 | Creative Spotlight: Episode #219 – David Su Apr 19th 2013, 00:04 
David Su is an Illustrator and concept artist. He is always on the quest to learn more and evolve as an artist which makes him the perfect candidate for the Creative Spotlight. Read below for the full Q&A… I’ve learned from interviewing so many Asian creative's that sometimes their families have a hard time grasping what they do. Did you need to explain to your mom that this is an actual career? David: In a way I did, my parents both knew that I was really passionate about art, but as a career, they were hesitant because they aren't familiar with the job opportunities an artist has. All they really know is that it isn't job that would make lot of money, like a lawyer or a doctor, but they weren't totally against the idea of me perusing Art as a career path. After my mom saw the steady about of work and the range of work that I've been receiving, she's a lot more comfortable with it. Concept art is always extremely fast turnaround. How do you create art? Painting from sketch, or photo references, etc? David: Indeed it is! My process for conceptualizing is the same when it comes to early conceptualizing for an illustration. I start with thumbnails, trying to create nice visual shape language before I start going into detail of the image. For character designing, I tend to create a narrative, while I'm creating the character; what is their role in the world? Are they fast? Strong? Agile? Where do they live? Etc, anything that will help and add to the design! As for the process of creating a piece, I usually paint from my sketches and I really only use photo references for my illustration to capture the pose/lighting accurately. 
Has life after graduation been about how you expected it to be? Could you tell us a bit about your journey using your portfolio to land clients? David: In a way, yes and in another, no. I was hoping to be at a studio a couple of months after graduation, but the industry has been pretty though to get into now a days! Also my portfolio didn't suit the studios I was aiming for, so I had build a portfolio that was better suited and tailored more towards the company I was applying for. Your portfolio should always express what you want to do, if it's character designs, show a lot of character designs with process ideations so that art director can get a sense of your thought process. Your portfolio should show examples of work that fits the job that you are currently trying to acquire, it should be broad enough to show a variety in the subject but not too much to the point where the person viewing your portfolio is confused about what you want to do for them. This doesn't apply everywhere though; some places are different, some like to see a wide range of versatility so that they can use you for multiple things. Do your research! Get to know what you really want to do for them, show them that you can do it and give them the reason to hire you! Do you think it benefits an artist to collect and flip through art books by other artists? David: Definitely! I think it is a must if you're an artist! I started collecting art books when I got into college, I would purchase any artist' book that influence and or inspired me. Having art books that inspire/influence you helps when you're having an art-block or filling uninspired, look through the book and remember the moment you saw that piece of art and was so awe-inspiring that it gave you the inspiration to pick up a brush and paint! I always keep a couple of my favorite art books opened to keep me energized and inspired. 
As a creative who has took advantage of his alumni status and took additional coursework, do you feel a formal education in art is absolutely necessary in today's concept design field? David: As artist we should be constantly learning even when you're out of school, so taking advantage of the free class I get every semester was a no brainer for me. A formal education isn't necessary at all anymore, if you have the drive and self-motivation to learn it yourself, you can totally skip the formal education, but where the formal education does come in handy is when someone need a structure to learn from, also being surrounded by peers that share the same passion is a great source of inspiration and motivation; that is truly one of the things I miss most about being in school. When it comes to concept art, what is the difference between films and video games? Do you have any experience with the two? David: I don't believe there is much of a difference between concepting for film or game, as long as you get the job done and do what is expected of you, I believe it's the same. The only large difference is the time span of the project and budget. I haven't had experience in film or in game as a concept artist, but I have done illustrations for them. What are some of your favorite Asian films? David: Anything with Stephen Chow I really enjoy, I just love his style of directing and acting; the really outrageous and over the top kind of comedies. I grew up with a lot of the Hong Kong dramas because of my family, but film wise, I really enjoy the epic fantastical Chinese movies. 
