,家人大多都比較支持理解。而且一個人生活在紐約,被念的機會也比較少哈哈。

女性这个天生的属性对你的作品有什么影响吗?是否有一些特别的女性故事影响了你的创作?
這個問題也許還是傍觀者清。在創作時,我是Victo,一個插畫師,男性女性並不重要。我也希望我的題材是可以男女共賞。不過當然作品來源至作者的個人經歷,而我沒有辦法不以女性的角度去看世界,所以這種觀點也許會反應到我的作品上。不過到底有什麼影響,可能異性的插畫師更能點明。

我们发现在你的作品中,女性的位置都很特殊(比如半裸着在门缝里的女子),表达性别特征的部位都得到了不同程度的掩饰。有什么内容和情感是你想要表达和表现出来的吗?
你提到的那一副叫Sweet Dreams,是給紐約人(The New Yorker)畫的。 遮掩主要還是出版物的尺度問題。因為是老少咸宜的刊物,如果赤裸裸的就沒辦法出版了。不過個人創作來講,我覺得含蓄的性感比起全裸更誘人,多些空間距離美。

成功與幸福

得知自己登上福布斯《30岁以下30位俊杰》榜单,是否很感难骄傲,如何看待这份荣耀?
原來在插畫界的人際圈子比較單一。上榜給我帶來最大的收益是拓展了自己的眼界。每一年參加福布斯《30岁以下30位俊杰》的峰會都能接觸都各行各業的尖子,以及了解到世界前瞻性的思考。雖然感到驕傲,可是也深感自己的不足。讓我最為開心的是通过上福布斯榜,我的故事被带回了中國。我曾收到國內學生的郵件,她以我的經歷說服了她父母讓她報考美院,追求自己的理想。

与你同在去年上榜的人中,你关注过谁, 为什么?
上榜的人中給我影像很深刻的是能源類別的一位16歲的高中生Jonny Cohen。美國的校巴大都很老舊了,非常耗油不環保。可是公立學校又沒有資源去把這些車子全部換掉。Cohen發明立一種能裝在車頂上符合空氣動力的小帽子,這個簡單的附加品就能減少25%的用油。這讓我感覺到,只有肯懂腦筋發揮想像力,改變社會的能力就在我們手裏。

从默默无闻到逐渐被圈子或品牌所认可,你用了多长时间?失落的时候怎么鼓励自己?
从默默无闻到逐渐被圈子或品牌所认可這個過程並沒有清晰的里程碑,每一天的積累和沉澱在事業上都是一小步前進。更具體的來說解決基本生活的壓力大約用了三年時間。我覺得缺乏信心和迷失的時候不能讓未來不確定的事情淹沒,讓自己專注於做好眼前的每一個事情,在小的事情上找到滿足感,聽起來好像是陳腔濫調但我發現良好的心態真的非常重要。

很多人可能花十几年二十几年的时间,作品也未必被认可,你这么年轻就成为福布斯艺术榜最年轻的得主,你觉得自己是幸运的吗?除了努力和幸运,还有其他因素吗?
我覺得我頗為努力,也是絕對幸運的。但同時者也這取決於如何定義努力和幸運。比如說,我有很多伯樂相助,這個可以說是我的好運,但也是平常處事代人的因果,所以也可以歸咎為努力。再比如,我有健康的身體條件,這個可以說是上天的眷顧,也可以說是齊身律己的結果。

“30 under 30”最年轻的得主之一、插画家协会的两枚金牌,以及很多含金量非常高的奖项和荣誉,你和你的作品在行业内外都已经受到了广泛的认可和肯定。这些都不免把你和“成功”这个词联系在了一起。在你眼里,什么才是所谓的“成功”?对现阶段的你而言,有没有去定义过自己的成功和幸福呢?
“成功”是很主觀的。如你所說,有些人認為嫁了有房有車的就是成功,有些人覺得年薪過百萬就是成功,有些人必須名流清史才是成功。所以成功與否的定義還是看自己的秉性和想要怎麼樣的人生吧。如果強加社會的成功定義於自己身上,那追求就變成了任務,成功了也未必幸福。很多人就覺得做藝術的都不食人間煙火,其實我們大多都愛美的東西,喜歡好吃的好玩的好看的。我也是個有物慾的人。去年有一段時間接了很多很商業性的工作,那時候雖然收入很高可是我卻非常不開心。每天工作到山更半夜,身體弄壞了,賺了錢也沒有時間花,更重要的是作品的創意空間很小,感覺很壓抑,完全沒有自身的價值感。這才讓我慢慢發現,一個能平衡事業健康家庭等各方面的生活,才是我想追求的成功。

