Young artists bridge eras through graphic art
Three artists behind the Zheng He visual story tell how they created the posters that are displayed at The Courtyard@BeachStreet 1786
By Anansa Jacob
WHEN the Commonwealth of World Chinatowns (CWC) sought artists to turn Gavin Menzies’ explosive book 1434: The Year a Magnificent Chinese Fleet Sailed to Italy and Ignited the Renaissance into a visual experience, they didn’t turn to big-name designers. Instead, they tapped into fresh talent: three recent graduates from The One Academy Penang.
For Terrence Wong, Ng Jie Yi, and Aw Sue Imm, the commission was more than just a design job. It was a chance to translate a sprawling, controversial historical thesis into something everyone could see, read, feel, and believe.
First reactions and inspirations
“I was slightly nervous,” admitted Terrence, a 2024 Illustration graduate. “The scope and timeline of the project proved to be quite daunting.”
Jie Yi, who graduated the same year in Illustration, Movie, and Game Art, felt differently: “I was more than excited. It was an honour.”
For Sue, who completed her studies in early 2025, the project was a perfect synthesis: “I’ve always enjoyed learning about history. This gave me the chance to combine that with my design skills.”
Condensing a controversial history
The challenge was immense: making Menzies’ dense, speculative history accessible and engaging. All three artists credited Ian Hudson of the Gavin Menzies Research Foundation for his guidance.
“He provided us with important points and notes,” Jie Yi explained. Terrence added, “He condensed key ideas into digestible snippets, allowing us to focus on layouts that would resonate with the general public.”
The team divided tasks among themselves: Jie Yi handled historical timelines and flowcharts. Sue illustrated comparisons between Western inventions and their Eastern predecessors. And Terrence brought Zheng He’s voyages and life to visual form.
Balancing accuracy and design was their toughest hurdle. “The most challenging aspect was striking a balance between content and design, not letting one overpower the other,” Terrence said.
A visual language of the past
To reflect the historical theme, the trio developed a distinctive design approach. “We decided to evoke a historical style,” they explained, “using paper textures, wild brushstrokes, and muted, earthy colours reminiscent of aged Chinese manuscripts.”
Yet, they deliberately kept the designs minimalistic, ensuring clarity and accessibility. Using moodboards and public domain images of figures and artefacts, many supplied by Hudson, they added their final touches to complete the posters.
In design speak, a moodboard is a collage of images, textures, colours, and descriptive text that visually communicates the desired aesthetic, style, and emotional tone for a project, serving as a foundational tool to inspire, guide, and ensure alignment between designers and stakeholders at the outset of the creative process. It acts as a central visual reference point, helping to define the "mood" or concept of a design before detailed work begins, and can be created physically or digitally.
Collaboration and mentorship
The process of creating the posters was highly collaborative, supported by Dr Kuah Li Feng, their supervisor and liaison with CWC. Sketches, progress updates, and discussions ensured the work met expectations while allowing the team creative freedom.
“The Zheng He-Da Vinci Juxtaposed exhibition was a wonderful opportunity for our students to uncover hidden historical stories linked to early globalisation and material culture,” said Li Feng.
“They took in this knowledge, reimagined it with creativity, and shared it with the audience in ways that were both engaging and visually appealing. It was history and culture brought to life through the fresh eyes of youth.”
“We worked as a group,” Jie Yi emphasised. Terrence echoed: “We are thankful to have been given a great deal of creative freedom.”
Discovering Zheng He
None of the artists was deeply familiar with Zheng He or Menzies’ theories beforehand. “Not at all!” Terrence admitted. “Although I am Chinese, I had no knowledge of the significance of Zheng He. Now my heart swells knowing that the inventions of the Renaissance contain countless Eastern roots.”
For Jie Yi, the project was “eye-opening,” while Sue appreciated the chance to gain “a different perspective on history.”
##CROSSOVER: Click here to read our story, Sailing through history: Tan’s sojourn through stars and seas, at www.newasiacurrents.com
Professional growth
Beyond history, the project became a professional milestone. Terrence honed detail-oriented design and client communication. Jie Yi gained confidence in adapting to different projects. Sue, taking on her first major commission, valued the teamwork and client-facing experience.
Through their thoughtful and collaborative work, Terrence, Jie Yi, and Sue have not only created visually striking educational tools — they’ve also helped advance a dialogue about history, cultural exchange, and the enduring influence of Zheng He’s voyages.
Their posters are more than just information; they are invitations to see the past anew.
Exhibition details
The posters for the Zheng He–Da Vinci Juxtaposed Exhibition are currently on display at The Courtyard@Beach Street 1786 in George Town, Penang. The exhibition is open daily from 4pm to 9pm, till September 30, 2025.
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