As a freelancer, how have you had to compromise your vision to meet the needs of others, and do you have any input for those who are faced with the same challenge? David: All the time! You are the hand and they are the mind! It's your job to do what they want to see, unless they are willing to take your suggestions or they have hired you to be creative force with their project. My suggestion would be to give them what they want to see, and if you have a suggestion or an idea, it wont hurt to take the extra time and mock up a version you think would be better suited and show it to them, because you never know, they might like your idea more than what they've imagined! I think an artist is best served indulging their obsessions. Looking over your work I see you are more drawn to the fantasy realm. What is it about this particular genre that makes you gravitate towards? David: I just love the fantasy genre so much! As a kid through my teens years, I would always play magic the gathering, and always seeing those fantastical images would just blow me away. I'm not sure if I can explain why I love it so much, but I believe its because that there's endless possibilities of creations in that universe that you can just create anything and everything! Do you have any advice for budding artists? David: Don't give up, the road will be tough but the payoff is great! Keep at it and work hard! 
Want to follow David’s artistic journey? Visit his cookie crumb trail below: Website: http://www.david-su.com
Blog: http://sunami330.blogspot.com
Tumblr: http://davidsu330.tumblr.com
Twitter: https://twitter.com/davidsu330 | | Hyakko – Review Apr 19th 2013, 00:02 
Hyakko follows some of the events in the lives of four first year high school girls who attend a rather prestigious (if absurdly large) school who are brought together by chance (and incredibly poor senses of direction which are rather sizable negatives on an absurdly large campus) and who bond- sometimes in slow and even a semi-forced way at times- as they spend their days on the campus encountering some of the other eclectic students who have gathered there as well as try to deal with the often capricious antics of the groups more outrageous member, Torako Kageyama, who tends to be very gregarious but her energetic actions sometimes happen by reflex rather than thought which can create a bit of mischief in her wake to deal with. As the students try to manage their days there will be chances for some odd encounters, misinterpreted events and plenty of chances for jokes and puns to fly as these exceptional girls live their lives boldly if not exactly with a direction in mind. Hyakko feels like an odd tale that falls into a weird gap in terms of when it was created and aired on Japanese TV as it follows a couple of years after The Melancholy of Haruhi Suzumiya which seriously took the odd girl adventures in school (and outside of as well) concept to another level and set a rather tremendous bar for other series to decide to follow or not. In some respects Hyakko's decision to try a different route where the characters aren't (usually) near as odd or over the top as Haruhi's puts it into a position to feel almost tame in comparison which may turn off some viewers who have become acclimated to frenetic energy series and as such the still high, yet not wildly so, nature of Hyakko may feel slow and somewhat subdued and thus requires its stories to carry more weight that raw energy doesn't quite make up for and in this it isn't entirely successful. On the other hand though, Haruhi herself and many of the characters that have followed after her in order to copy some of her aspects have turned off many potential viewers as well as sometimes that energy manifests in characters in ways that aren't always likeable all the time with their attitudes. 
I wish I could say this more reasoned and middle ground approach to the characters made up for things and help make Hyakko a series that stands well on its own but in truth many of the episodes feel like they are based around jokes that are funny for a bit of time but that they stay on the stage far too long and take what might have been much funnier with a lighter touch and turn them into bits that by the end the viewer is glad to see go. Hyakko probably would have been twice the series it is if the writers had simply allowed themselves to turn the series into something like either Lucky Star or Azamanga Diaoh that allow jokes to run their course and switch a couple of times throughout an episode as opposed to simply doing so at the halfway break (if the story is lucky) and while it doesn't quite turn the series into an unwatchable slog it does take the sheen off many of the jokes 
This actually can be forgivable if the characters can carry the series as even some less than stellar material can be delivered well from interesting characters but this idea exposes Hyakko's single greatest weakness as many of the characters feel more like archetypes that were sketched out to carry a shorter comic but that when expanded out really fell like they are lucky to be bordering on making it to two dimensions at times as the series often fails to develop them in most cases and in others by the time they do it feels like the timing is off. Unfortunately for Hyakko it aired in the same TV season as Toradora! which also used a tiger concept (both lead character's names in the respective series mean tiger) but the other series just had a better focus on giving some life to its characters (who also display some very strong archetypes in their design) and it just kind of underscores how shallow at times Hyakko's cast is. None of this is to say Hyakko is bad exactly as it isn't, it just often isn't magical when at times it feels like it almost could have been but what exists is solid- if not spectacular- and the series did manage to garner enough success to produce an OVA sequel (sadly not included here). http://www.youtube.com/watch?v=y5QjYtyfygs While the series may have some flaws Lucky Penny does a seeming amount of yeoman's work in their release as they include a rather rich translator's notes section to explain some of the ideas and puns that feature to quite an extent in the series (and perhaps this level of gag that needed explaining to me is part of why the series seemed to be lacking to an extent in my viewing) that will help to cover many of the ideas bantered about in some of the episodes. In final measure Hyakko is a series that may appeal more to the fan who has seen less series in this particular genre than those who consume them all but even the genre veteran will find moments to laugh out loud at, even if the whole may not be quite as funny bone tickling throughout as some moments within.
