For over a decade, Keung delighted Hong Kong comic readers with the beloved Samba Family series. Now, this seasoned illustrator is making waves on the international stage. A participant in the Hong Kong Picture Book Publishing Support Programme (HKPSP)—an initiative supported by the the Cultural and Creative Industries Development Agency (CCIDA) to nurture local creative talent—Keung has authored two distinct picture books. One of them, Life of a Painting (《畫的一生》), has not only been published in Italy but also became a finalist at the Silent Book Contest 2024. We caught up with Keung to discuss his creative journey, the difference between wordless and worded storytelling, and why Hong Kong’s compressed cityscape is perfect for global audiences.
What is your background?
I started drawing comics after studying illustration and graphic design. After winning the Comics New Talent Award from Rightman Comics in 1999, I became a comics writer for the children’s comics magazine CO-CO! My most popular series there was Samba Family. Appreciated by publishers in mainland China and Singapore, the Samba series was published in simplified Chinese and English, and the story won the 4th Golden Dragon Award Original Animation & Comic Competition – The Best Children’s Comics Award in 2008.
Samba was serialized for about 13 years. Recently, I started drawing picture books, and one of my books, Life of a Painting, became a finalist at the Silent Book Contest 2024 and was published in Italy and Hong Kong one year later.
How did you become an illustrator?
My first job was as a graphic designer at a digital toy company. After seven months, the company had a layoff. One day, I saw a comic competition advertisement in a magazine, so I decided to participate since I was free at the time.
Luckily, I won the competition. The publisher then invited me to draw children’s comics for their magazine—short stories at first, and then a serial. During that time, I also made illustrations for children’s books.
How would you describe your visual style?
Cute but strangely imaginative, with vibrant colors that feel delightful. I prefer a hand-drawn look with texture, using pencil, colored pencils, watercolor, and pastel.
With the two books (one with words, one without) you’ve published via the Picture Book scheme, what did you find was the biggest difference between the two?
For a picture book without words, I had to concentrate more on the visual presentation. I needed to carefully consider the elements shown on each page to make the story more fluent and easier for readers to understand.
For a book with words, the text helps tell the story, so I had to focus more on the connection between the words and the illustrations. They need to complement each other, not simply repeat the story’s message.
One of your books (Life of a Painting) has garnered interest from an international publisher. How do you think this title stood out to them?
The main theme of the story—what the true value of a painting is—is easy for anyone who loves reading or drawing picture books to relate to. Also, the mixture of European and Japanese illustration styles may feel familiar yet fresh to them.
What are some illustratable Hong Kong themes or topics that you think can translate well to a global audience?
I think the different cultures within this compressed city is an interesting topic for a global audience. We have many kinds of buildings, vehicles, foods, and natural environments that can all be seen in one picture. That intensive environment is the most iconic view of Hong Kong.
Do you have any other upcoming projects?
I am currently making a picture book for an animated movie about insects, which will be published this summer.