To mark it’s first anniversary, National Gallery Singapore (NGS) appointed Singapore ad agency, Govt to work on the campaign and event for their Gallery Light to Night Festival. The first layout for the idea was the portrait format to show the light to night effect. If you look at the layout carefully, it is not a mirror image. Both light and night illustrations are totally 2 separate illustrations, each containing their own respective elements and events.
Then came the approval to go ahead with the landscape format. This was when almost all the elements and events from the portrait format had to be incorporated to adapt to the new landscape format. The normal way out would be to crop the night part, rotate it and move it to the right. Which meant that we will lose a lot of details after the move and the landscape crop. And that was totally out of the question. After further discussion with the Govt creative team. We decided to go all the way out to redraw and relayout almost the entire landscape layout , adding in more details just to keep all the details intact. Totally insane creative direction by Daniel Koh and the Govt team. It was a pleasure working with the Govt team on this project. Phew!
It all started out as an illustrated logo design. Simple minimalistic logo showing the uniqueness of claypot rice cooking over charcoal fire.
Initially they wanted to resize the logo and mount it on the wall as a painting. That was when I suggested that it would be better to start the idea for the painting from scratch.
From my various trips to the restaurant, I noticed that every claypot had their own unique clay colour and burnt marks. Some were lightly chipped off at the sides. Almost like each one of them had a different character of it’s own. So I decided to zone in and work towards the idea.
I took some time off to visit the Geylang Claypot Rice main branch at Geylang Lorong 33. Hanging out at the restaurant kitchen with the staff and observing the place. I even spoke to the restaurant staff, Ah Lai about my idea and soon after, he started to show me all the various claypot sizes.
As I reached under the kitchen counter to pick out some unique pieces to photograph as research. I noticed how the claypots were stacked in an orderly fashion like towers with the claypot handles forming a cascading wave. I was like, that’s it. I got my layout.
Shared the quick sketch with the client and they loved it. Their request was just to have the clay texture background. Painted it in in Photoshop and sent out for print at VWerks.
Always great to work with clients who knows what they want and would listen and consider your creative input. These guys at Geylang Claypot Rice are one of those clients.
Digital painting print on stretched canvas.
Size:180cm(W) x 90cm(H).
It’s at their branch located at Geylang Claypot Rice Branch at 4 Maju Avenue (Serangoon Gardens). @geylangclaypotrice
Enjoy the food!!! Try to spot my signature. Ha!
AXA Shield Key Visual
Agency: Publicis Singapore
Photography: Teo Studio
Paper Artist: Rei
Illustrations: Andy Yang
What was supposed to be a simple key visual turned out to be quite a major production at the end of the project. Friendships were forged throughout the journey and everyone did what they did best to dish out the ad on time. Totally no egos. As with all projects. They all come with problems that we need to be addressed first before the fun of crafting sets in.
To start the production rolling, I suggested to photographer, Teo and paper artist that we should meet up to do a dry run and to work out the details beforehand. The idea was to keep digital imaging (DI) work as minimal as possible. Initial rough mock-up was set-up at Teo Studio to plot the depth of field, size of the figurines and proposed angles for the set. With Canson roll paper as the base and lego blocks as key figures. With the proposed measurements from the approved mock up. Rei proceed with the paper figurines and items and I was working out the illustration/font style and final paper size for the set.
Watercolour and watercolour pencils style was finally agreed as the illustration style of choice. Saunders Waterford 300gsm watercolour paper was confirmed as the base and the layout was traced onto the paper. Again, I had to get a roll of this paper. Almost 3m in depth and 1.8m in width to achieve the results based on the creatives’ proposed layout. I had to draw and colour the landscape on the floor and on my knees most of the time at my studio most of the because of the size of the paper.
The creative team had to come by my studio for pre-production meeting just for the illustrations alone because it was just impossible to gauge via email. I was still touching up and adding items to this massive watercolour painting set on the day of shoot. That was because we were still working out Rei’s key figures and items for the best angles so the watercolour landscape had to complement the overall layout.