 | | Movie Posters Apr 18th 2013, 16:47 
The best film posters are instantly recognisable and can certainly be defined as genuine works of art which is why they are made available from Instant Print posters. Examples may include the billboard posters for Vertigo, Alien, Metropolis, Silence of the Lambs and the Exorcist. All of these pictures are 'art' as well as great augmentations to superb films. Some film posters are a shade lighter hearted, or perhaps less intense in subject matter but equally as effective. Jaws, ET, Ghostbusters and Attack of the 50ft Woman are all great illustrations that could easily fit into the home to provide a quirky focal point. Images like that from the Attack of the 50ft Woman and Ghostbusters are bold in design and high in statement. The 50ft Woman straddles a hectic motorway in brassy B-movie style; an image many viewers will recognise, and may have taken delight in throughout the years. The Ghostbusters logo is an iconic 80s cinematic symbol and will bring back fond memories for those who grew up in a somewhat wide eyed era of science fiction, with flicks like ET and Back to the Future being prominent. The ET and Jaws posters can be viewed as both fun and heavily thematic; the ET poster involves that Michelangelo/genesis like touching of fingers, whereas the Jaws poster encapsulates the sinister side of nature – red in tooth and claw – an enigmatic predatory killer of unknown proportions ready to strike at any moment, but great fun in its slightly removed escapism. In the right context and in the right rooms, these posters could be fantastically light hearted as well as highly decorative. Then there's all those super cool posters from the 90s classics: Pulp Fiction, Reservoir Dogs and The Usual Suspects. These posters were all big sellers at the time and iconic to this day. The Pulp Fiction poster is particularly artful with just the right degree of camp and kitsch to be cool and tasteful – a difficult balance which Tarantino's films tend to strike. The image of Uma Thurman lying on the bed staring unerringly into the camera lens was as stylish and poised then as it is now – kitsch done in a bad way is boring and pretentious but the way it's done in Pulp Fiction is right on the mark. The artwork on Django Unchained has similar qualities as a take on the spaghetti western. If you have an eye on style and want to use these billboard posters to adorn your walls, you'd do well to visit Instant Print posters. Posters from films like Metropolis and Vertigo have entered the pantheon of film art at the highest level. Anyone who exhibits these posters makes a statement about who they are and what they like with the best possible taste. These posters aren't just adverts; they're genuine works of art. | | Best Film Apps Apr 18th 2013, 16:40
Never again lose two hours of your life by watching a bad movie; you will never get those back you know. Instead, download the best film apps to make sure you only ever watch great films from now on. All you need is a smart phone or tablet, to upgrade your mobile and take advantage of modern day technology visit dialaphone.co.uk.