探索與局限性

你的作品风格现在已经非常明显,并且被大众所熟知,有想过尝试其他的表达风格和绘画语言吗?风格是一个不断寻找、探索、发现的过程,当你被一种形式困住想要突破改变,却变而不得时,你会怎么做呢?是继续这种风格,还是去画它的对立面(哪怕不喜欢),以此来突破自己的局限性? 当创作遇到暂时的卡壳或者瓶颈的时候,你会怎么做呢?
其實我風格隨著成長和生活變化也一直在進化。風格的卻是一個不斷尋找,探索,和發現的旅程。他不應該是一個框框,一種限制。他是活的,因為他是活人自身的伸延,所以也不能強求。如果有一天我覺得無聊了,自然就會去嘗試不一樣的繪畫語言吧。我所認識的插畫家裏,風格獨特而又不斷成長的都是興趣廣泛,很有想法的人。所以做插畫不能只是在工作室裏埋頭苦幹,要多去吃,去玩,去看,去體驗也能有感而發。
插畫師種種

你觉得插画家与纯艺术家的区别在哪?是否打算做一个純艺术家?
在當代作為插畫家和純藝術家的分別最明顯在於賺錢的形式。插畫家(Illustrator)接受客戶的邀稿創作定件,這些定件一般都帶有商業用圖,而純藝術家自我創作後再把作品經過畫廊買給客戶,這些作品一般都是為個人收藏欣賞。一個人可以同時是插畫家和純藝術家,這兩者的存在沒有必然的對立。在法國印象派主義之前,幾乎所有的藝術作品都是定件,沒有什麼人是靠賣有個人作品維生的。米開朗基羅有名的西斯廷大教堂天頂畫就是一系列描繪聖經故事的定件。文藝復興的大家們哪個不是多重身分,即是畫家,又是建築師,又是雕塑家,當時根本沒有商業藝術家和純藝術家之分。
Illustration(插畫)這個名詞源自Illumination(中世紀手抄本裡的圖案和裝飾),意思是帶有解釋功能的畫。解剖課本裡的圖,圖書裡伴隨文章的圖,還有飛機上緊急求生冊子裡的圖都是插畫。但發展到現在,插畫不單單是一個實用的輔助品,它有著單獨存在的生命,客戶以及觀眾追求的更是畫家獨特的風格和思維模式等。如果因為插畫是受委託創作從而否定ch j是藝術家,那幾乎二十世紀以前的所有藝術作品都可以被這個邏輯被否定了。

艺术家都有内心想要传达的欲望,你通过你的作品最想传达的理念是什么?你在现实生活中是外向的人还是内向的人呢?
插畫對我來說是一個夢的世界,現實裏不可能的在插畫世界裏都有可能。每一個人都有不同的夢,所以我希望創作的是一個遊樂園,大家都可以以自己的方式去感受。作品產生以後,就會脫離創作者有了自己的生命。只有是我的東西能給別人帶來一種感覺,而不是單純的好看花瓶,我就會滿足。至於那些感覺跟我原本創作的意念是否一致,我覺得並不重要。我覺得我是內向和外向的混合體吧。我喜歡跟人交往,可是如果過多的社交我也會煩。

建議和意見

你毕业于罗德岛设计学院,如果一个学画的小师弟想考该校,你有何建议?
中國學生的藝術基本工都很厲害,可是往往會忽略了想像力。但是美國藝術學院就比較注重個人想像力的發揮。我個人覺得,想像力應該更重要,技巧的活兒可以通過時間磨練或由電腦代替,而藝術不是工廠出藍圖,必須通過想像力產生。再來就是,功夫在畫外,要有好的輸出必須要有好的營養。所以不能整天悶在工作室裏畫畫,必須多去看,多去感受生活的層層面面。








 

.  





Back to Top