So what~
作為一個以畫圖為工作的人，維生方式就是替客戶畫圖。工作時候腦子裡充滿著各種我想像出來的客戶的大小聲。所以畫圖時候都必須要有聲音充滿工作室。有時候聽閒聊型的podcast，來轉移腦中的不時引誘我的牛角尖。但更多時候，是有著自由即興的爵士樂。尤其是 bebop 時期的那種小編制重奏。
作為一個以畫圖為工作的人，維生方式就是替客戶畫圖。工作時候腦子裡充滿著各種我想像出來的客戶的大小聲。所以畫圖時候都必須要有聲音充滿工作室。有時候聽閒聊型的podcast，來轉移腦中的不時引誘我的牛角尖。但更多時候，是有著自由即興的爵士樂。尤其是 bebop 時期的那種小編制重奏。
主節奏下，忽然每位樂手像是突然脫隊熱舞一番，輪番在solo的段落各自吹奏，隨即回歸節奏上。這種神秘的默契，隨興、奔放、帶點混亂的節奏，剛好可以跟我筆下那些畫了undo又重畫，小心翼翼的線條，在內心裡形成一種平衡。
Miles Davis 的〈So What〉是喜歡的曲子之一。那句好像毫不在乎又懶洋洋的旋律一吹出來，我也會對自己說：「So what~只能畫下去啊！」
As someone who draws for a living, my work is all about creating images for clients.
And when I’m working, my head is filled with all kinds of imagined client voices—some loud, some nagging, all demanding. So I need sound to fill the studio. Sometimes I listen to casual, story-driven podcasts to steer my mind away from obsessive loops. But more often, I go for jazz—especially small combo recordings from the bebop era.
And when I’m working, my head is filled with all kinds of imagined client voices—some loud, some nagging, all demanding. So I need sound to fill the studio. Sometimes I listen to casual, story-driven podcasts to steer my mind away from obsessive loops. But more often, I go for jazz—especially small combo recordings from the bebop era.
There’s something magical about that rhythm section holding steady while each musician breaks off into a solo, like taking a wild, spontaneous dance before snapping back into the groove. That freedom, that chaos-in-balance, somehow matches perfectly with the way I draw—undoing, redoing, careful, cautious strokes fighting for space.
Miles Davis’s “So What” is one of my favorites. When that cool, lazy line comes in, like it doesn’t care at all, I find myself smiling and thinking,
“So what—I’m drawing anyway.”
“So what—I’m drawing anyway.”