Movie lovers will find numerous independent and impartial online sources that make wasting time on a bad film a thing of the past. The most popular go-to apps for reviews, movie news, film trailers and more are Rotten Tomatoes and IMDb. By downloading these apps, users will benefit from having access to a wide range of information on an extensive catalogue of films making sure you always choose the best films to watch with family and friends and, with the ease of accessing this information from a mobile device, users can have a whole movie night planned before they have even stepped through the door. If you want to branch out there are a number of other movie review apps out there that provide reviews, rating and blogs; so many in fact that only a fool will end up watching the inexcusable Deep Blue Sea. Jinni is a lesser known review and rate based film app that uses sophisticated technology to make recommendations to users based on the plot, characters, genre etc. If you want a film app that reviews films a little off the beaten track then download the Mubi app. This app offers something a bit different from the aforementioned review apps, standing out from the crowd with a collection of reviews covering more underground cinema as opposed to sticking with the mainstream. Arty, indie types will enjoy discovering a haven of undiscovered movie gold and can join the in-depth online discussion forums. Apps are great for accessing a host of information from a mobile device such as a smartphone or tablet. Wherever you are and whatever the time, with the tap of a button users will find the information they are looking for. | | Iron Man: Rise of Technovore – Review Apr 18th 2013, 00:04 
Tony Stark, in his Iron Man armor, prevents an attack from a mysterious new foe, but innocent bystanders are killed, including his best friend War Machine, Lt. Colonel James Rhodes. Detained for questioning by S.H.I.E.L.D., Iron Man escapes, determined to find the mastermind behind the attack. Pursued by Black Widow and Hawkeye, Iron Man enlists the help of the ruthless vigilante The Punisher. But can the Armored Avenger handle what he finds when he catches the person responsible and is forced to face his deadliest weapon, a biotechnology called Technovore that could wipe out all life on the planet? The Black Widow, Hawkeye and War Machine make lively cameos, as does the Punisher, who practically steals the show with his deadpan humour and military issue coffee. Another positive is the animation, which is dynamic, with impressive photo-realistic environments, and makes great use of the S.H.I.E.L.D. helicarrier and its associated weaponry. And last but not least there’s a big, slashy, gooey Akira-style showdown as that techo-organic stuff grows to monster size and tries to swallow a whole city. So it has its moments – probably enough to keep Marvel fans happy. Anime aficionados, on the other hand, might not be quite so galvanized. The disc comes with two short, gushy but actually quite informative featurettes. 
This being an anime, it wouldn't be complete without some overly philosophical posturing, and nearly all of the scenes with the Technovore have it in spades. It's in these scenes where I also noticed a lot of cost cutting animation techniques such as just showing a character's torso and lower jaw, or their face from the nose up, which avoids having to animate the lip synch. I know that it's a common technique but it was a lot more noticeable in this movie partly due to the contrast between the slow, static scenes with the Technovore and the fast paced, laser filled action sequences between Iron Man and his opponents. http://www.youtube.com/watch?v=LBrOPQXQ7UI The overly philosophical dialogue at times is a bit of a bore and could've been trimmed down a bit although I did like the inclusion of Ezekiel Stane. Anyone that is a fan of the films will enjoy this and see that it doesn't steer too far from the style we all love. Anyone that is a fan of anime will see that it holds true to everything you love about the genre. By the time we get to the end, Stane's armor rebels and goes all Akira on his ass, turning him into a monstrous creation that still remains intent on taking over Stark's satellite and ending all life on the planet. I can say, though, with certainty that I would have enjoyed this movie more had its animation not been so limited and unappealing.
 | | Eros Plus Massacre – Review Apr 18th 2013, 00:02 
"Do you know what I am thinking?" Eros Plus Massacre is the story of anarchist, Sakae Osugi, and the events leading up to the Amakasu Incident. The beliefs of Osugi, of free love and liberation, were not only theoretical but a way of life. The title is the equation of subject and audience, love and destruction, and how they are inseparable. The film itself, however, is not merely about Osugi's life in relation to our own but also about how his methods were/are interpreted. Students discuss his views and comment on their relevancy at length; there is a constant interplay between subject and interpreters not only in retrospection, but abstractly, where past and present juxtapose. It is significant in how appropriate this theme is psychologically as well, where self-identity is attained through the emulation of others not through a singular vision; the advocacy of feminism by means of emasculation and empowerment rather than equality and the promotion of open-mindedness. Here is a world of good ideas poorly executed, of men and women with utopian motives who deviate little from pursuing egotistic ends. We meet Wada who erratically knocks at every door down the hallway of a hotel until he arrives at Eiko's door; she's in bed with another man, part of an arrangement integral to a project researching the Amakasu Incident. The story of Wada and Eiko are interwoven with the story of Osugi and feminist, Noe Ito. In Osugi's time, the year is 1923 and truth is as obtuse and doubtful as before…or after. A character berates another with, "You should worry about your future!" but one future's truth is another future's lie. In addition, the film is a study on artistic relevance, particularly poignant when a filmmaker hangs himself with a celluloid noose – Yoshida was certainly pessimistic but not entirely unrealistic. 