And voila! At the end of the day. The magic word that we all love to hear on a set…It’s a wrap! Just for the day. Although we all know that the Publicis Singapore team had to follow through. Love crafting sets like this. Thank you everyone that was working and helping out on the set! Totally appreciate it! Couldn’t ask for a better team to work with.:)
Finally found the time to post this compilation of quirky illustrations for McDonald’s Dessert kiosks for their Flavourburst and McFlurry soft serve. This set of works was a collaboration with my old friend, Hock who is an amazing 3D artist and film director. We had to step into the minds of our children to make this happen but it was all good fun. Thank you, Shao Leng and Hwee Beng from Solar Moon Studios for this project.
Here is a recent collaboration with Y&R Shanghai. Here we go…Jumbo, Ringo and Stark! From time to time, you get crazy detailed illustration gigs like these with an even crazier creative team driving you up the wall with their demands. But it’s all well worth it. Ha! Love the ride! Thank you to all these wonderful people for this wonderful opportunity to collaborate on this project. Cheers!!!
ECD Nils Andersson
ECD Ong Kien Hoe
Head of Design Bel Ong
Illustrator Andy Yang
Senior Designer Joao Pereira
Senior Copy Writer Adam Miranda
Designer Wang Fan
Designer Tom Mu
Head of Traffic Sandy Wang
Head of Production Kitty Liang
Collaboration with Yong, Somewherelse
The idea was to create a cover based on Lazarus Wang’s superbly crafted song lyrics which were mostly stories based on the themes of spirituality, divinity, evil, loss, mortality, redemption and love. Do check out the really interesting and attractive lyrics on the album. I am always in awe of people that can write that well. How do you guys do it?! Okay, well. Starting with the 2 characters on the cover that was a spin off the story of Cain and Abel. I worked out a number of ideas/sketches as we went along and the rest of the stories especially ‘Carry Me Down’ which was about a mother and daughter love, just took shape and claimed their place on the artwork. The rest of the look and feel of the album cover art was borne out of my love for great LP covers from the late 60s and 70s. As a kid, I was particularly drawn to stunning works by Stanley Mouse, Rick Griffin, Alton Kelley, Hipgnosis, Roger Dean and of course the late great, Mati Klarwein. A very prolific artist/painter whose prominent works included album covers for Osibisa, Earth, Wind & Fire, Miles Davis and Santana. The composition of spiritual, dramatic landscape and imaginative worlds by these great artists are just mind blowing. There you go. The list of my inspiration for the new Cheating Sons cover visual. So it comes as no big surprise that the cover turned out the way it was, a huge tribute to these great artists that have left a great impression on me and my work till this day in one way or another. A big thank you to Lazarus Wang, Donovan Loh, Andy Liew, Chez for giving me free reign to create the cover. Thank you too for including my painting ‘In The Bright Sunshine Of A Glorious Day’ for the album inner sleeve. As always, thank you to my wonderful family and my always supportive soul-mate, Caryn. The new Cheating Sons album is available for download worldwide at most music sites and the CDs are available at Roxy Records and Curated Records in Singapore. Check it out!
A little story about the big album cover. Ha! The band already had a vision of the new cover to go along the lines of their existing nautical theme and to have the look and feel of vintage Japanese woodblock prints and paintings. Immediately, Japanese masters, Utagawa Hiroshige, Katsushika Hokusai and Utagawa Kuniyoshi works came to mind. Together with my personal fascination for Jules Verne’s classic 20000 Leagues Under The Sea illustrated posters, I combined these 2 styles and here it is, the East/West mix. There were tons of discussion on the creative direction between the band, Errol and myself. In the process, I even manage to work out a new logo for the band. Overall, it took about 2 months to work on the cover from concept sketch to the final artwork before handing them over to Errol Tan from KittyWu Records which was working on all the amazing graphic design for the band that you see today. This is the final artwork uncropped without the ‘The Kraken’ logo by Errol. Do take time out to check out the amazing album, ‘The Kraken’ by In Each Hand A Cutlass. You won’t regret it. They are available on iTunes, Bandcamp and most good record stores. A big thank you to Daniel, Sujin, Amanda, Jordan and Nelson. It was a pleasure working with you guys!