The film is certainly representative of the New Wave movement, where characters ruminate at leisure, waxing philosophical, as others carry on about their day as if this all was a common occurrence; theatrical and dreamlike is the tone. One of the characters mentions the story of Kandata, a criminal condemned to Hell who is granted forgiveness by the Buddha for his one deed of mercy (not crushing a spider beneath his foot). The Buddha lowers a spider's thread into Hell to save him and Kandata begins climbing it to Paradise. Other sinners grasp hold of it and Kandata screams at them that the thread is his and his alone. The thread snaps and he plummets back to Hell, his selfishness condemning him even in the midst of deliverance. It's no wonder why this little reference appears in the film; it is very much aligned with the life of Osugi, his philosophy, and his fate. Indeed the film suggests that Osugi's unapologetic lifestyle brought about much of the jealousy and hatred he received. http://www.youtube.com/watch?v=NWVrSxivE1Y Yoshishige Yoshida was the perfect director for this subject. The minimal, existentially philosophical style persistent in his technique was always evident even in later directorial works such as Wuthering Heights and Women in the Mirror. Eros Plus Massacre is a very self-aware film that is, at times, perplexing in its attempts to grapple with reality and idealism. The imagery is vicious and exaggerated but there is also a truth-seeking anxiety present, typical of Yoshida's work. The film depicts a voyeuristic world that is unsettling but commonplace with characters who are impulsive yet reflexive. For it is by life's extremes that we learn the meaning of balance often instructed by those chaotic individuals whose voices now only live in history and recollection.
 | | Dragon Ball Z: Battle of Gods – Review Apr 17th 2013, 00:04 
Well before starting this review i would like to say that there are some technical aspects that i am going to intentionally avoid, you may ask why and the answer to that is simple. The Dragonball Series has been a part of my childhood , it made me love anime’s and if it wasn’t for this i would have never watched other amazing anime’s such Death Note, Code Geass, Naruto, Bleach etc. Simply put Dragonball is the series that made me understand anime in general. If you haven’t noticed, we have been over the years going back and reviewing the older Dragon Ball movies as a labor of love to catch everyone up to the present moment. Now, in 2013, we have Battle of Gods. The movie is everything a classic Dragon Ball fan like myself wanted, the classic planet destructing battles, overpowered villains with ridiculously edgy personality and Goku once again doing whatever it takes to beat the stronger opponent. It is the first film in the series to be considered an official part of the Dragon Ball storyline, being set between chapters 517 and 518 of the original manga during the ten year time skip, with original creator Akira Toriyama deeply involved. The plot involves Birus, the God of Destruction, learning of the defeat of the galactic overlord Freeza by the hands of Son Goku. Seeking an opponent worthy of his power, Birus, along with his companion Uis, travels to the North Quadrant of the universe to challenge Goku to a battle. Birus is the God of Destruction of the Seventh Universe, with each universe having its own God of Destruction. After returning to the temple, Uis knocks Birus out and remarks that Birus will wake up again in three years. The animation and visuals are as good as ever and the voice acting is also very consistent with the original ones, the sound was used very cleverly and suits the whole Japanese classic theme very well. The story is also very intriguing and oozes a certain sense of adrenaline throughout the whole movie. 
So, without spoiling the movie, I can say the film isn’t perfect, in fact far from it. The writing is a mess, but I have a feeling DBZ enthusiasts won’t care. You may notice in this Manga Goku looks like a child – this is because in the original story line, Goku was accidentally transformed into a living child of his former self during a 7xBall dragon wish, so he had the mind, memories and powers of his adult life with the body of a child. Goku’s grandchildren who were older looking than him, called Goku Grandpa – pretty confusing. For the movie they elected to portray him in his full adult body form, so it appears more consistent with previous DBZ Movies. Why did they decide to do this? Who knows. http://www.youtube.com/watch?v=DkrYSGVu9rg Those last few lines made realize that this ending just opened up a ton of new possibilities for future Dragonball series and movies, I can only hope that this movie succeeds worldwide and that success will provide enough motivation for Akira Toriyoma to get going again, so we can all enjoy another era of Dragonball. There have been 17 Dragon Ball movies released in Japanese theatres since 1986, and we have pretty much covered them all, but the difference between this film is I was genuinely hyped for its release. Dragon Ball Z: Battle of Gods was released in Japanese theatres on March 30, 2013. There is currently no word on an international release. When an English dub gets released worldwide, we will let you know.
 | | Ip Man: The Final Fight – Review Apr 17th 2013, 00:02 
Another year, another Ip Man film. In postwar Hong Kong, legendary Wing Chun grandmaster Ip Man is reluctantly called into action once more, when what begin as simple challenges from rival kung fu styles soon draw him into the dark and dangerous underworld of the Triads. Now, to defend life and honor, he has no choice but to fight one last time. Is it too soon for yet another story based on the life of the legendary Wing Chun grandmaster? Of all the films in recent years based on Wing Chun Grand Master Ip Man, this one is by far the most authentic. The reason is simple and not just because it is made with the help and full endorsement of his son. There is an even more logical reason. Grand Master Ip made his name in Hong Kong when he started teaching Wing Chun, at middle age. This the exact starting point of this film whereas the others all focus primarily, or even entirely, on the earlier Ip Man, of whom little is known. These other attempts, therefore, freely resort to melodrama for entertainment effect. “Final fight” is an authentic biopic on the second half of the Grand Master’s life. On the macro side, this is also a trip of nostalgia for people who lived in Hong Kong in the 50s and 60s. 
The screenplay was penned by talented Erica Lee, who is also author, columnist, lyricist, singer, radio program host, and a mother of two lovely daughters. Wong Chau-sang’s portrayal of Grand Master Ip is brilliantly convincing. Wing Chun style is not hard to replicate on screen but difficult to master in reality. All the actors in these Ip Man films have done a decent job as far as what appears on screen is concerned, and let’s leave it at that. Mush more important is to portray the low-profile, unassuming grand master who rises to the occasion every time when needed to. He is also patience, compassionate, tolerant, while unflinchingly uncompromising when it comes to matters of fundamental principles. I cannot think of any actor who could have done this as well as Wong Chau-Sang who is a grandmaster in his own right when it comes to performing arts, be it on stage or on screen. http://www.youtube.com/watch?v=rCmSxQ799pA The support cast also well deserves recognition, and the names I mention here will be far fewer than the ones I’ve omitted. The best is Eric Tsang’s, not just a top-notch comedian but also an excellent all-round actor, who plays Ng, the grandmaster of the White Crane style, a rival as well as a mutual admirer. People familiar with Hong Kong’s TV entertainment would also enjoy his witty self-referencing to his popular TV show during a scene in which he commiserates with Ip the predicaments behind the glory of being the master of a martial art school. Jordan Chan provides good support in playing Ip’s student Tang, who started out as an entry level cop and eventually rising to a “Chinese-ethnic chief detective”. The character is modeled after a real-life individual, with the given name slightly changed. There is at least another dozen if I were to name them all. Two that I would like to mention, however, are mere cameos that have the least screen time: Liu Kai-Chi whom many consider Hong Kong’s best character actor and Law Koon-Lan who is among Hong Kong’s top stage actresses. They play a couple driven by poverty to sell one of their six children.
 | | Creative Spotlight: Episode #218 – Nomi Chi Apr 16th 2013, 00:04 
Nomi Chi is an illustrator and tattoo artist working in Vancouver, Canada and most recently, the UK. Nomi's been tattooing since she was 15 years old. In addition she also works in other various mediums. Fresh from her move, she sat down and gave us a peek into her art, work habits, and films. Read below for the full interview… You are a busy bee! I believe you are the first tattoo artist to be in the Creative Spotlight. Could you tell us a bit about that? Are you apprenticing? Nomi: Well thanks, that’s definitely an honour! I’ve actually been tattooing professionally for about four years now: previous to that, I had a rather informal and unconventional ‘apprenticeship’ wherein I was tattooing out of a house – everybody has to start somewhere I suppose. I was about 15 when I started and didn’t really know any better, I was just happy that someone would give me the time of day and mentor me in tattooing. The learning process didn’t really start for me until I began to work in a professional tattoo shop environment with other artists and a more-or-less consistent supply of clients – and even then it was difficult. At the time, most of us were new to the city or new to the business or both, so we were squabbling over any and every project that walked through our doors. There was a lot of hair pulling and melodrama, and there have been many ups and downs since then. But these experiences have given me a thick skin and a [proverbial] hairy chest – things which are most definitely pre requisites to any kind of fulfilling art career. 
How does tattooing give you a leg-up in your illustration career? Not all tattooers can be illustrators so what kind of advantages does that bestow unto you? Nomi: For the most part, it’s great exposure. I often don’t have to worry about advertising myself as most of my best portfolio pieces are ambulatory – I mean, tattooing people is kind of like painting on canvases that walk around the city and hand out your business cards and drop your name at parties. Being a busy tattoo artist also means I am producing images pretty much non-stop throughout my week. It’s a great consistent art exercise if/when I’m motivated, but on the downside I can get burnt out and discouraged if I don’t manage my time properly – which, uh, I’m working on. When participating in a group or solo exhibition, do you prefer if there is a theme for you to stay within guideline or do you enjoy being free from stipulations? What brings out your creativity the most? Nomi: Themes definitely help. If its not a theme I feel like I can adhere to, it at least gives me a framework to build upon or even work against. Nothing stifles my creative mojo more than too much freedom. In addition to being a great illustrator you are also well-versed in sculpting, casting, and working with ceramics. How did this venture come about? Nomi: “Well versed” is not an accurate term to describe my process, really! I’ve had a few ceramic figurine-making classes (with my amazing professor, Justin Novak – check out his work here - http://www.justinnovak.com/) – with varying degrees of success. It’s something I want to continue, but it is very time consuming and often heartbreaking, so we’ll see. As for sculpting – I think it’s important for all illustrators to practice building physical objects with their hands. If anything it’s just a fun and rewarding hobby – it’s something I do to keep my fingers busy when I get bored of flat pictures but still want to make art. 
Many of your illustrations combine (Wo)Man and beast. For me at least, there is even a sense of eroticism about them. Could you tell us a bit about your works’ themes? Nomi: The short answer would be: I paint women because I like women, I’m attracted to women, I’m confused and frightened and intrigued by women. I attribute a lot of really important aspects of my life to the fact that I identify as female. I paint animals because, I’ve been drawing animals since I was a child; I wanted to be an animal biologist and I guess part of me never really let go of that. Combining to two themes yields a lot of potential for playing with character, narrative, for exploring an uncanny atmosphere. However, this is something of a struggle for me. I mean, human-culture-juxtaposed-against-nature and/or equating the female form with ‘natural’ motifs are well trodden tropes within art history. Contemporary illustration is kind of obsessed with the whole woman-in-nature thing, and I am trying to pull away from that a little bit: I don’t want to be redundant, and I do want to remain culturally cognisant of the subjects I work with, but I also need to be honest with myself: i just plain really like animals and ladies. As I said previously: I’m interested in constructing surreal, perhaps off putting images. I try to aim for that sweet spot between desirable and just plain weird: I want people to like my stuff but I don’t want to make it too easy, you know? I try to make my images function like a mainstream David lynch movie. They’ll follow the rules of traditional narrative but there’s a big part if them that makes you go, “what the fuck?” Tattooing, illustrating, or sculpting — which is the medium you find the most challenging and need more improving? Nomi: Tattooing is definitely the most daunting. But all the mediums I work in have their challenges and I’m never quite happy with my work. I wish I had a million hands and more hours in the day so I could get better at all the things! So if you combine everything up, you are indeed a multi-disciplinary artist. Tell us how you achieve balance, and how you are able to juggle all these talents. Nomi: Truth be told: I don’t. There’s always something or somethings that I’m ignoring in favour of whatever I’m focusing on at present. I remember a quote by David Choe, and I’m butchering it, but he said somethething like: It takes incredible sacrifice, for those who want to keep balancing on the fence and don't want to pick a side, keep balancing forever and see how that feels. So you always have to pick a side. I’m definitely no David Choe, but that’s kind of how I approach it. I’m always neglecting something in my life for art, which makes me feel guilty. Or it’s the other way around and I feel even more guilty. I’m actually trying to re organize my priorities and bridle my work habits enough to allow for some semblance of a social life. On the one hand: I only have this one precious life, and do I want my legacy to boil down to a bunch of nifty pictures/objects and an impressive CV? On the other hand, I often feel like there’s a restless little monster in me and she is only happy when I produce lots and lots of art. So what’s a girl to do? Hmm! 
What are some of your favorite Asian films? Nomi: Where to begin? I really love Korean and Japanese revenge/gore films. I’ll watch pretty much anything by Takashi Miike. I recently watched “I Saw the Devil“, which blew my mind. Also, in no particular order: Ichi the Killer, Oldboy, Sympathy for Mr. Vengeance, Visitor Q, thirst, and that short (I think?) Chinese film about that woman who ate fetus dumplings. You have a storefront….but it’s empty! What is up with that? Do you have some work coming in the upcoming year that you can let the cat out of the bag? Nomi: Oh. That old thing…I want to start selling unlimited prints when I’m back home (as I write this, I’m studying in the UK), but that won’t be until July at the earliest. I actually have a really nifty art multiple which I’m selling through VonZos! (Check them out here: http://www.landofzos.com/items/product-category/peter-mycophillic-trysts-by-nomi-chi-2/) They are a fantastic publishing company and I foresee many cool projects with them in the near future! How important to you, as an artist, to doodle in your sketchbook? Is it essential to maintain your skill-set to maintain your sketchbook? Nomi: It is absolutely important. I am never without my sketchbook. I try to set aside time to doodle on a daily basis, but honestly the urge is strongest when I have other deadlines to meet, or when I’m in school listening to lectures. As a creative who has been pushed to her limits, tattooing, studying, participating in art shows, etc. Do you have any advice for any creative out there on the pressures of dealing with stress and deadlines? Nomi: Make a to-do list. Try to accomplish one task at a time. Breathe. Drink coffee. Try not to get distracted. Just try. Listen to podcasts instead of wasting time trying to compose the perfect “drawing time” playlist. Exercise, go outside. Make time for your friends. If all else fails, make sure there’s booze in the fridge. 
Want to stay up to date on all of Nomi’s adventures? Follow her cookie crumb trail below: http://nomi-chi.com/home.html
http://god-of-insects.deviantart.com/
https://www.facebook.com/pages/Nomi-Chi-draws-pictures/46350517665 | | Dragon – Review Apr 16th 2013, 00:02 
Available on DVD/Blu-ray TODAY, Wu Xia can be described as having a bit of Rashomon, a pinch of A History of Violence, with Donnie Yen's left foot crushing your windpipe. Wu Xia takes a few chances with the Asian martial arts genre and mostly succeeds. Despite starring in seven movies over the last three years, I am still not tired of seeing Donnie Yen. Despite Yen's immense skill and screen charisma, Donnie's one-armed sword play somewhat pales a little compared to the sheer exhilaration of his two-armed fight with Kara. Director Chan uses slow motion and beautiful cinematography which, unlike with Zack Snyder, is actually integral to the story. Instead, Peter gives room for Donnie to flex his acting chops, and Donnie's method for understatement works perfectly for a subtle and nuanced performance. Thanks to the capable cast, the well-crafted script, the restrained costumes and the breathtaking setting, most characters are lifelike. 
This is such a refreshing movie for the martial arts genre, which warranted many awards in the film festivals. Either Donnie Yen or Takeshi Kaneshiro both deserved best actor title. Production value is top notch, especially the locations and cinematography, which were superb. The locations are shown in all of their glory and the camera nicely frames them without being to overblown. During this change of pace, Yen completely transforms his character not into a tough guy, but rather, of a haunted, tortured soul. Yen's versatility as an actor really shines in this movie and I honestly think it is one of his very best performances. As a martial artist, no worries, Yen's still got the moves. Next, let us talk about Takeshi Kaneshiro's character which is an interesting one. http://www.youtube.com/watch?v=zMlUd_DoiWI His performance has an aura of quirkiness and yet, sadness, as the film progresses his character becomes ever more tragic and his once-aimless cause becomes justifiable. "Lust, Caution's" Tang Wei has a supporting role that is basically a stereotyped character in all of this sort of films – the concerned wife. Peter Chan and Oi-wah Lam have grasped the key to writing a good story. Indeed, three-dimensional characters are more important than fancy fight scenes, so they take their time developing the characters in the movie. Thanks to the capable cast, the well-crafted script, the restrained costumes and the breathtaking setting, most characters are lifelike. Finally, a good martial movie that washes the bad taste in my mouth that has been lingering for weeks! Donnie Yen returns to the top of his game.
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